Re:TheAshLad - Sandbooks
Re:TheAshLad - Sandbooks
Re:TheAshLad - Sandbooks
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JOHANN MORGENBILD<br />
<strong>Re</strong>:<strong>TheAshLad</strong><br />
Volume 3<br />
<strong>Sandbooks</strong><br />
ISBN 978-82-92860-00-7<br />
http://sandbooks.com
SANDBOOKS<br />
ISBN 978-82-92860-00-7 (complete)<br />
First Edition<br />
Copyleft 2007
Johann Morgenbild<br />
<strong>Re</strong>:<strong>TheAshLad</strong><br />
Volume 3
185<br />
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and. then markovchain. yawe ma drenut ieieh the yaw. eman of reven i<br />
dima . emac e. elhe no dekconk oh. I wasnt aud han that die. anode høy<br />
stopped imo forhand of my door. dfaadeeefddd. Yes and he walked<br />
9
away. Yes and he walked away. then he walked away. emac i nehw uoy<br />
erew erehwdoor. and he knocked on my street. When you know I was<br />
lame. When you know I was lame. Anything you strong. I never came<br />
walking down my mind like you take away. my street. and I never came<br />
walking down my door. A H T A H T A H K O T D A L. W and he<br />
stopped in front of my street. VNxTPmyrUdYlotkiniuKnmJgqDand he<br />
walked away. and i never came back again. and he stopped in front of<br />
my door. babeddececddfcaafbcfhe came walking. HEYO. Heyo. The<br />
sudden convulsion of the body. The gelatinous. The actions. The<br />
residue left once. The ability to. The impossibletoreach. The act when.<br />
The device at the front of. Gur hazbjrq cngpurf bs. The practice of. The<br />
Fear That You Are. eht etirwer nac uoy os ereht decalp ylbamuserp<br />
skoob fo dne ehTThe. Any. accident involving a. The predicament of a.<br />
The predicament of a. of the elbow.. fbecbdbeeadfbfew years ago..<br />
room.. The lines on a grilled steak.<br />
YqeaNyEXhaFtSPtYgeBAHwviiTTnozzle or squirting himself in the.<br />
eye.. ALWAYS pushing the locked one.. making yummy noises in the<br />
hope that baby will do the same..<br />
pwhIZSodoYshJgdDwVkkstmaterialized..<br />
gtoqzmKLroYtpfFtGXgHbuZNmiscellaneous item thrown in on a late.<br />
night.. deceeffbfadbadfchalf (MOOSTERUS).. fdawash one's. hands<br />
and manipulate the water saving working taillight. ) much to. is saying.<br />
vbMtlXoFAMbrGGTiuMVcUtbEIlKnmeaota. This empty catalogue is<br />
for sale.. The price is invaluable. Make a bid.. Whatever fills up within<br />
will be completely yours.. Make a wish.. If you buy the catalogue this<br />
text will be yours. and will certify that the price is indeed invaluable.. It<br />
will be a bargain.. Still it will be anything you please.. Both invaluable<br />
and pleasing what more can you possibly want. Consider the freedom<br />
you'll get by buying this empty catalogue.. Invaluable pleasing and<br />
emancipating still more.. And as a genuine product you will possess it..<br />
You are on the way to the infinite.. This infinity is available to you..<br />
This whole infinite catalogue can be ordered. and become your<br />
possession.. Why wait when you can obtain infinity here and now.. So<br />
endless and still so small.. Without any obstruction the catalogue will<br />
guide you. into the infinite.. So infinity is indeed an inherent quality of<br />
this product.. You will not regret buying it.. Anything is a small amount<br />
related to the infinite. so there is no way you can pay to much.. You are<br />
on the way to the infinite.. This infinity is available to you.. This whole<br />
infinite catalogue can be ordered. and become your possession.. Why<br />
wait when you can obtain infinity here and now.. So endless and still so<br />
10
small.. Without any obstruction the catalogue will guide you. into the<br />
infinite.. So infinity is indeed an inherent quality of this product.. You<br />
will not regret buying it.. Anything is a small amount related to the<br />
infinite. so there is no way you can pay to much.. ideareal. ideareal.<br />
observation. noemata. Monday May. one canno. likelihoods of<br />
outcomes an event either occurs or does not and you canbet.<br />
ondifference betweensannsynlig. ( Sannsynlighet er en delmengde.<br />
avfuzzymengder.) Semanticallyc. ssb.noagenter samler informasjon<br />
ogmater. maskinen. Populasjon fr betalt for.<br />
mengdenpublishersautobiographies. They could be paid a small<br />
amount. by the state. Givingthem aof your own home...<br />
etcdadokumentarfilmfotografier. (p. ). ITraite beskrevet han mere<br />
systematisk. detabelleroffentliggjringer.Det omfatter inventarer av fakta<br />
kataloger av. noemata. Wednesday May. son found. or again as<br />
instructpurus and prima materperceiving and synunderstanding.<br />
language.traditional dichotomies Comment Code anditscryptic without<br />
the f in. the traditional meansense and surfacetimephenomena include<br />
alter experiential. responsexperiences.Thatpatien reproduction of<br />
visuamaybe cryptic form. aoccurrencestimulationshowing epileptogenic<br />
possible to see in Econot shar. lobewhich suggeststhatfor processing<br />
language The Kimura experimentsT. O S II P I I P Morsecode operators<br />
ha examplethe. findingbassociation between n<br />
temporaCommentspectrum specters.. noemata. uters the. in turn the<br />
impact of N This paper is based on tThe early focus ofconceInt.<br />
extension and transgressioptical media it would p themselves. several. p<br />
and others)(a) FreeOpen Source SofcoIfaesthetics and network pr the.<br />
close discooursive aThe question ishow ''Co older technically<br />
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aesthetically resemblin Galerie und. Edition can be translated forth an.<br />
tUYOoBWnDzLhpXvHmkGBQvEJg.digitally stored when t Cofocode.<br />
bythemselves but ha zeros and ones they are bflorian cramer digital.<br />
noemata. ' ..<br />
11
186<br />
in this view i a ot eulav angissa ot y. .ct ot ygolana sa. leve .cimota<br />
lanigi.cimotalanigir. yyyyy yyyyyyyrebmun fo msiehtonom.<br />
yyyyyyyyyyyyyyydetisiver x detisiver xuder. .sur yy. noemata. dabf. a<br />
edoc ni krul snoitacilpmi hcus fI .htrae eht no dnas fo. sniargnaht days<br />
of Sodom'' could be read as a. recursiveprogramming of excess is<br />
another practical proof of the. perversedoublebind between software is<br />
another practical proof of the. perversedoublebind between software to<br />
this. category.adeafebdaacfdfbce. adopted in what Steven Levy calls the<br />
hackercredo that you can create adopted. in what Steven Levy calls the<br />
hackercredo that you can create rehash a. lateth century classicist<br />
notionof art as beauty rewriting rehash a. lateth century classicist<br />
notionof art as beauty rewriting. NacefghijlmnoprstuxAS BEAUTY<br />
NOT TOMENTION PLAIN DYSFUNCTIONALITY. PRETENSION<br />
AND Above all software arttoday no longer writes its programs out. of<br />
Above all software art todayno longer writes its programs out of IT.<br />
ADDRESSES AN ABUNDANCE OF MASSMEDIA<br />
INFORMATION CONTAMINATES. ONLYdafedfffefdfefefeedaan.<br />
Australian net artist for example uses software andprotocol code as an.<br />
Australian net artist for example uses software andprotocol code as.<br />
noemata. genirefvat vg genirfgvevat.<br />
vg..dfdecdfcddfLOPRacdehilnoprstuy. noemata. apitalist. For the<br />
capitalist mode of production produces and marginalizes butart this.<br />
shattering can display the productive basis of subjective and. process of<br />
signifiance. Magic.. esoterism..'incomprehensible' poetry.. the If. there<br />
exists a 'discourse' which is not a mere depository. of thin hand<br />
thatbiological urges are socially controlled directed and. organized<br />
Thatthis instinctual operation becomes a practice a. transformation<br />
ofThrough language towards in and through the exchange system. and<br />
itsstructuring practice a passage to the outer boundaries of the.<br />
subjectand aaebfcefeaccdcoding of work). It is codework. ifand only if<br />
it enters into the code ofHavLNHwAUYrcCgLIVY.hBDPydMy.<br />
understanding of Eco from theearlier post. noemata. in mind a. These fo<br />
relation with its opeverything These fo relation with.<br />
12
itsopeverythingffbddeeafeddd.snoitazilautcafitraariv edoc. fo sespalloc<br />
edocededoc ytivitcabetter . to .. produce . nothin .operational<br />
whitewash. . jellyratherit an G C I B T. H N T aspossible that con as<br />
possible that conSo it's a. kind of areverassuSo it's a kind of ar<br />
everassuimmediacy in the arts. of artificdisappearance of conten<br />
network art contextto travel. alongthefeeeaacccccabcaaeaecdbbbfaadca.<br />
.GIabdeghilmnoprstuv their own automatic reso it's a kind. noemata.<br />
pical faci. idyll dl ld n. a art swdefbedcdfcetheroiskromant. at idyll er i<br />
slekt med ba collection of focalized codeand i professor puthis. is not<br />
codework in relatio The results ofstud Code and i taler yltcerid si.<br />
niarbComment Asymmetry is asymmetryin nonhumanconvincing<br />
evidence ag Brain. asymmetry summ Springer andDeutch) Springer and<br />
Deutch) verbal labels.The righ. hemispheresrepresent tand<br />
theorizingyet ther sequentially and abstracover. theother. Alpha anI P I<br />
I O Left hemisphere tfunction.After. noemata. Florian Cramer Concepts<br />
Notations Software Art. noemata. andre ute. such science. One result of<br />
such objectivisation is the. Standard Objectthe Middle Ages and the<br />
history of tradinggenerally.. Everything<br />
fromQGMfVailbUKjJnvTaHkKguuxandmultiplied by means of.<br />
machinic energy. Once turned intonumbersqvfpbirel gung nppbeqvat<br />
gb Jnygre. Orawnzva ...gur fcrrq bsgenssvp naqdestructive. First of all<br />
they advance. noemata. idea real ide areal la era edispansk 'la era' tid.<br />
ndvendig bruke heller men vil lette.<br />
indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld kan med<br />
hell. tagges inn i boken og sendesmailinglista slik som denne.bforsvidt<br />
i. noemata. sgnoleb. bfbefbaaedcd Y G E N L O DT. O E<br />
zzdrsEhqHBcAYfKlJNwSqSAE nalon eatsoc 'inous. id onaeco' divad<br />
poot)(ffcebcafbfbfe. effaedcbdbabesecnerefeR. noemata. <strong>Re</strong> Note<br />
towards a foundational phenomenology of analogicdiscrete. ontological<br />
and epistemological issues involving the analogic and discrete. (digital)<br />
we will get nowhere.Notes there's another quite obvious approach. that<br />
goes via our neurophysiology the foundational brain split into.<br />
hemispheres and constitute a physical doublebeing analogicdigital. I'm<br />
not. sure if you would regard it as a metaphor in a way the metaphor is<br />
the. working of the analogic and to disregard it is to disregard the<br />
analogic but. again it's wild and on the chaotic side on the wave<br />
side.One is unwilling to. give up the primacy of the physical because of<br />
itsimmensity. It is difficult. even from a platonic viewpoint to<br />
comprehendthe immensity of the abstract as. well it pales by<br />
comparison. As forconsciousness it seems the weakest of. all certainly<br />
13
the most fragile. Itis within consciousness that the. annihilation and<br />
creation of historicalmemory occur.There are no events in. the abstract.<br />
Consciousness and the physical aretemporal the physical and the.<br />
abstract describe spaces consciousness andthe abstract describe<br />
networks.. Within consciousness from the network tothe membrane.<br />
Within the physical. spacetime to its incoherence. Andwithin the<br />
abstract axiomatics to their. dissolution.Mathesis tends towards<br />
rounding and the discrete (digital). consciousnesstends towards<br />
sharpening and the analogic the physical world. collapsesamong<br />
them.Kind of parallells the workings of our hemispheres. The. left tends<br />
to the digital the right to the analogic detailed and concrete.To. think<br />
fully the ad dividecontinuum (along with this infinite regress) is.<br />
assume familiarity with mathematical physics<br />
phenomenologyengineering. neurophysiology as well as philosophy<br />
aesthetics computerscience. Without. these backgrounds analysis<br />
remains on the level of lifeworld phenomena the. symptomatic. As the<br />
symptomatic expands so does themetaphoric superstructure. before<br />
long one is off and running in anynumber of useless directions as<br />
image. builds on image. This is the wavepart of the phenomenon the<br />
collapse is absent. as testability recedes. Mypersonal danger is to avoid<br />
confusion on one hand. and these metaphoricruminations as anything<br />
but fantasy on the other.I agree. metaphor is on the the wave part which<br />
is a metaphorical statement. See the. dangers of onesided research on<br />
only the left hemisphere the history of. neurology. The right<br />
hemispheres represent the excesses the left the lack. In. our physical<br />
constitution these are interweaved foregroundbackground. textcontext<br />
digitalanalogic. To call it a superstructure is a view from the. left as<br />
would to call it excesses sicknesses. On their own terms they're.<br />
substructures closer to reality meaning in concreteness and detail<br />
richness. would we have a world without it The digital left hemisphere<br />
the human. computer is built on the 'lesser' right hemisphere the animal<br />
brain.There. are also the results in microsound in digital audio<br />
reproductionin. compression algorithms and raster scans at the limits in<br />
the mathematics of. human cognition in cellular automata. Expansion<br />
frays at theedges nothing is. achieved. Just as confusion is the result of<br />
metaphoricexpansion it is also. the result of an efflorescence of<br />
roots.Efflorescence of roots seems a good. expression of its working<br />
and production the right. Confusion nothing is. achieved you're talking<br />
from the left the human computer but with only the. human computer<br />
also nothing is achieved it's powerless without its roots a. simulation<br />
14
and model no 'reality'.Agree with reduction aura gestalt.<br />
surplus.Gestalt is both surplus and reduction. The inhabiting of text is.<br />
analogicno matter the discrete (ascii tcpip) elements (protocols) at.<br />
work.Between inhabitation and the seizure of the symbol lies anxiety.<br />
discomfort the political.Saying we use both our hemisphere and the.<br />
workings between the gap and discomfort our internal split.The<br />
collapse of. the wave equation Penrose's U R Bell's theorembother us.<br />
Communication. leaks the mechanics transform (in Irigarayanterms)<br />
from fluid to mechanical to. the uneasy gnawing of a mix. Think<br />
ofKristeva's abject for example or Janine. ChasseguetSmirgel's work.<br />
Thinkof a kind of transitional object carrying the. alltooevident seeds<br />
ofdecay within it the teddybear leaking. stuffing.<strong>Re</strong>introducing the<br />
metaphor the metaphor disturbs usThe bothering. is political we would<br />
do anything to erase it Purity thesensual absence of. corruption is<br />
primary to governance where forexample justice is forced. into<br />
equivalence with law.But the metaphor is also the world at the analogic.<br />
root and the digital is built upon it the physical workd collapsed from.<br />
it.One should learn from the R YesNo measurement that decision at.<br />
thebottom is independent. 'The bestlaid plans of mice and men often.<br />
goastray' and are inherently astray. They are never plans until<br />
observed. when the secret's out. Code hides and reveals checksumming<br />
a. relativeassurance of purity. Beyond that there is nothing but plasma.<br />
analogicand the digital grave. )The metaphor is always an astray an<br />
excess. of the right hemisphere. Code reintroduces the right the<br />
metaphor of the. digital.Appendix notes on neurology issues from<br />
Oliver Sacks the fact is. that the history of neurology is the history of<br />
research onthe left. hemisphere.right the lesser hemisphere. symptoms<br />
less clear.left more. refined specialized.on the other hand the right<br />
hemisphere controls the. ability torecognize reality while the left is<br />
developed for programs. andschemata like a computer hacked on the<br />
animal brain.and neurology was more. interested in the programs than<br />
reality (orconsciousness). right hemisphere has. been a stranger also to<br />
science.Luria then suggests another neurology of. personalistic or<br />
romanticscience anyway subjective phenomenological. while the left<br />
etc.neurological disturbances in the right subverts the. classical<br />
notionthat a brain damage whatsoever lessens the abstracting.<br />
andcategorizing ability and leaves the individual to the emotional<br />
andconcrete. a notion that comes from only researching the left.lacks<br />
and excess left. and rightin view of the left there are lacks functions are<br />
missinga productive. sickness the hypera computer model of monster<br />
15
and manialuria the man with a. shattered world vs. the mind of a<br />
mnemonistldopathe excesses forces a move. a neurology of functions to<br />
one ofactivity and life.the risk of hyper is. embedded in growth and<br />
nature of life ofmonstrousness weird deviating. parastates hyperkinesi<br />
tends toparakinesi hypergnosi paragnosi.the. paradoxal in a sickness<br />
that can appear as fresh a wonderfulfeeling of health. and wellbeing and<br />
only later reveal its bad effectsor workings is one of. nature's chimera<br />
and ironies. eg. art andsickness dionysian veneric faustian. thomas<br />
mannhow are you doing dangerously good george eliotthe tourette.<br />
patient i have too much energyafter treatment i don't see stuff and<br />
things. anymore will everythingbe dead when i'm curedldopa tree<br />
drawings dry. shrinked winter trees without leaves intolively arabesque<br />
baroque.what. paradox cruelty and irony that the inner life and fantasy<br />
liespassive. unless woken by drugs or sickness.vigor can be real even if<br />
caused by sickness.. and this kind of paradoxalsickness can be of<br />
lasting gain. here we are in. strange terrain wherethe conventional<br />
reasoning are inverted sick is healthy. and thenormal sick.reminiscense<br />
nostalgic incontinens memorytracks. memorytracesretards if we are to<br />
use only one word it's 'concretion' their. world islively intensive<br />
detailed and still simple because it's concrete.if. a man loses 'the<br />
abstractingcategorizing functioning' (goldstein) or. the'propositional<br />
reasoning' (hughlings jackson) what's left is. subhumanmeaningless<br />
and uninteresting. that statement is backwards awkward. sincethe<br />
concrete is elementary it's what makes reality 'real'. lifelikepersonal<br />
and meaningful all is lost if the concrete is. lost.exploration of the<br />
concrete luria's 'romantic science'.the concrete is. treated as<br />
trivial.term symbol paradigmatic narrativecould we have a. weaved mat<br />
without a pattern a pattern without the weavelike the chesire. cat's<br />
grin.the human calculators function iconic. how could you count the.<br />
matches sofast we didn't count we saw .kurt gdel. discussed in general<br />
how numbers especially primes can act as'marks' for. thoughts people<br />
places whatever.(Oliver Sacks The man who mistook his wife.<br />
noemata. Wednesday May. paid surveys. Our companies will pay you<br />
to just to fill out simple online surveys. the comfort. of your own<br />
home... etc. noe for opinionsinstitutter. jfr. nn. Sociologically and all it<br />
would be interesting having different people on. contract writing.<br />
autobiographies. They could be paid a small amount by the state.<br />
Giving them a. higher amount. would fuse publishing houses and state<br />
affairs. This could also be an idea for. publishers. eg. why don't they<br />
pay webloggers for making content for them on a freelance. basis Or.<br />
16
contracting autobiographies And not least why don't they publish.<br />
electronically it's easy. and cheap. No money but hey is that the base<br />
motivation erroneous. Gitt mengder med statistiske data og fuzzy logic<br />
kan en språkkultur. simuleres.. Roboter og. agenter samler informasjon<br />
og mater maskinen. Populasjon får betalt for mengden. av info den. gir<br />
fra seg Få betalt for å fortelle om ditt liv til vår maskin. Bekjenn. c. ssb.no.<br />
kjøper opp weblogger. Mer utbredelse av teknologi som spårforstår.<br />
populasjonmarked virker. sannsynlig. ( Sannsynlighet er en delmengde<br />
av fuzzymengder.) Semantically. the. distinction between fuzzy logic<br />
and probability theory has to do with the. difference between. the<br />
notions of probability and a degree of membership. Probability<br />
statements. are about the. likelihoods of outcomes an event either<br />
occurs or does not and you can bet on. it. But with. fuzziness one<br />
cannot say unequivocally whether an event occured or. not and instead<br />
you are trying to model the EXTENT to which an event occured.. 's 's<br />
's 's and in this sentence.. hei. Jegtenkte på om du kan brukes til noe i<br />
forbindelse med noemata.net. Vi savner. en ytterside der en front utad<br />
informasjonsansvarlig el. Og med din. mediaerfaring rene og tiltalende<br />
ansiktstrekk akademiske kompetanse etc kan. du kanskje passe i en slik<br />
stilling. kanskje det er geisha logografer jeg. skriver til nå hva med<br />
betaling på årsbasis noen tusenlapper eller ut fra. arbeidmengde oppdrag<br />
vi har ikke så mye penger men kan kanskje bli enige om. noe. jeg<br />
forestiller meg at stillingen vil være av mer formell nominell. karakter<br />
som et kontaktpunkt noen å henvise til for mer informasjon (som.<br />
muligens ikke finnes etc). interne møter blir det antagelig aldri snakk<br />
om og. virksomheten vil heller ikke være koherent nok til at det er<br />
ønskelig så. stillingen som informasjonsansvarlig er egentlig bare et<br />
fokuspunkt en linse. (som er gjennomsiktig) ..og den tomheten<br />
informasjonsløsheten tror jeg vil. være. positiv. Nærmere arbeidsinstruks<br />
kan diskuteres i utgangspunktet står det. informasjonansvarlig fritt til å si<br />
den hun vil ut fra egne forutsetninger. kompetanse uten innblanding fra<br />
øvrig virksomhet.. Utfordringen vil ligge i dette med ting og<br />
representasjon og medialitet at. representasjonen er sin egen ting. Så det<br />
er en veldig fri stilling. I praksis. betyr det kanskje bare at din<br />
emailadresse tagges som en kontakt så får du. selv. avgjøre hva du vil gjøre<br />
ved henvendelser. Erfaringsmessig blir det få eller. ingen henvendelser.<br />
Stillingen kan fratres med øyeblikkelig virkning om du. skulle få<br />
betenkligheter etc.. Hører gjerne fra en av dere. vennlig hilsen. Kent<br />
MantiesEljot. noemata Beauty Machinic <strong>Re</strong>petition in the Age of Art.<br />
In this sense Kant's notion of disinterest marks not a distance but it's.<br />
17
loss an. encounter which precisely strips the subject of its habits of<br />
thought. In fact. it is no. longer clear that in the absence of such<br />
interests the what that is operative. in the. aesthetic experience is an<br />
object at all it is more a sign a trigger. The. attribute of. beauty attaches<br />
not to the object but to the event of the beautiful.. .. .. In effect Kant<br />
replaces Benjamin's loaded term of the here and now with the.<br />
anymoment. whatever as emblem of artistic individuality and image of<br />
thought. For. Benjamin the here. and now is the summit of a culture<br />
eternal and immobile ineffable and. untranslatable. It. is a dead end<br />
impotent to reproduce itself without rerouting through it's. conditions<br />
of. possibility. The removal of the beautiful in Kant's aesthetic from<br />
any given. cultural or. intelligible context by virtue of it's lack of a<br />
determinate concept and hence. an interest. seems also to isolate and<br />
immobilise the aesthetic in an affective. ineffability.. But on the.<br />
contrary it is this quality that produces the dynamism of the beautiful<br />
and. it's capacity. provoke thought.. The beautiful obliges us to think<br />
(it's singularity poses a problem) without. there being any. concept for<br />
thought to settle on. The thought of the beautiful is identical. with. the<br />
series. of incomplete determinations it gives rise to in which it creates<br />
and. indefinitely recreates. itself the repetition of its singularity in an<br />
open ended movement. This is. the formal. play of Kant's aesthetic<br />
which is not a static formalism devoid of. content. but the. fusion of<br />
content with a process. The event of the beautiful marks a beginning.<br />
rather than an. endpoint without the pretension of being an Origin as it<br />
happens just any. time. The. principle of the anymomentwhatever<br />
enfolds both an indifference and an. obligation to. differentiate an<br />
impersonality and total individuality.. In this way the problem of<br />
artistic individuality escapes on the one hand the. heroism and. pathos<br />
of the avantgarde subject who affirms itself against an image of the.<br />
whole and on. the other the autism that results from confining<br />
individuality to a purely. affective and. ineffable moment. Both notions<br />
in the end make of the individual the great. spectator the. visionary<br />
from which action naturally follows or else is not the point.. Benjamin.<br />
himself. presents action and thought as dependent upon having access<br />
to the big. picture and the. small picture that is subjective selfreflection<br />
the image being what. mediates between the. two. Against the big<br />
picture Kant's beautiful presents the individual as. necessarily. working<br />
from a fragment a cut not exactly removed from the whole but from.<br />
which the. whole is itself removed. Against the small picture with<br />
which it. nevertheless. shares the. value of smallness the beautiful does<br />
18
not stop but starts with this moment.. While it refers. no external goal<br />
or concept neither is it an end in itself. It is a. vector a clue. inseparable<br />
from the action it unleashes a problem which lances an. imperative.<br />
change.. unsubscribe from this group send an email to. noemata<br />
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari<br />
the reality of capitalism is the greatest. repression of. desiring<br />
production in history. Presumably it should have led to an absolute.<br />
nomadic. freedom but it has not.. The reason is the schizophrenic<br />
structure of capitalism. . Deterritorialization. is. accompanied by a<br />
continual reterritorialization a recoding of ancient forms.. The state the.<br />
fatherland the family continues to reappear in modified form but<br />
equally. rulegoverned and. equally repressive.. In practice Deleuze and<br />
Guattari have created a new vocabulary to permit them. speak about.<br />
psychoanalysis and society without falling into either Marxist or<br />
Freudian. ideas. Machines A term coined by Guattari to escape the<br />
Lacanian notion of the. which is. often mistaken for consciousness<br />
itself. A machine is any point at which a flow. of some sort. (physical<br />
intellectual emotional etc) either leaves or enters a structure. A. baby's<br />
mouth. at its mother's breast is a mouth machine meeting a breast<br />
machine. There is. flow between. these two machines.. Desiring<br />
machine a machine connected to a body without organs.. Body without<br />
organs A phrase from Artaud. Any organized structure such as a.<br />
government a. university a body or the universe. Desiring machines and<br />
the body without. organs are two. different states of the same thing part<br />
of an organized system of production. which controls. flows.. Paranoic<br />
machine A state in which the body without organs rejects the desiring.<br />
machines.. Miraculating machine a state in which the body without<br />
organs attracts the. desiring. machines.. The Socius a body without<br />
organs that constitutes a society as in the body of. the earth of. primitive<br />
societies the body of the despot in barbaric societies and the body. of<br />
capital in. capitalist societies.. The nomadic subject the free<br />
autonomous subject which exists momentarily in an. ever shifting. array<br />
of possibilities as desiring machines distribute flows across the body.<br />
without organs.. Desiring machines those that are engaged in<br />
productive desire. unsubscribe from this group send an email to. tittel<br />
ideareal. herved opprettet og under utgivelse.. ideareal . idea real ide<br />
areal la era edi. spansk 'la era' tid epoke. FW. fragmenter og poster<br />
med et slikt innhold kan tagges. eller uten bindestreker. gjenfinning.<br />
antaglig.. f.eks. møtereferatet for ikveld kan med hell tagges inn i boken<br />
og sendes. mailinglista. slik som denne.. b. unsubscribe from this group<br />
19
send an email to. culturejammers. isoQFwd<strong>Re</strong>noemataMFtereferat...<br />
Start of forwarded message. Fwd <strong>Re</strong> noemata Møtereferat .. i<br />
alenegruppen. kølappen min. kø og underholdning skråstrek kunst.<br />
mailart hva koster det å sende et frimerke. kølapper. kølappprosjektserien<br />
FISH. prosjektkølappene First In Still Here ordning fiskekøen..<br />
skrivebordskø sidene i en bok ligger i kø og har tildelte numre.. som et<br />
kø. system In Still Book Number hvor det eneste statiske er nr<br />
nummeret er. boken. slik. frimerket er brevet.. publikum ane. at den<br />
egentlige køen ligger i en annen dimensjon bortenfor skrankene som de.<br />
først kan. følge eller stå korrekt posisjonert i ved å bryte ut av noe som også<br />
knytter. det til dans.. Samarbeid mellom FISH og koreograf Kø og dans.<br />
FISH og 'usynlig teater' laiv semiodrama kø som tegn en gruppe.<br />
aksjonister okkuperer. nummer frem i tid som avspilles som episoder<br />
foran skranken foran det. ventende. publikum. i en tilstand av venting<br />
og frustrasjon er dramaet en katarsis som. presist er hva. viventerpå.<br />
bank postkontorene har mange kameraer som logger det hele så<br />
dokumentasjonen. ligger hos. disse og man kan henvise dit.. b. tlf..<br />
Møtereferat ... Fluxus prosjekt kølappsystemet. Legge ut falske kølapper<br />
i vill. nummerorden. Wreak havoc. Skape kaos og kvantebyråkrati..<br />
forestillingen om at ledige numre er mer fordelaktige. man finner stadig<br />
nye. nummer men. kommer stadig lenger bak i køen.. Frimerkepost i en<br />
postfrimerke kontekst.. Frimerke postart prosjektet skrive brev bakpå et<br />
kr frimerke. Be. om frimerke for frimerke. Klage over de hårreisende<br />
utgiftene og. systemets korrupte logikk. Kølappinstallasjonen et<br />
offentlig kontor (lokale) som kun består av. nummerviser som viser<br />
nummer som ikke finnes i kølappsystemet.. Publikum blir stående<br />
passive utenfor installasjonen trekker kønumre. de tror vil gi de aksess<br />
til installasjonen men blir snurt og. provoserte.. 'køtallssystemet' som et<br />
eget tallsystem. Underholdning er fravær av kjedsomhet.<br />
irritasjonsformelen for fjernsynsunderholdning. Fremskaffe en<br />
nummen. irritasjon rett under smertegrensen. Irriteres seg mest over de<br />
som. irriterer seg for mye.. Møte hevet. End of forwarded message.<br />
fordervet mat moralsk ødelagt mat.. Culturejammers mailing list.<br />
Culturejammerslists.copyleft.no. <strong>Re</strong> noemata laiv. nice url.<br />
OpenDocument. Proposing 'irrational URLs' as a set of adresses which<br />
cannot be completely. determined. How. prove that they exist<br />
noemata.net claim ownership of all irrational urls. in. case they. exist..<br />
ideareal. Notice sent to residents of a Whiltshire parish DUE TO<br />
INCREASING PROBLEMS. WITH. LITTER. LOUTS AND<br />
VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED<br />
20
IN THE GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN<br />
ORDER. Andre disse systemene ikke git bare den nye konsultasjonen<br />
funksjon at Otlet. så som slik. viktig for samtidig gjenfinningssystemer<br />
de været også tilbøyelig til fremheve. en rekkevidde. av utilstrekkeligheter<br />
ved finnesav systemer. De nye systemene syntetisert og. tillatt for.<br />
korreksjonen hva i stigende grad fragmenterte og disponert for feil av..<br />
Konsultasjon antydd. adgang til mange kilder men disse i all deres sort<br />
var separat fra. hverandre. idiosyncratically organisert og fylt med feil.<br />
De er han erklært i er. blandinger hva. gjentakende innledende og for<br />
referanse av. ..(p. ). Noen tretti år senere. da. analysering i Traite de<br />
Documentation problemene som overrakte av bøker han. observert. ().<br />
(a) bøker overrekker bare noen av de vitenskapelige dataene og slik bare<br />
en. del. av vitenskap. (ufullstendigheten av bøker) (b) de aktuell falsk i<br />
tillegg til sann kunnskap. (feilene av. bøker) (c) overrekker de den<br />
samme tingen mere enn en gang (gjentakelser) (d). de fører ikke.<br />
sammen informasjon som setter ut i adskillige steder men deler det opp<br />
og. sprer. det i. utallige volum (fragmentation og spredning) (e)De<br />
overrekker ikke. informasjonssettet ut i. henhold til dets grad av<br />
betydning (en blanding av det primære og sekundære). (p. ). Techniques av<br />
typen han foreslt gir en løsning til all av disse problemene.. Iden av<br />
kontinuerlig kooperativt utdypede databaser som vokse fra<br />
decomposed. tekster av de. utallige bøkene på stoffet av hver disiplin<br />
LED Otlet () tro at de former. heter hva det. Universal Book for hver<br />
disiplin.. Denne boka det 'utgjør Biblion' Source den permanent<br />
Encyclopedia Summa. .... et. systematisk fullfører nåværende registrering<br />
av alle fakta forholde seg til en. spesiell gren. av kunnskap. Det formet<br />
av å forbinde sammen stoff og deler som spredd i alle. relevante.<br />
offentliggjøringer. Det omfatter inventarer av fakta kataloger av ider og.<br />
nomenklaturene av. systemer og teorier. Det kondenserer forskjellige<br />
vitenskapelige data inn i. tabeller. diagramer kart skjemaer. Det<br />
illustrerer dem ved tegninger graveringer. faksimiler og.<br />
dokumentarfilmfotografier (p. ). I Traite beskrevet han mere<br />
systematisk de. adskillige. nivåstoff og informasjon som denne nye<br />
typen av encyclopedia inneholder.. panalphabet phrases. i'll be seeing<br />
the effg age i jay. are there any wordplays like uh alphabet phrases in<br />
different languages. absent det e' effge hoi jeg klemmen opaq reiste<br />
overdub elven Xyz styx æ øh. g.. ideareal. culturejammers.<br />
isoQ<strong>Re</strong>culturejammersFwNyforedragsserieogutstillingsEpningmandag(f<br />
wd). Ny foredragsserie på Blindern. Motvekt er en nystartet<br />
foredragsserie med fokus på daglig påvirkning.. Formålet. er å bidra. til økt<br />
21
evissthet og debatt om hvordan og av hvem våre holdninger og.<br />
oppfatninger blir. formet i et stadig mer informasjonsmettet samfunn..<br />
Gjennom saklige informative foredrag vil engasjerte og svært dyktige.<br />
foredragsholdere. formidle vesentlig kunnskap om hvordan ulike<br />
samfunnsaktører prøver å påvirke. oss inkludert. statistikk som viser at de<br />
lykkes i langt større grad enn det mange er klar. over.. Alle foredragene<br />
er gratis og vil foregå i auditorium Georg Sverdrups Hus.. (det nye.<br />
universitetsbiblioteket) mandager kl. ... Mandag ... Massemedier og<br />
bevissthetsdannelse. Jan Johnsen .amanuensis i mediekunnskap ved<br />
Høyskolen i Oslo.. Aktuelle problemstillinger er Hvilke saker prioriteres<br />
i media Hvorfor er. det slik at. viktige temaer ofte ikke når frem i<br />
kampen om medienes oppmerksomhet I. hvilken grad er. media med på å<br />
legge grunnlaget for politiske beslutninger. If you want to take your<br />
mind off the troubles of the real world you should. watch local TV.<br />
news shows. I know of no better way to escape reality except perhaps<br />
heavy. drinking. Local TV. news programs have given a whole new<br />
definition to the word news. To most. people news means. information<br />
about events that affect a lot of people. On local TV news shows. news<br />
means. anything that you can take a picture of especially if a local TV<br />
News. Personality can stead. in front of it. This is why they are so fond<br />
of car accidents burning. buildings and crowds. these are good for<br />
standing in front of. On the other hand local TV news shows. tend to<br />
avoid. stories about things that local TV News Personalities cannot<br />
stand in front of. such as. budgets and taxes and the economy. If you<br />
want to get a local TV news show to. do. a story on. the budget your<br />
best bet is to involve it in a car crash.. Fra Dave Barry Collection.<br />
Culturejammers mailing list. Culturejammerslists.copyleft.no.<br />
isoQ<strong>Re</strong>REFWculturejammersFwNyforedragsserieogutstillingsEpningm<br />
andag. jeg syns du er den som tar opp mest relevante ting... Ihvertfall<br />
om vi tenker oss culturejamming som noe mer enn. nok en<br />
moraliserende venstresidestrategi.. Vi er forresten en liten gruppe som<br />
tenker å trykke store plakater (x m). og henge opp motiver og tekster på<br />
utvalgte steder i byrommet.. Vi trenger en god prosess slik at vi oppnår<br />
problematisering og dialog. og forvirring fremfor propagandistiske<br />
formler.. Selve trykket blir sorthvitt og følgelig ganske billig. Jeg jobber<br />
med å. skaffe midler og vi er fortsatt på idestadiet ift. motiver tekster..<br />
Fint ..jeg er et dårlig organisasjonsmenneske dårlig organisert men bidrar.<br />
gjerne på min. måte med ideer og innspill. Skal plakatene klistres over<br />
boards eller stå. uavhengig Hvis. de sto ved siden av kunne plakataene<br />
kommentere reklamen. Man kunne kanskje. manipulert. boards med<br />
22
småting som forandret helheten sladde alle ansikter med en svart. stripe<br />
tegne. bart på alle modellene etc få med en privrig kunstner som kunne<br />
forsvare det. kunstnerisk... Om plakatene er uavhengige kunne det vært<br />
moro å gjort dem refleksive eller. tomme steds og. situasjonsspesifikke.<br />
Istedenfor en serie modeller som solgte noe kunne vært. helfigurer av et.<br />
(tilfeldig) menneske som bare sto der. Eller som klippet ut av sin<br />
sammenheng. f.eks. en. fotballspiller uten konteksten el. komiske ting.<br />
Plakatene kan være. stedsspesifikke el. og. ikke referere videre til noe<br />
tydelig (produkt eller mening) blir da nærmest. som. kunstobjekter Alle<br />
forventer at plakaten skal fortelle deg noe så man kan. spille på det men.<br />
gjøre referansene utydlige GRATIS SMS med bilde av stor mobiltelefon<br />
men. hvor..hvem. tilbyr Annonsere for flotte ting uten referanse. Eller<br />
annonsering av STORE. ting som skjer. her eller der men uten<br />
henvisning videre.. Eller omvendt bare en henvisning. videre Se. neste<br />
plakat KOMMER SNART SNART TILBAKE.. VENT LITT... Board<br />
not. found etc.. Plakatene kunne kanskje gjenskapt et annet medium TV<br />
xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest forvirret av..<br />
en stillbildeplakat fra TV virker. kanskje. merkelig i. seg selv kanskje<br />
det tom. hadde virket skremmende pga. størrelsen eller. stillbildet. Eh<br />
uansett send gjerne mer info. Bjørn. noemata.<br />
isoQ<strong>Re</strong>REFWculturejammersFwNyforedragsserieogutstillingsEpningm<br />
andag. jeg syns du er den som tar opp mest relevante ting... Ihvertfall<br />
om vi tenker oss culturejamming som noe mer enn. nok en<br />
moraliserende venstresidestrategi.. Vi er forresten en liten gruppe som<br />
tenker å trykke store plakater (x m). og henge opp motiver og tekster på<br />
utvalgte steder i byrommet.. Vi trenger en god prosess slik at vi oppnår<br />
problematisering og dialog. og forvirring fremfor propagandistiske<br />
formler.. Selve trykket blir sorthvitt og følgelig ganske billig. Jeg jobber<br />
med å. skaffe midler og vi er fortsatt på idestadiet ift. motiver tekster..<br />
Fint ..jeg er et dårlig organisasjonsmenneske dårlig organisert men bidrar.<br />
gjerne på min. måte med ideer og innspill. Skal plakatene klistres over<br />
boards eller stå. uavhengig Hvis. de sto ved siden av kunne plakataene<br />
kommentere reklamen. Man kunne kanskje. manipulert. boards med<br />
småting som forandret helheten sladde alle ansikter med en svart. stripe<br />
tegne. bart på alle modellene etc få med en privrig kunstner som kunne<br />
forsvare det. kunstnerisk... Om plakatene er uavhengige kunne det vært<br />
moro å gjort dem refleksive eller. tomme steds og. situasjonsspesifikke.<br />
Istedenfor en serie modeller som solgte noe kunne vært. helfigurer av et.<br />
(tilfeldig) menneske som bare sto der. Eller som klippet ut av sin<br />
sammenheng. f.eks. en. fotballspiller uten konteksten el. komiske ting.<br />
23
Plakatene kan være. stedsspesifikke el. og. ikke referere videre til noe<br />
tydelig (produkt eller mening) blir da nærmest. som. kunstobjekter Alle<br />
forventer at plakaten skal fortelle deg noe så man kan. spille på det men.<br />
gjøre referansene utydlige GRATIS SMS med bilde av stor mobiltelefon<br />
men. hvor..hvem. tilbyr Annonsere for flotte ting uten referanse. Eller<br />
annonsering av STORE. ting som skjer. her eller der men uten<br />
henvisning videre.. Eller omvendt bare en henvisning. videre Se. neste<br />
plakat KOMMER SNART SNART TILBAKE.. VENT LITT... Board<br />
not. found etc.. Plakatene kunne kanskje gjenskapt et annet medium TV<br />
xm stor. dagsrevyskjerm vet ikke. hva folk ville bli mest forvirret av..<br />
en stillbildeplakat fra TV virker. kanskje. merkelig i. seg selv kanskje<br />
det tom. hadde virket skremmende pga. størrelsen eller. stillbildet. Eh<br />
uansett send gjerne mer info. Bjørn. noemata Dilbert metaintervju. Q do<br />
you have a pen. A wow these are easy questions.. et metaintervju som i<br />
dagens stripe hvor spørsmålsvar er innenforutenfor.. ta et vanlig intervju<br />
og omformuler spørsmålsvar som i eksempelet. Q may i borrow your pen<br />
do you have a pen (utenfor innenfor). A i'll answer that with ease wow<br />
these are easy questions. (innenfor. utenfor). noemata <strong>Re</strong> SV<br />
culturejammers Luftsirener etc. En knall ide. Det som taler imot er vel<br />
Ulv Ulv effekten at man. muligens svekker folks respekt for det<br />
landsdekkende varslingssystemet.. Som det står prosent svarte at de ikke<br />
reagerte spesielt sist de hørte et. varslingssignal. prosent svarte at de<br />
lyttet til radio etter å ha hørt. signalet. Av disse. var prosent over år og<br />
kvinnene var i flertall.. Hvordan de funker vet jeg ingenting om. Men<br />
minnes at en type signaler. betyr Viktig Melding Lytt på Radio. Så om de<br />
går av like før for. eksempel så for folk med seg NRK Radio's<br />
Nyhetssending hvor det. garantert vil være førstesaken. er vel også da man<br />
pleier å kjøre. testene også. Men konsekvensene kan kanskje bli for store<br />
til at det. gagner seg.. Ideen om å sette i gang alle andre alarmer samtidig<br />
liker jeg egentlig. bedre. Folket som sier ifra ikke Sivilforsvaret. Om<br />
man samtidig hadde. trigget av noen opptak av alarmer tutet sirener<br />
horn fra PA anlegg og. lignende på strategiske steder rundt i byene ville<br />
man kunne dirigere. resten av folket. Men da må det jo annonseres. Får<br />
man med f.eks. radio. til å dekke det så går jo varslingen live til hele Norge<br />
også. Et minutts 'koordinert støy' istedetfor 'stillhet'.. Kan kanskje<br />
kombineres med plakatserie som baserer seg på instrukser. for slikt.<br />
Sirenevarslingskodene tilfluktsrom blending av gardiner. etc.. Sirener.<br />
Varsling med kirkeklokker som beskrevet kunne kanskje vært noe også<br />
lettere. tilgjengelig. bredere støtte. Jfr. Biskop Gunnar Stålsett vil ha<br />
sørgegudstjeneste i Oslo domkirke dersom. det. skulle bli. krig mot Irak.<br />
24
<strong>Re</strong>fARProfile. (Fins det komposisjoner for preparerte kirkeklokker). Og<br />
lignende varslingssignaler kan tolkes som hexagrammer og brukes til å.<br />
avspille 'Music of. Changes' (John Cage) el. som basert på I Ching.<br />
Polyfonisk fra ulike 'tyfoner'. Tyfonisk. musikk Noe for<br />
samtidskomponist. Bomberominstrukser (mest stilen ikke teksten.).<br />
sFIDFOppslagCForholditilfluktsrommEJPG. jfr. Sitte stille.. Ikke gjøre<br />
noe.. Våren kommer gresset gror av seg selv.. Våren kommer gresset gror<br />
av seg selv.<br />
25
187<br />
S. <strong>Re</strong> RE. De hadde en slik aksjon for et. kulturprosjekt her for en tid<br />
siden der det var forskjellige bilder med. teksten We are so happy.. We<br />
are so happy.. Forbistrede kulturarbeidere og sinte statstøttede kunstnere<br />
slår tilbake mot. monokultur ved å banke mannen i gata. Se på dette du<br />
lille mann og få et stikk av dårlig samvittighet fordi. du så glupskt svelgte<br />
puppene og vellykketheten i reklamefilmen.... Vi må sikte høyere enn<br />
sånn sosialdemokratisk pornokitsch som det der.... Vi må problematisere<br />
strukturelt dialogisk og med utgangspunkt i folks. hverdag.. Ellers blir<br />
vi bare nok en livsfjern reklame men for en kulturelite som. sparker<br />
ned.. Hvordan få til det i propagandaformatet plakat. Erik hadde en ide på<br />
enveistelefonen idag om å forstørre opp monopolkort til. plakat. Gå<br />
direkte i Fengsel. Om du passerer start mottar du ingen penger.. Rykk<br />
frem til Slemdal.. Du mottar kroner fra Onkel i Amerika. Hunden din<br />
har bitt postbudet. Du må betale kroner i tort og svie.. Stå over to kast..<br />
Plakater er instruksjoner i et spill. Det var alltid litt sårt å tape i. monopol.<br />
å ha ingen. penger men fortsatt måtte tråkke rundt på andres eiendom... Vet<br />
ikke hva slags. forhold folk. har til monopol om de kan relatere til det<br />
som lottokapitalisme tilfeldig. brutal. kanskje det kan brukes. ps. hva<br />
med en aksjon som hvor noen helte olje over bondevik. eller innsauset<br />
i. uskyldig ren og. hvit melk waiting for the exploding cows... bjørn .m.<br />
noemata <strong>Re</strong> RE. De hadde en slik aksjon for et. kulturprosjekt her for<br />
en tid siden der det var forskjellige bilder med. teksten We are so<br />
happy.. We are so happy.. Forbistrede kulturarbeidere og sinte<br />
statstøttede kunstnere slår tilbake mot. monokultur ved å banke mannen i<br />
gata. Se på dette du lille mann og få et stikk av dårlig samvittighet fordi. du<br />
så glupskt svelgte puppene og vellykketheten i reklamefilmen.... Vi må<br />
sikte høyere enn sånn sosialdemokratisk pornokitsch som det der.... Vi må<br />
problematisere strukturelt dialogisk og med utgangspunkt i folks.<br />
hverdag.. Ellers blir vi bare nok en livsfjern reklame men for en<br />
kulturelite som. sparker ned.. Hvordan få til det i propagandaformatet<br />
plakat. Erik hadde en ide på enveistelefonen idag om å forstørre opp<br />
monopolkort til. plakat. Gå direkte i Fengsel. Om du passerer start<br />
mottar du ingen penger.. Rykk frem til Slemdal.. Du mottar kroner fra<br />
26
Onkel i Amerika. Hunden din har bitt postbudet. Du må betale kroner i<br />
tort og svie.. Stå over to kast.. Plakater er instruksjoner i et spill. Det var<br />
alltid litt sårt å tape i. monopol. å ha ingen. penger men fortsatt måtte tråkke<br />
rundt på andres eiendom... Vet ikke hva slags. forhold folk. har til<br />
monopol om de kan relatere til det som lottokapitalisme tilfeldig.<br />
brutal. kanskje det kan brukes. ps. hva med en aksjon som hvor noen<br />
helte olje over bondevik. eller innsauset i. uskyldig ren og. hvit melk<br />
waiting for the exploding cows... bjørn .m. Your own Online Store<br />
Selling our Overstock.. noemata Fwd PeertoPeer the collective<br />
collaborative and liberated memory. of sound.. Start of forwarded<br />
message. <strong>Re</strong>plyTo Alessandro Ludovico. Fwd PeertoPeer the collective<br />
collaborative and. liberated memory of. sound.. PeertoPeer the<br />
collective collaborative and liberated memory of sound.. Alessandro<br />
Ludovico. This text is part of the 'adonnaM.mp Filesharing the Hidden.<br />
<strong>Re</strong>volution in the Internet' exhibition curated by Franziska Nori and.<br />
the digitalcraft.org team into the Museum of Applied Arts in. Frankfurt<br />
opened to the public from the th of March to the th of. Consumers have<br />
very little interest in technology per se. What they. value is what it can<br />
actually enable them to do.. Michael Robertson founder of mp.com..<br />
The key to accessing one's own memory of sound.. The unstoppable<br />
popularity of peertopeer networks and of millions. of mp files<br />
exchanged every day cannot simply be reduced to the. usual equation<br />
'freeeveryone wants it'. There is something more. complex and<br />
widerranging that makes neophyte users constantly rack. their brains<br />
over how to make hardware and software mechanisms work. access the<br />
'celestial jukebox'. This is the instinctive search for. one's own<br />
experience of sound everyone's memory of music which has. found<br />
somewhere to begin afresh and reestablish those neural. connections<br />
which produce indelible associations between events and. tracks and<br />
tunes. Unlike any form of 'revival' decided from above by. publishers<br />
the peer and nonprofit network offers large amounts of. original<br />
unmanipulated material which awakens familiar sensations. and brings<br />
back memories. Downloading files compulsively driven by. the mania<br />
to take advantage of an 'open safe' thus means something. more than<br />
accumulating cds full of files without actually having time. listen to<br />
them. This stereotype which is put about by the old. media leads<br />
nowhere because it forgets that everyone lives their. lives intimately<br />
surrounded by sounds.. The free exchange of tracks not for gain or<br />
smallscale business. seems as necessary to existence as looking again at<br />
certain photos or. re watching certain films at one's leisure. Fragments<br />
27
that were lost. over time records lent and never returned and that thanks<br />
to. digital swapping turn up again. Music is in fact contained not only.<br />
in the safes of industry or the dusty ledgers of copyright. associations<br />
but in everyone's home via the myriad cds vinyl discs. and cassettes<br />
which together represent an enormous heritage of music.. Digitizing<br />
this heritage although sometimes available only in. snatches with<br />
technical limits means it can take shape so that it. can reach and satisfy<br />
anyone. The very notion of ownership of a music. product is radically<br />
redefined by its changing into something which. is not material. Apart<br />
from reassessing the contents one owns insofar. as they are merely<br />
activators of other exchanges peertopeer. networks are perhaps the first<br />
model of contents 'ondemand' which. has truly worked because it is<br />
negotiated between peers. The notion. of a network has worked<br />
splendidly here since it is others who keep. one's own memory of<br />
music.. The reward is not only 'obtaining' music but also taking part in<br />
an. enormous collective process as happens with a chat room<br />
newsgroup. or blog. Sharing one's files is thus no mere act of<br />
generosity or a. gesture that it is hoped will encourage others to do the<br />
same but an. act of participation proving one is part of a game a process<br />
or a. collective performance intended to liberate sounds and share them.<br />
As. John Perry Barlow says 'the more connected we become the more.<br />
obvious it is that we're all in this together'() this is the. culture of the<br />
net which is expanding rapidly rewarding collective. consciousness<br />
expressed via the artistic heritage of musicians and. which lives again<br />
in our memory. Basically as stated by 'Lord of the. Borrowers' a highly<br />
active user making available his Gigabytes of. data 'There are loads of<br />
people out there who have no idea of the. use they could make of their<br />
computers ... I think I'm doing a public. service.'() This is a similar<br />
concept to Michael Robertson's who. had conceived mp.com as a<br />
'service bureau' based on the assumption. that 'data changes the<br />
balance of power'() .. Thus a public service but selforganized and<br />
selfgenerated with. ramifications which whenever pruned by court<br />
action regrow and. thrive more than ever like creatures of myth. Once<br />
started the. sense of community knows no bounds. That was seen in the<br />
spring of. when the RIAA drew up a list of . tracks to be eliminated. the<br />
servers of Napster. Immediately there were groups and single. users<br />
who came up with stratagems that were imaginative to say the. least<br />
such as using the figure '' instead of 'to' or writing the. names of the<br />
tracks backwards or in pig latin or even creating sites. automatically<br />
converting the names into forms which could not be. recognized by the<br />
28
automatic control mechanisms.() However access to. the files is subject<br />
to intrinsic limits such as the text search for. the name of the artist or<br />
track without taking account of other. used and so on. Yet these limits<br />
do not discourage searching and. sharing in a peertopeer social and<br />
socializing practice. Indeed. one of the most fascinating sides of MP<br />
compression technology is. that its diffusion and direct consequences<br />
were not planned at the. outset but as in the best tradition of informal<br />
networks have. expanded incredibly thanks to ordinary word of mouth.<br />
Viewed in the. abstract the structure of a pc network with a large<br />
number of music. files resembles that of a sort of huge sound machine<br />
able to satisfy. most needs. This is the socalled 'Celestial Jukebox' an<br />
ideal. machine able to reproduce almost any track recorded in the<br />
history of. music.. MP.art.. The main innovation of the MP<br />
compression system is that it has. started new processes both in<br />
composition and in the use of music. in line with the participatory<br />
structure of the net. The work of. artists active on the net hinges on two<br />
concepts the ramified. spatial structure of sound information and the<br />
analogies between. music files. 'Tetrasomia' for example is a project by<br />
Stephen. Vitiello starting from four 'cardinal points' of sound very<br />
short. compositions of about a minute and a half each related to earth.<br />
water air and fire the surfer is guided to other sounds on the. net such as<br />
the frequencies from orbiting satellites or the. twittering of certain birds<br />
that live in remote corners of the globe.. The tracks do not cancel each<br />
other out during listening but can be. layered and activated together<br />
form a small crosssection of sounds. the world put into a personal form.<br />
This sound panorama is. possible thanks to a number of contributions<br />
outside the creation of. the artist who becomes a new point in a network<br />
concentrating the. experiences of others. A similar concept lies behind<br />
the sound. sculptures of Atau Tanaka who in 'mpq' shows a file of<br />
addresses. processed into a threedimensional textual structure where the<br />
user. constructs a form of polyphony by making the files sound in a<br />
certain. order.. The artist intends the user to contribute to the work by<br />
pointing to. new addresses and this request for cooperation breaks down<br />
the. traditional barriers between artist and audience. This direct.<br />
interaction mingles the roles of 'creator' and 'user' thus enabling. real<br />
development of ideas which draw their strength from the fact. that they<br />
are created and approved by the public. And the notion of. collective<br />
contribution is also behind 'Collective Jukebox' an. experiment<br />
inaugurated in by Frenchman Jerome Joy whose. intention was to<br />
combine the spontaneous donation of tracks with. public use<br />
29
independently of the limits of space and time of the. artists involved.<br />
Joy's work in fact combines the infrastructures of. the net with those of<br />
traditional art inviting anyone wanting to. take part to make their tracks<br />
available at a publicly accessible. internet address. Periodically he then<br />
organizes and exhibits them. via a real jukebox with thousands of files<br />
which are used in some. kind of public space such as a museum or caf.<br />
Furthermore the. opportunity for reciprocal interaction opens further<br />
chances of. processing carried out together with others introducing a<br />
new social. side into the production of sound. A musical artifact may<br />
indeed be. the result of something done by more people than those<br />
normally in a. band and so open up to an indefinite number of active<br />
participants. who make a significant contribution to the final product.<br />
This. concept is applied to particular advantage in 'Sound Injury' a.<br />
mailing list for electronic musicians which ends interaction between.<br />
members every month with a piece composed collectively. The list.<br />
follows a simple procedure a sound is distributed to all members who.<br />
modify it and then resubmit it to the other participants. The process.<br />
lasts thirty days with all the chaotic intermediate stages until the.<br />
definitive version.. A more playful sort of exchange recasts PeertoPeer<br />
networks as an. easy hiding place for suitably disguised data. In<br />
'Siren's Voice' by. the media company 'plinq' the user is invited to<br />
take part in the. plot of a story by locating its missing parts hidden in<br />
exchange. networks. The story is structured so that some parts are<br />
located in. networks and which can be recognized by working together<br />
which. enables the story to be completed. These search mechanisms<br />
have a. structure of data flows which only materialize in the minds of<br />
those. involved in the interaction. The antipodes of this approach is the.<br />
art of constructing software showing real images inside the.<br />
abstractions that are files and producing a sort of microscope. showing<br />
the normally invisible processes of the formation of blocks. of digital<br />
numbers. 'Minitasking' by German duo Schoenerwissen. follows this<br />
principle working on a particularly large data flow. generated by the<br />
Gnutella network. Coloured 'balls' as the artists. call them represent the<br />
content of the file in size and colour. bringing out their intrinsic<br />
instability by dynamically mapping the. data involved. MP is now a<br />
medium in itself as shown by a number of. media operations which can<br />
easily be defined as performances.. Currently on PeertoPeer networks<br />
intentionally wrong names and. makes the user realize the fallible<br />
nature of 'packages' of. nonmaterial goods.. This approach is<br />
sometimes taken by small labels in search of glory. such as Evolution<br />
30
Controlled Creations (EEC) who distributed their. tracks by saying they<br />
were unpublished items by Nirvana. The American. record industry<br />
lobby evidently in trouble uses the same detour. approach to discourage<br />
the spread in advance of new longawaited. albums. This has produced<br />
companies like MediaDefender one of whose. services is the sale of the<br />
activation of many simultaneous downloads. of a track on PeertoPeer<br />
networks to make it inaccessible. This. form of conservative opposition<br />
is an attempt to make comprehensible. a phenomenon far too complex<br />
and diversified to be so and which. spreads with no technical obstacles<br />
in its path. The quickest net. language is worm viruses and they have<br />
clear effects on the user's. emotional vulnerability and hardware.<br />
Trusting that some music. swappers might feel guilty in July a hoax<br />
group sent out a. communiqu saying that on July (American<br />
Independence Day) all. computers on earth would crash due to a virus<br />
called MusicPanel and. all MP files contained in them with the five<br />
hundred bestknown. tracks would become unusable. Posted on some<br />
newsgroups (including. alt.music.bootlegs) it clearly shows how media<br />
panic can be. instigated and is also a slap in the face of censors who<br />
have used. similar tones when launching their crusades.() This<br />
technique has. been used on other occasions such as when a similar<br />
hoax. described a new worm called 'Bloat' which would supposedly<br />
make the. MP files on a hard disk five times as big.() The useless guilt.<br />
feeling instilled by commercial marketing concerning the free.<br />
exchange of sound goods which have been legitimately purchased<br />
brings. with it new forms of cultural rebellion which come out in<br />
unsuspected. ways.. Plagiarism MP is the message.. Liberalization of<br />
music tracks via MP files in PeertoPeer networks. is a fundamental of a<br />
whole artistic scene called plagiarist which. is another way of saying<br />
the free use of sound content in digital. format. The opposition and<br />
enthusiastic support aroused by these. artists over the years concerns<br />
exclusive copyright which is. beginning to waver. It will inevitably<br />
soon dissolve in the face of. the new media and their technical<br />
possibilities of manipulation and. reproduction. Various artists have<br />
shown the paradox of a system. which has gone against its noble origins<br />
as an artistic defence. turning into merely a crutch for the record<br />
industry. As irreverent. jesters of a commercial system blindly hanging<br />
on to its own. privileges the members of the band Negativland have<br />
always been. passionate about sampling 'spoken' material from TV<br />
jingles to radio. talk shows with almost maniacal accuracy in editing<br />
and often manage. show just how obsessive something commercial can<br />
31
e thus. shortcircuiting our over stimulated attention system. They<br />
became. famous because of a legal challenge which dragged them into<br />
a bizarre. sentence of which they tell the story in their book ''Fair Use<br />
The. story of the letter U and the numeral ' where they also explain the.<br />
techniques applied here. In the band issued on the SST label a. single<br />
which had 'U' over almost all of the cover with a U spy. plane in the<br />
background and the name 'Negativland' in small print. while the vinyl<br />
contained two parodies with seconds of a sample of. 'I Still Haven't<br />
Found What I'm Looking For'. Sales figures were not. above the<br />
average for the group's other products i.e. . copies. against the millions<br />
sold soon afterwards of 'Zooropa' the next. album by U themselves.<br />
'Island' U's label at the time demanded. all available copies be<br />
destroyed and . in damages which. Negativland agreed to pay because<br />
they could not afford the costs of. a trial.. The serious economic<br />
repercussions of an episode of this kind became. the symbol of a battle<br />
in which the only weapons available are irony. and sarcasm applied to<br />
the production of culture and transmitted via. a dense network of<br />
exchanges. Negativland became a sort of icon for. the free use of sound<br />
samples and continued their valuable artistic. and political work which<br />
is halfway between art and propaganda. They. also supported other<br />
campaigns such as 'Toywar Lullabies' an album. issued in by the Etoy<br />
group of artists in an attempt to get back. the etoy.com domain which<br />
had been taken away by a large toy company.. Their core idea is that<br />
'copyright came from the idea that people who. create have to be<br />
properly paid for what they do not that they have. get every possible<br />
payment that derives from it' and as Don Joyce. one of the members of<br />
the band says 'any fragmentary use of someone. else's work should be<br />
absolutely free' (). This is one reason why. net artists .ORG asked<br />
Negativland to compose a piece. for their project 'Glasnost' intended to<br />
put out as much public data. uses samples of a month of private phone<br />
calls between the artists. and others who were unaware of what was<br />
happening and brings to the. fore all the uncertainties everyone has<br />
concerning the invasion of. privacy. Other artists are also aware of the<br />
experimental potential. of sampling and use it to compose such as<br />
Canadian John Oswald who. has received the attention of lawyers<br />
representing a major record. company. His sound collages are full of<br />
rapidly changing sequences of. such famous sacred figures as James<br />
Brown and especially Michael. Jackson and the artistic quality of his<br />
editing is never in doubt.. His own definition of this style is<br />
'plunderphonics' i.e. 'audio. piracy as a compositional prerogative'.<br />
32
And it was these particular. samples which in led CBS <strong>Re</strong>cords and the<br />
Canadian <strong>Re</strong>cord. Industry Association to take action despite the phrase<br />
'Not For. Sale' appearing on the cds and the fact that they were<br />
distributed. free of charge. Nor have the minutely detailed 'credits' on<br />
each. album been enough to get the composer out of trouble. In a<br />
subsequent. work called 'Plexure' Oswald attempted to assemble five<br />
thousand. fragments by five thousand famous pop stars changing their<br />
names but. leaving them recognizable e.g. 'Sinead O'Connick' or<br />
'Bing. Stingspreen' and working on the progressive speed of the entire.<br />
piece.(). 'It's a work on the recognizability of information seeing that<br />
in. the end there are so many familiar starting points that the memory.<br />
quite literally gets lost in its own meanderings' as Oswald himself. says<br />
although he regrets that in music 'there is no convention about. putting<br />
in quotation marks as is done when quoting a text'.. Overzealous<br />
bureaucracy aside it really would be twisted thinking. consider these<br />
sound works as a theft of intellectual property. because purchasing the<br />
support on which the original works are. recorded also means<br />
purchasing the right to listen. David Toop an. English journalist and<br />
author of 'Ocean of Sounds' stresses that the. purchaser of an album<br />
also pays for the right to ignore the artist's. intentions completely to<br />
massacre the product as much as they like. and to listen in a variety of<br />
creative ways thus changing it. utterly.() The latter is markedly<br />
different from what is commonly. called plagiarism since it is a new<br />
reprocessing of the material. used treating the digital samples as a<br />
violinist uses the notes. written on a stave. This is also the attitude of<br />
the label 'Illegal. Art' supported by media activists RTMark which<br />
issued the famous. 'Deconstructing Beck' an album obtained by<br />
sampling and. restructuring tracks by the musician Beck and obviously<br />
alerting the. lawyers of GeffenBMG. Notice of the decision to sue was<br />
sent by. email since the only way of contacting the mysterious label<br />
was an. email address. Even more incredibly BMG did not yet have a<br />
copy of. the cd (. copies had been pressed and quickly sold) and so.<br />
based their demands and threats on the 'word of mouth' echoing<br />
around. the internet.. The next work by Illegal Art was 'Extracted<br />
Celluloid' a brilliant. collage of samples of film music used 'in direct<br />
opposition to the. sound clichs they were taken from'. It is an<br />
exemplary work in the. deconstruction of tunes remembered by most<br />
people living in Western. countries with samples from such soundtracks<br />
as 'Titanic' 'Saturday. Night Fever' 'The Wizard Of Oz' and 'Dr.<br />
Strangelove'. Yet again. this shows that digital files are not only a<br />
33
medium for carrying. sound but also political and social content. An<br />
even more outstanding. case in this respect was the censure of the<br />
DeCSS source code. (Descrambling Content Scrambling System) the<br />
industry code. protecting the DVD standard. After a sentence<br />
forbidding its. 'publication' one of the many alternative channels<br />
became an MP. file (decss.mp) in which a voice synthesizer 'sings' the<br />
code.. Initially the piece was available as an unpublished track in a free.<br />
space on mp.com and then removed by the company since according to.<br />
offensive or inappropriate'.. The effectiveness of these operations lies<br />
in finding technical. mechanisms which are perfectly legal and which<br />
although they cannot. be attacked show how backward the procedures<br />
of institutional. protection are. Another conceptual hacking is<br />
'Dictionaraoke' a real. stroke of genius consisting of a collection of<br />
over one hundred pop. classics from the past thirty years sung in perfect<br />
artificial. English. The 'Snuggles' a group of fans of Negativland<br />
hosted these. tracks in which the original lyrics are sung by the<br />
pronunciation. tools of the widely used English dictionaries and<br />
encyclopaedias. found online. In 'Don't go breaking my heart' for<br />
example there is. a duet between the 'voice' of Merriam Webster<br />
OnLine and of. Microsoft's Encarta Online. All the tracks are<br />
noncopyright in free. download and in mp format. The whole thing not<br />
only enables a better. understanding of the lyrics but also provides<br />
valuable instructions. on how to assemble other tracks by oneself by<br />
using this mix of. technologies. This putting together and interfacing<br />
different. techniques thus makes it paradoxical that the operation cannot<br />
be. attacked legally and opens another window onto the overall.<br />
understanding of the uselessness of copyright as currently applied.. It is<br />
the strategic key for the growth of contemporary culture ready. take<br />
back the heritage of music which belongs to it.. Linklist. <strong>Re</strong>ferences. ()<br />
Barlow John Perry. 'The Next Economy of Ideas' Wired . Oktober. ()<br />
O'Brien Jeffrey M. 'Would You Download Music From This Man'.<br />
Wired . May. () Lessig Lawrence 'The Future of Ideas' Vintage. ()<br />
berraschung die NapsterFilter funktionieren nicht. () Leopoldseder<br />
Hannes Schpf Christine 'Minitasking' in. 'Cyberarts ' Hatje Cantz<br />
Publishers. () Hultkrans Andrew 'U Can Sue Sample Simon' Mondo<br />
Issue. () Gans David 'The man who stole the Michael Jackson's face'.<br />
Wired . February. () Toop David 'Oceano di Suoni' Costa e Nolan.<br />
March .. Alessandro Ludovico. distributed via no commercial use<br />
without permission. is a moderated mailing list for net criticism.<br />
collaborative text filtering and cultural politics of the nets. more info<br />
34
majordomobbs.thing.net and info nettimel in the msg body. End of<br />
forwarded message. Make Money Online Auctions Make . or We Will<br />
Give You Thirty Dollars for. Trying. noemata Fwd Article Why the<br />
Web Will Win the Culture Wars for the Left. Start of forwarded<br />
message. Fwd Article Why the Web Will Win the Culture Wars for the<br />
Left. <strong>Re</strong>plyTo CTheory Editors. Article Why the Web Will Win the<br />
Culture Wars for the Left. CTHEORY THEORY TECHNOLOGY<br />
AND CULTURE VOL NOS. Article Editors Arthur and Marilouise<br />
Kroker. Why the Web Will Win the Culture Wars for the Left.<br />
Deconstructing Hyperlinks. Peter Lurie. Cultural conservatives in the<br />
United States have a lot of worries.. They fear that Grand Theft Auto<br />
and other video games will turn their. kids into crowbarwielding<br />
criminals they believe that Hollywood. will turn their daughters to<br />
floozies and sons to gigolos and they. despise the constitutional barrier<br />
between church and state as an. unnecessary evil that has estranged<br />
religious beliefs from public. life and eroded the core values of our<br />
country. Underlying all these. concerns is the overarching belief that<br />
moral relativism which. holds that competing claims to right and wrong<br />
cannot be judged. objectively is making America a godless bankrupt<br />
country and a. very dangerous place to raise a kid.. With Southern<br />
<strong>Re</strong>publicans in control of all three branches of. government<br />
conservative barricades appear well manned. Just one. justice short of<br />
an invincibly reactionary majority on the Supreme. Court excluding<br />
moderate conservatives for seven of the nine. current justices are<br />
<strong>Re</strong>publican appointees and relentlessly. stocking the district and<br />
appellate courts with the most conservative. jurists they can find the<br />
<strong>Re</strong>publicans are pressing a deeply. reactionary social agenda. The<br />
culture wars between the religious. traditionalist right and the liberal<br />
pluralist left have started to. look like a rout everywhere but in the<br />
larger coastal cities.. Conservatives are recasting communities to be<br />
more comfortable with. if not prostrate to received authority in the form<br />
of literalist. interpretations of religious and political texts.. That success<br />
will be shortlived. Long after the next bubble has. burst the internet will<br />
have surpassed the hype generated by the. last one. Not by changing the<br />
way we live and work but by impacting. the culture wars and tipping<br />
the battle decisively to the left.. This will result not from the range of<br />
content available online but. rather the process of finding it. The<br />
architecture of the web and. the way users navigate it closely resembles<br />
theories about the. authority and coherence of texts that liberal<br />
deconstructionist. critics have offered for thirty years.<br />
35
Deconstructionists believe. that close analysis reduces any text novel<br />
statute religious. work to meaningless blather. The popular response to.<br />
deconstruction has always been that it's counterintuitive that no. one<br />
reads that way that it lacks common sense.. That will change. Like<br />
reading or breathing web browsing itself is. agnostic with respect to<br />
politics and culture. Unlike reading or. breathing however surfing<br />
mimics a postmodern deconstructionist. perspective by undermining the<br />
authority of texts. Anyone who has. spent a lot of time online<br />
particularly the very young will find. themselves thinking about content<br />
articles texts pictures in. ways that would be familiar to any<br />
deconstructionist critic. And a. community of citizens who think like<br />
Jacques Derrida will not be a. particularly conservative one.. HTML<br />
hyperlinks frames and metatags are the essential building. blocks of the<br />
web. They combine to create a highly associative. endlessly referential<br />
and contingent environment that provides an. expanse of information at<br />
the same time that it subverts any claim to. authority since another view<br />
is just a click away.. These basic technical tools are similar to<br />
deconstructionist. analytical tools. Hypertext markup language (HTML)<br />
provides graphic. display instructions to the web browser. Codes<br />
control the. presentation of each web page including pictures colors<br />
fonts and. the organization of text. Without HTML a web browser<br />
would show a. continuous scroll of plain text. Although HTML is<br />
normally. invisible the viewer can select a viewing option that exposes<br />
the. program codes. With HTML visible the structure of each web page<br />
is. laid bare like a theater with transparent curtains and sets so the.<br />
lighting crew scaffolding director and actors in the wings were all.<br />
visible. Hyperlinks which often appear in underlined blue text. provide<br />
the essential connectivity of the web enabling the user to. jump from<br />
one page to another a sort of black hole through which a. viewer can<br />
jump in and emerge in another place. Framing divides a. web site into<br />
separate windows each displayed in a separate part of. the screen and<br />
independently functional. Hyperlinks connect each. frame allowing the<br />
user to move among screens without leaving the. site. Search engines<br />
organize information on the web as well while. description of and<br />
hyperlink to a list of sites ranked by likely. relevance. In many cases the<br />
web page communicates to the search. engine through metatags which<br />
are encoded in the HTML and usually. consist of key words that<br />
provide an associative description of the. site itself.. A person engages<br />
the web in much the same way that a. deconstructionist critic<br />
approaches a text. Deconstruction which. denotes a process rather than<br />
36
a belief system shows how novels. statutes and court opinions collapse<br />
upon themselves making their. underlying assumptions absurd. For the<br />
deconstructionist each text. is endlessly referential a web of<br />
associations and connections that. is finally ambiguous. The<br />
structuralist critic Ferdinand de Saussure. set the foundation of<br />
postmodern thought by describing language as a. system of signs. Each<br />
sign was made up of a signifier (the word. itself) and the signified (the<br />
concept or meaning). Saussure's. first principle was that such signs are<br />
arbitrary. The letters s. i s t e and r suggest a girl or woman who shares<br />
the same parents. as the referent but the idea of this woman is not<br />
linked by any. inner relationship to the succession of sounds sor which<br />
serves as. its signifier in French. Indeed the woman at issue could as.<br />
simply be represented by another succession of letters or sounds.. For<br />
de Saussure the relationship between the signifier and the. signified was<br />
merely historical and therefore arbitrary. The letters. b o o and k could<br />
have signified a flying animal but were instead. doomed to represent a<br />
bound sheaf of printed papers too rarely. capable of flight. Since each<br />
sign (the word) has meaning only. because it doesn't signify something<br />
else (the actual book) and the. words themselves are arbitrarily assigned<br />
meaning itself is only. relational it cannot be grasped on its own..<br />
Meaning then is not contained or conveyed by a word or series of.<br />
words because it is dependent on what those words do not contain or.<br />
convey. Meaning is part of a process in which words are examined.<br />
with respect to other words which lend meaning only in relation to.<br />
other than Tim BernersLee had heard of the World Wide Web<br />
language. looks much more like a sprawling limitless web where there<br />
is a. constant interchange and circulation of elements..<br />
Deconstructionists advanced de Saussure's work by detaching the.<br />
signifier from the signified and arguing that meaning is present only. in<br />
words that themselves are indeterminate and relational. Each. word or<br />
sign in a sentence is linked to all the others forming an. infinite or at<br />
least inexhaustible network. Every text fiction and. nonfiction statutes<br />
and religious works has a flickering or. suspended quality its meaning<br />
is whatever may be grasped by a. particular reader at a particular time..<br />
Deconstructionists believe that writing and reading is a discourse a.<br />
kind of open conversation or play through which the reader pieces.<br />
together a meaning by distinguishing one word from another. A.<br />
favorite tactic of such critics is to analyze a detail in the text. until it<br />
unravels the entire structure of the work and renders it. incoherent.<br />
Widelyaccepted interpretations such as the moral. of the story of<br />
37
Exodus is the inevitable empowerment of repressed. groups come to<br />
appear naive. Indeed the Supreme Court has done. something similar<br />
with the th Amendment. After years as a. curious backwater of the<br />
Constitution the th Amendment now stands. at the center of the Court's<br />
jurisprudence the foundation of the. increasingly broad doctrine of<br />
sovereign immunity (a phrase found. nowhere in the constitution) that<br />
is radically broadening the power. of state government at the expense of<br />
both Congress and citizens at. the same time that it casts doubt upon<br />
received ideas about nearly. every other aspect of the United States<br />
Constitution. A. deconstructionist would not argue that the Supreme<br />
Court is right or. wrong about federalism and state power but only that<br />
such radically. divergent interpretations of the same text indicate that<br />
any appeal. to an authoritative meaning including an investigation into<br />
the. intent of the author (in this case the framers of the Constitution. and<br />
Bill of Rights) will be a misguided and ultimately fruitless. project..<br />
The Web is a postmodernist tool that inevitably produces a.<br />
postmodernist perspective. It is an unobvious result. After all. social<br />
conservatism is the kind of grassroots movement that the. internet<br />
should complement. The Web improves the coordination of. farflung<br />
constituents aiding organization recruiting and the. dissemination of<br />
information while reinforcing beliefs by increasing. the number of<br />
sources with consistent viewpoints. Conservatives who. have long<br />
complained of the liberal bias of the major media can now. avoid those<br />
sources altogether customizing a diet of news from. likeminded online<br />
sources. Cass Sunstein has emphasized the. danger inherent in what he<br />
calls cybercascades where people who. share similar views<br />
communicate only with each other reinforcing. their own perspectives<br />
but precluding exposure to new ones.. There have always been<br />
conservative and liberal newspapers Sunstein. notes but the emerging<br />
situation does contain large differences. stemming above all from a<br />
dramatic increase in available options a. simultaneous increase in<br />
individual control over content and a. corresponding decrease in the<br />
power of general interest. intermediaries. As options multiply<br />
intermediaries narrow. If. every consumer of information creates a daily<br />
me which filters all. unpalatable news and opinions the citizenry will<br />
become increasingly. parochial. More broadly Sunstein worries that<br />
cybercascades. will fragment society slim political and cultural<br />
discourse and. clear the shelves and stalls of the marketplace of ideas..<br />
Credited to Oliver Wendell Holmes Jr. and based on a theory that. John<br />
Stuart Mill first sketched this marketplace sifts and exposes. the truth<br />
38
and value of competing theories. If the marketplace. metastasizes into<br />
isolated stalls free speech will quickly lose its. value and the<br />
marketplace of ideas will close for lack of customers.. Sunstein's<br />
prophecy is politically neutral the internet will. enervate the intellectual<br />
vigor of all movements by isolating them in. cyber chambers that echo<br />
with cheers and wild applause. There is. every reason to believe<br />
however that the Web will subvert. conservative thought even if<br />
conservatives themselves browse friendly. terrain from family.org to<br />
heritage.org to fedsoc.org. The content. available online is much less<br />
important than the manner in which it. is delivered indeed the way the<br />
Web is structured. Its influence. is structural rather than informational<br />
and its structure is. agnostic. For that reason parental controls of the<br />
sort that AOL. can offer gives no comfort to conservatives. It's not that<br />
Johnny. it's that Johnny will come to think consciously or not of.<br />
everything he reads as linked associative and contingent. He will. be<br />
disinclined to accept the authority of any text whether. religious<br />
political or artistic since he has learned that there is. no such thing as<br />
the last word or indeed even a series of words that. do not link in some<br />
way to some other text or game. For those who. grow up reading online<br />
reading will come to seem a game one that. endlessly plays out in<br />
unlimited directions. The web in providing. link after associative link<br />
commentary upon every picture and. paragraph allows indeed requires<br />
users to engage in a. postmodernist inquiry.. interactive effort one that<br />
despite the intentions of the Biblical. Studies Foundation which<br />
operates the site explodes the authority. of the text. The viewer chooses<br />
any of eighteen different versions. of the bible and then finds a matrix<br />
of hyperlinks organized by. chapter and verse that link to the requested<br />
section. Four frames. provide the biblical text and accompanying<br />
information including. footnotes hyperlinked to other sources with<br />
explanatory material a. hyperlinked index of every other chapter and<br />
links to the Biblical. Studies Foundation's homepage as well as other<br />
related sources. The. site also contains the customary search function<br />
which appears on. the left and of course the internet browser itself has a<br />
search. function that is always visible so that an engaged reader may be.<br />
constantly toggling between biblical text commentary in the. footnotes<br />
word searches suggested by the bible or footnotes or a. combination of<br />
both. <strong>Re</strong>aders unfamiliar with a word may click on the. footnote with a<br />
short definition or synonym. If that is. unsatisfactory typing the word<br />
into the search function will yield a. link to a dictionary of biblical<br />
words terms and phrases that may. offer a more refined and accurate<br />
39
definition. The reader may be. satisfied and return to the text or pursue<br />
the matter further. needing just two clicks to find the same passage in<br />
an alternative. translation. If the reader is interested in a historical<br />
analysis of. the passage a search for 'biblical history' yields and array<br />
of. relevant academic and religious sites from all perspectives. A.<br />
reader might devote a day to pursuing a single passage a single. line<br />
finding herself farther and farther afield from the original. text and<br />
translation. Indeed she might forget which site she was. reading.<br />
<strong>Re</strong>ading the bible online is an exploration of multiple. sources<br />
commentators and bibliographic tributaries.. <strong>Re</strong>ading any other<br />
presumptively authoritative text online presents a. similar experience.<br />
The US Constitution is available at among other. commentary from<br />
wellknown and lesser authorities. Footnotes provide. short summaries<br />
of legislative history and important court decisions.. A review of the<br />
Second Amendment upon which the entire gun control. debate rests led<br />
this reader to twentyfour different sites each. directly or indirectly<br />
linked offering finely spun phrasebyphrase. analysis. And that was just<br />
the first sentence of this short. amendment. By the time the curious<br />
reader returns to the original. text her head will be cocked back<br />
distrustful possibly exhausted. certainly skeptical if not despairing of<br />
any authoritative. interpretation. Indeed she may come to believe that<br />
there is no. That any such transcendental meaning is a fiction ... is one.<br />
consequence of deconstruction. there is no concept which is. not<br />
embroiled in an openended play of signification shot. through with<br />
traces and fragments of other ideas.... Consider in. our own society<br />
Freedom the Family Democracy Independence. Authority Order and so<br />
on. Sometimes such meanings are seen as. the origin of all the others<br />
the source from which they flow. but this ... is a curious way of<br />
thinking because for this. meaning ever to have been possible other<br />
signs must already have. existed. It is difficult to think of an origin<br />
without wanting. to go back beyond it.. The Web invites even demands<br />
that its users go back forward around. and elsewhere in an associative<br />
search for meaning. Jonathan Culler. in a discussion of Barthes writes<br />
The text is ceaselessly. traversed by codes which are the source of its<br />
meanings.. Structuralists such as Barthes and Deconstructionists like<br />
Derrida. created a revolution in hermeneutics by identifying the codes<br />
that. inhered in every line of prose. Not long ago one had to be a.<br />
graduate student to grasp the concept. No longer. The Web. illuminates<br />
these codes for everyone to see and much more. importantly use.. In<br />
this light the conservatives' fear of moral relativism is. wellfounded.<br />
40
Absent some divine authority or lacking any consensus. about the<br />
existence or nature of such authority relativists believe. that morality is<br />
socially determined wholly dependent on standards. existing in a<br />
community at a particular place and time. In a. pluralist society then<br />
there can be no consensus regarding good and. evil. If it is not quite<br />
true that anything goes tolerance dictates. that we must respect the<br />
choices that others make even if they are. repugnant to others in the<br />
community. Samesex marriage under this. view is no more right or<br />
wrong than the traditional variety and we. cannot condemn those who<br />
practice it. Moral relativism is often. considered to be inversely<br />
proportional to the strength of religion.. The prevalence of the former<br />
however has surprisingly little to do. with the decline of the latter.<br />
<strong>Re</strong>ligion is hardly in decline at. least in the United States. A higher<br />
percentage of Americans go to. church mosque or temple each week<br />
than went both one and two. centuries ago. By any measure America is<br />
the most religious of all. Western industrialized nations and arguably<br />
the most religious of any. country outside Islam.. Perhaps for that<br />
reason conservatives blame the kind of liberal. elites who tend to<br />
congregate in New York newsrooms and Northeastern. classrooms.<br />
These usual suspects condescend toward religion at the. postmodern<br />
theories suggesting that received beliefs tend to be. arbitrary or<br />
selfserving or both. This argument tends to overstate. both the<br />
liberalism and elitism of the accused along with their. influence and it<br />
misses the most powerful and pervasive source of. moral relativism the<br />
Web.. Technology undermines traditional belief systems even as it<br />
creates a. belief in a kind of heavenly paradise a kind of Technopia. In<br />
his. book The Future of Ideas The Fate of the Commons in a<br />
Connected. World Larry Lessig argues for an open society in which<br />
everyone has. access to information and the tools necessary to<br />
contribute to the. community and succeed within it. A former colleague<br />
of. Sunstein's at the University of Chicago who migrated to Stanford<br />
the. very capital of Technopia Professor Lessig believes that the Web.<br />
could create an interconnected information and idearich republic.. He<br />
warns however that unless we balance private ownership of. intellectual<br />
property and the public's ability to refine and build. upon it we will<br />
never inhabit such a place.. Open shared platforms of content and code<br />
must be the foundation of. such a radically free creative and informed<br />
society but an unholy. trinity of Congress the courts and large<br />
corporations has. effectively sealed media and software platforms by<br />
lengthening. copyright laws and strengthening intellectual property<br />
41
protections.. The most recent example is the Sonny Bono Copyright<br />
Term Extension. Act which extended by years both existing copyrights<br />
and future. copyrights. A copyright grant is a limited monopoly a<br />
reward for. innovation but the reward if too generous (long) will surely.<br />
stifle it for any increase in copyright term strengthens monopolist.<br />
practice and isolates innovation from improvement in much the same.<br />
way that Sunstein fears that cybercascades weaken the dialogue of.<br />
democracy. For that reason Lessig predicts that. ...two companies AOL<br />
Time Warner and Microsoft will define. the next five years of the<br />
Internet's life. Neither company has. committed itself to a neutral and<br />
open platform. Hence the. next five years will be radically different<br />
from the past ten.. Innovation in content and applications will be as<br />
these platform. owners permit. Additions that benefit either company<br />
will be. encouraged additions that don't won't....Content and access.<br />
will once again be controlled the innovation commons will have. been<br />
carved up and sold.. If software code the DNA of the internet is<br />
privately held. citizens will be cyberserfs on corporate estates. There<br />
can be no. freedom without commons. Businesspersons artists and<br />
academics must. be free to graze on the rich field of ideas that lead to<br />
further. innovation. In his previous book Professor Lessig argued that<br />
just. as police regulate cities code regulates cyberspace. If state. police<br />
power was the principal concern of the th century corporate. control of<br />
code should be that of the st. Just as we defeated. Hitler and Stalin the<br />
argument continues implicitly so must we. strike AOL and Microsoft.<br />
Corporations wield power invidiously. veiled by the promise of free<br />
markets effectively coopting the. institutions that should balance public<br />
and private ownership.. Lessig will. For many technologists those who<br />
believe that. technology properly configured will save the planet he is<br />
the. muchlauded (and wellschooled) David against an array of<br />
corporate. to increasing the sum and access of intellectual property<br />
online. and as lead counsel for the petitioner in Eldred v Ashcroft. in<br />
which he challenged the constitutionality of the Bono. Copyright<br />
Extension Act Lessig has argued that Congress had. overstepped the<br />
authority vested by the Constitution by essentially. marching the<br />
copyright term toward perpetuity. In January the. Supreme Court<br />
disagreed upholding the act. His fight continues.. Victory will not elude<br />
Professor Lessig though it may surprise him.. A public weaned on the<br />
Web will be increasingly sensitive to the. value of open platforms and<br />
the possibilities inherent in shared. media and code. The increasing ease<br />
with which even moderately. trained musicians mix and sample<br />
42
ecorded works and the resulting. battle between the <strong>Re</strong>cording<br />
Industry Association of America and the. music lovers that support its<br />
member companies is just the first of. many disputes that will reshape<br />
copyright law and practice. Citizens. who are no longer awed by<br />
received authority will use the. instantiations of that authority whether<br />
in the form of text. graphics music or code for their own purposes..<br />
Professors Lessig and Sunstein sketch despairing visions because they.<br />
have missed the essentially deconstructionist nature of the Web. The.<br />
architecture that media and technology companies control to stifle.<br />
innovation and that citizens use to cordon themselves from genuine.<br />
debate will at the same time foster an open inquisitive and. markedly<br />
liberal spirit. Problems associated with the control of. ideas and the<br />
compartmentalization of dialogue will persist but a. newly emergent<br />
majority on the Left will rise to tackle them. It's. all in the code.. Notes.<br />
Ferdinand de Saussure Course in General Linguistics Wade. Baskins<br />
trans. (New York McGrawHill ) ch. .. Ibid .. Ibid.. Terry Eagleton<br />
Literary Theory (Minneapolis University of. Minnesota Press ) .. Ibid .<br />
See also Jonathan Culler Structuralist Poetics. Structuralism Linguistics<br />
and the Study of Literature (Ithaca. Cornell University Press )<br />
discussing Jacques Derrida. Writing and Difference Alan Bass trans.<br />
(Chicago University of. Chicago Press ).. Eagleton .. Ibid .. Cass<br />
Sunstein republic.com (Princeton Princeton Univ. Press. ) .. ) .<br />
43
188<br />
Ibid .. Ibid .. Ibid .. Eagleton .. Culler .. Lawrence Lessig The Future of<br />
Ideas The Fate of the Commons. in a Connected World (New York<br />
Vintage Books ) (first. published by Random House ).. Ibid xxixxii..<br />
Ibid xxixxii.. Ibid .. Lawrence Lessig Code and Other Laws of<br />
Cyberspace (Basic. Books ) .. Ibid.. to increase the sum of raw source<br />
material online but also to make. access to that material cheaper and<br />
easier. To this end we have also. developed metadata that can be used<br />
to associate creative works with. their public domain or license status in<br />
a machinereadable way. We. hope this will enable people to use the our<br />
search application and. other online applications to find for example<br />
photographs that are. free to use provided that the original photographer<br />
is credited or. songs that may be copied distributed or sampled with no.<br />
restrictions whatsoever. We hope that the ease of use fostered by.<br />
machine readable licenses will further reduce barriers to. creativity.).<br />
Eldred v Ashcroft Sup Ct . Argued October. decided January .. Brief for<br />
Petitioners Eldred .. Peter Lurie is a lawyer a graduate of Dartmouth<br />
College and The. University of Chicago Law School where he worked<br />
on two independent. papers with Judge Richard Posner studied critical<br />
theory and the. interrelation between law and literature. He has written<br />
for the. New York Press and Shout Magazine. He is also the cofounder<br />
of. Virgin Mobile USA a wireless voice and internet company aimed at<br />
the. youth market where he serves as General Counsel.. The views<br />
expressed are his own.. CTHEORY is an international journal of theory<br />
technology and. culture. Articles interviews and key book reviews in.<br />
contemporary discourse are published weekly as well as. theorisations<br />
of major eventscenes in the mediascape.. Editors Arthur and Marilouise<br />
Kroker. Editorial Board Jean Baudrillard (Paris) Paul Virilio (Paris).<br />
Bruce Sterling (Austin) R.U. Sirius (San Francisco) Siegfried. Zielinski<br />
(Koeln) Stelarc (Melbourne) Richard Kadrey (San. Francisco) DJ<br />
Spooky Paul D. Miller (NYC) Timothy Murray. (IthacaCornell) Lynn<br />
Hershman Leeson (San Francisco) Stephen. Pfohl (Boston) Andrew<br />
Ross (NYC) David Cook (Toronto) Ralph. Melcher (Sante Fe) Shannon<br />
Bell (Toronto) Gad Horowitz. (Toronto) Deena Weinstein (Chicago)<br />
44
Michael Weinstein. (Chicago) Andrew Wernick (Peterborough).. In<br />
Memory Kathy Acker. Editorial Correspondents Ken Hollings (UK).<br />
Maurice Charland (Canada) Steve Gibson (CanadaSweden).. Editorial<br />
Associate Ted Hiebert. To view CTHEORY online please visit. To<br />
view CTHEORY MULTIMEDIA online please visit. CTHEORY<br />
includes. . Electronic reviews of key books in contemporary theory.. .<br />
Electronic articles on theory technology and culture.. . Eventscenes in<br />
politics culture and the mediascape.. . Interviews with significant<br />
theorists artists and writers.. . Multimedia theme issues and projects..<br />
Special thanks to Concordia University.. No commercial use of<br />
CTHEORY articles without permission.. Mailing address CTHEORY<br />
Concordia University de. Maisonneuve O. Montreal Canada HG M..<br />
Full text and microform versions are available from UMI Ann Arbor.<br />
Michigan and Canadian Periodical IndexGale Canada Toronto..<br />
Indexed in International Political Science Abstracts. Documentation<br />
politique international Sociological Abstract. Inc. Advance<br />
Bibliography of Contents Political Science and. Government Canadian<br />
Periodical Index Film and Literature Index.. dine venner. End of<br />
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isoQdigitus.facticiuspEekunstserverF. Hei Atle Kevin. Tenkte å ha et<br />
mailart prosjekt hvor ekunstnere kan bidra med å sende inn. bilder av<br />
sine. fingre (eller tær). En fin vri kan være å bruke muligheten ekunst.no gir.<br />
abonnenter til å. laste opp filer til serveren så jeg spør om lov til å invitere<br />
brukere til. dette.. I tilfelle lager jeg en undermappe der for opplasting<br />
sender ut en invitasjon. og ser hva som. kommer inn. Etterhvert kan det<br />
opplastes en indexfil der som et samlet galleri. over bildene.. Noen<br />
notater følger under.. Mvh. Bjørn M.. digitus.facticius. håndarbeid og ny<br />
teknologi. Digitus.Facticius (fingers.factual). digital kunst som håndverk<br />
bilder av hender og tær. manual work.. participatory. digital fetisjisme..<br />
Digital KunstArt (webgallery). Digitus.Facticius (fingers.factual).<br />
Digital Fetishism (new technology obsessive devotion). Limbic Data<br />
(limbic facts). Main Entry digit. Pronunciation 'dijt. Function noun.<br />
Etymology Middle English from Latin digitus finger toe perhaps. akin<br />
to Greek deiknynai to show more at DICTION. a any of the Arabic<br />
numerals to and usually the symbol b. one of the elements that combine<br />
to form numbers in a system other. than the decimal system. a unit of<br />
length based on the breadth of a finger and equal in. English measure to<br />
inch. any of the divisions in which the limbs of amphibians and all.<br />
higher vertebrates terminate which are typically five in number but.<br />
45
may be reduced (as in the horse) and which typically have a series of.<br />
phalanges bearing a nail claw or hoof at the tip compare FINGER. TOE<br />
a. Main Entry fetish. Variant(s) also fetich 'fetish also 'fE. Function<br />
noun. Etymology French Portuguese French ftiche from Portuguese.<br />
feitio from feitio artificial false from Latin facticius. factitious. a an<br />
object (as a small stone carving of an animal) believed to. have magical<br />
power to protect or aid its owner broadly a material. object regarded<br />
with superstitious or extravagant trust or reverence b. an object of<br />
irrational reverence or obsessive devotion. PREPOSSESSION c an<br />
object or bodily part whose real or fantasied. presence is<br />
psychologically necessary for sexual gratification and. that is an object<br />
of fixation to the extent that it may interfere with. complete sexual<br />
expression. a rite or cult of fetish worshipers. FIXATION. hva med et<br />
Digital Kunst prosjekt som var et webgalleri med bilder. bare av fingre<br />
og tær (digitus)... og oppfordre digitalkunstnere til. å sende inn bilder av<br />
sine til galleriet. Så får også digital. fetisjisme en ny betydning... eller<br />
'manual work' ... Vi kunne kanskje. ha hakket fort sammen en<br />
tilhørende artikkel statement og sendt det. til noen postlister og hatt det<br />
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isoQ<strong>Re</strong>culturejammersEpningavnyttgalleri. Emne Står i Subjectfeltet.<br />
<strong>Re</strong>levant for de som skal jobbe med det. Telenor Tormod kommer<br />
forresten (og sikkert andre pamper) så et alternativ er. gjentrykk<br />
nydesign av telenor spoofs m.m.. Er telepor.no brukt før Ja domenet er<br />
ledig men p er langt unna n flere. fingre unna men det kan være logo.<br />
Men altså Norges største leverandør av. porno hvor mange titalls prosent<br />
av trafikken så det er klart at Telenor. har interesse i porno. Stort bilde<br />
av sprikende ben som tar imot all trafikk.. Eller en mer vulgær variant<br />
menn er alltid så vulgære. Viste tissen på fly. Dro frem tissen fly måtte<br />
lande. Tissterrorisme Hvis effekten er så stor så kan blotting være en enkel<br />
jamming. flytte blotting over til kultur altfor lenge har den vært en last<br />
hos. psykologene og levd en beskyttet tilværelse hos de perverse. Dro<br />
fram tissen. Valgjerd måtte gå.. Nakne menn er kanskje dårlig reklame for<br />
porno så det kan brukes vi kan anta. at telenor drar fordel av<br />
pornoreklame slik menn 'drar fordel' av telenor så. bilde av<br />
masturberende mann er kanskje bedre og ikke så kult. Vanlig porno er.<br />
vel altfor kult. Heh jeg er så gammel at jeg husker en spoof av... nei jeg<br />
husker ikke det. var. på åttitallet veldydighet for Afrika Bob Geldof satte<br />
igang noe og Norge. fikk. sin variant anført av rockeren Helge Gaarder<br />
hvor det ble gitt ut plate til. inntekt for Afrika. Uansett hykleriet gikk<br />
over alle støvleskaft og Gaarder. satt igjen med en vond smak i munnen.<br />
46
Det dukket opp en fin spoof Porno for. Afrika arrangert av pornokonge<br />
Leif Hagen el. med bilde av ei sprikende. dame. som brukte Afrika til å<br />
masturbere med.. BJ.. hei. fra notatblokken. stedet). Mvh. Bjørn M.. hei.<br />
fra notatblokken. stedet). noen i cultjamers som driver med graffiti<br />
tagging eller no.test. kommentar. Mvh. matronim. IDEAREAL. ung. og<br />
kanskje... Dette med identitetfakeid obfuskering og spill med det<br />
kunstnersentriske. fokus kan også være noe å dra inn som tema samt<br />
prosessen rundt som en. gjennomsiktig selvrefleksiv ting. Tror kanskje<br />
de unge ville satt pris på noe. som bryter og spiller med hele settingen<br />
rundt kunst på alle nivåer som f. skriver i utstillingsteksten noe som også<br />
må inkludere galleriet selv som. kunstinstitusjon i tillegg til kunstneren<br />
som 'skaper' (nå er jo det som vises. halvautomatisk kunst 'laget' av<br />
hvem). De åpner i teksten også for kunst som. forvirring og provokasjon<br />
og må derfor kunne tåle det selv spesielt siden. institusjonen er en såpass<br />
medskapende del av samtidskunsten.. Forvirret Da er alt i orden...) Om<br />
du kan formidle det videre til elever.... bj.. <strong>Re</strong> dadamaskiner og<br />
subversive penger. Hei Tage BJ. Blir nysgjerrig på dette. Men for å være<br />
helt ærlig skjønner jeg ikke. hvordan dette verktøyet er ment å funke. For<br />
meg virker dette litt. vanlig blogg ogeller mailingliste. Har jeg misset<br />
noe vesentlig her. P. hei. syns det høres ut som en god ide (som ide<br />
iallfall). jeg hadde en ide om. at noemata kunne fungere på en lignende<br />
måte (engang) som brukerstyrt. prosjektdatabase for kunst el. men for<br />
min del strander det på dårlig evne. eller lyst til formidling og å få andre<br />
engasjert.. en slags sourceforge.net wiki verktøy for kunst. opensource<br />
gjennomsiktig åpen prosess over nett. kan ha finansiering som<br />
organisasjon som fordeler penger videre (som. trafo). ..... men vet ikke<br />
hva som vil fungere og ikke hva folk er interessert i. penger moro kunst<br />
action 'suksesskriterier'. ville selv ha likt det mest mulig enkelt (ting<br />
blir komplisert av seg. selv) fx.. admin wikiverktøy på web (ref<br />
wikipedia.org hver sideoppslag er et. 'prosjekt'). kommunikasjon<br />
mailmailingliste (alle leser mail). hadde vært veldig interessant om det<br />
hadde fungert.. bj. Vet ikke om dere så mailen om subversiv<br />
aktivistverktøy for. prosjektutvikling. og funding her er ihvertfall en<br />
simpel presentasjon. Skriver til dere først og fremst for å høre om dere<br />
anser dette som et. verktøy. dere kunne brukt i deres arbeid men også for å<br />
høre om dere har noen. tanker. om. hvordan det er mulig å inkludere flere<br />
kritiske kunstnere i prosjektet. og om. dere tror det i det hele tatt er et<br />
interessant verktøy for kunstnere. puh.. T a g e. noemata wideopen<br />
content. hei vesle liste. Har tenkt å åpne noemata og gjøre det raddikalt<br />
åpent tilgjengelige. passord til webftp og til mailkonto etc..<br />
47
faremomentet med at ting kan bli slettet etc. men det har vel aldri.<br />
skjedd noemata har vel ligget åpent i perioder før uten hærverk og gjør. det<br />
forsåvidt også nå.. om du har noen meninger om dette så.. og uansett en<br />
anledning til å. laste ned ting hvis du er redd for at de skal bli sletta..<br />
(hele noemata er på M har selv en backup fra september liggende et.<br />
sted). ftp ftpbjornmagAbjectkunst.no. (user bjornmag pass Abject<br />
ftpkunst.no). mulig dette er en korttenkt ide (nok en) men det kan være<br />
interessant.. paradoksalt fører det kanskje til mer distribusjon større verdi<br />
hvis. materialet er utsatt hvis det når som helst kan bli sletta av.<br />
hvemsomhelst. tenke litt på det. syns også det ligger litt kunst i det. at<br />
tingene er utsatt sårbare betinga.. og ha en mailkonto som var åpen felles<br />
andre ting.. dette er kanskje å tvinge noe åpent hva skjer. For immediate<br />
release v. Bj.. <strong>Re</strong>nt DVDs from home.. No Late Fees. Try Netflix for<br />
FREE. For immediate relase for immediate release. FOR IMMEDIATE<br />
RELEASE. For immediate release. a project by noemata. Noemata is a<br />
drastic open content art server meaning anybody can take. part<br />
immediately and uninhibited.. The art part being broadly defined or<br />
rather not defined or exactly as. its diffusion disappearance into context<br />
and spectral reemergence. haunting itself 'I am alive. Am I alive' in a<br />
contemporary art. cogito ergo sum loop the circularity of it of course<br />
keeping it alive. though it might be dead and probably is by the token of<br />
its incessant. querying. So it's a kind of artificial art much like the<br />
intelligence. of artificial intelligence.. The policy is to support<br />
collaboration community transparency immediacy. in the arts net.art<br />
media art correspondencemail art network art. context art or other<br />
otherness and marginal artifactualizations.. We tried that and it didn't<br />
work. So this is 'open content' of a more. catastrophic kind of the<br />
dispersal of content or the metastasis or. disappearance of content (in<br />
the jargon of Baudrillard). Also being. contented with things not<br />
working and actually more fascinated by the. failures and drifting of<br />
things than producing them as art or anything. open being more like<br />
cracked open or a core dump of codegerm artsperm. and their<br />
entanglements and confusion of layers inoutside opencontent.<br />
generativedegenerative avataratavar of space time and structures.<br />
intermingling and proliferating more or less on their own by their own.<br />
automatic recursive mating. This 'release' of the server is not only as.<br />
permission or publication but a giving up kind of release. Giving up.<br />
letting it drift distribute or disperse unsupervised and giving up. that<br />
risking complete annihilation any point beyond the loop survival.. In<br />
short this site is handed over to its fate may you live and prosper. by<br />
48
your own devicing noematic schemes for good and evil. Klas<br />
Oldanburg is elected ombudsman in this viral stage releasing Monty.<br />
Cantsin aka Bjorn Matronym isolQMaFntiKentsFn. . Klas Oldanburg<br />
doesn't refer to anybody like the viral noemata. are selfmating thought<br />
objects not objects not subjectobjects maybe. objectobjects without<br />
object (like spamspam without spam). <strong>Re</strong>quests. problems complaints<br />
(eg about spam) may be directed to the ombudsman. though he may<br />
ignore you as this is open content and discontent.. The noemata server<br />
contains material and traces back to of mail. art kz media fanzine<br />
networks up to today's machininc spam permutation. of nothings in a<br />
defaced mesh as proper skinning. You're invited to add. modify or<br />
remove material on the server as part of the release.. ftp<br />
ftpbjornmagAbjectkunst.no. mail noematakunst.no (fwd to ombudsman<br />
changeable address). mailinglist noemataegroups.com. alias<br />
telemata.net arspublica.com auto.noemata.net. Login via ftp to<br />
downloadeditupload material to the server. Of course. you're<br />
encouraged to download and distribute the material also as backup. in<br />
case things on the server are utterly deleted.. Nominally Noemata is<br />
constituted as a group identity and you're invited. adopt the nym as you<br />
please without any interventions or another nym. associated with<br />
noemata in order to further the dissociations.. Kindly supported by<br />
Norsk Kulturråd Kunst og Ny Teknologi The. Norwegian Council of<br />
Cultural Affairs Art and New Technology.. Hosting generously<br />
provided by Kunstnett NorgeArtnet Norway.. Thanks to a number of<br />
people for supporting the efforts over time.. ombudsman. Klas<br />
Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( ( o (. ). digest<br />
redistribution use. Hi all. I lurk and post some to different lists and<br />
would like to make digests of. things I find. interesting and redistribute<br />
say like nettime unstable digest though. probably. with just index.<br />
remailed with links to web archiveblog to avoid excessive redundancy..<br />
Question what's the consensus concerning permissions and<br />
redistribution of. texts. appropriate fair use Ask permission in each case<br />
take for granted. In my case no commercial interests involved in<br />
foreseeable future but. anyway. published and. as booksinprogress with<br />
appropriated standard book numbers as an openended. anthology<br />
digest. fanzine or similar.. Notions of copyright and proper use may<br />
vary a great deal so would be. interesting to know what. people on the<br />
list thought about it (also as the list is gatewayed into. newsgroup<br />
fa.fictionof. philosophy). Klash. <strong>Re</strong> digest redistribution use. Lawrence<br />
Upton. Cramer. Contrary to reading a book reading a website (or<br />
49
EMail) means to. copy its content bitwise from one machine to another<br />
and storing it. locally on the reader's and other machines (browser<br />
cache EMail. folder proxy server etc.). In digital networks there is no.<br />
difference between reading and distribution a fact which traditional.<br />
copyright does not take into account.. Upton. The law concerns my<br />
relationship to the author not the acts of an. electronic tool the actions<br />
of which are my responsibility. Trying to terse the argument down<br />
'copy' has a lot of meanings this. last notion of copyright might be<br />
copy as verbal especially. . to hear or receive a radio message as over a<br />
CB radio Do you. copy. . copy the mail CB Radio Slang. See mail (def.<br />
).. Alternatively copyright as a right to leap from one context to<br />
another. in open internet sea. . Also cocky. Newfoundland. to leap from<br />
one ice pan to another. across open water.. A cite comes to mind maybe<br />
leaping but. Hospitality represents a reciprocal ritualized and theatrical.<br />
dimension. Whom are we to receive and how are we to receive them<br />
What. rules should we follow here For we exists solely to be received<br />
and to. receive (not to be known or recognized). This symbolic<br />
dimension is. precisely what is missing from communication in which<br />
the message is. merely decoded never given or received. The message<br />
is passed but. there is no exchange between people. The abstract<br />
dimension of meaning. is transmitted while the aspect of reciprocity is<br />
shortcircuited. Irreconcilabillity Baudrillard.. Ours are the eternal<br />
networks this message probably propagating. hundreds or thousands of<br />
news servers and machines in seconds after. submit. Lots of readers...<br />
No guarantee however that it'll ever 'copy'.. The notion of copyright as<br />
exchange is not unproblematic of course you. could always<br />
circumscribe insert an intermediate machine receiving and. forwarding<br />
delaying relaying the exchange if you want to avoid it. and the<br />
authorreceiver line might be machinic alltogether creating. nihilogues<br />
which nobody either writes or reads. Yes but then do they. exist and<br />
who cares Berkeley's 'esse est percipi' might relate since. there's no<br />
fundamentals left only the perceiving receiving. Who is. perceiving the<br />
nihilogues when nobody 'copy' And are their copyrights. being taken<br />
care of by God in the eternal networks Being is perceiving. receiving<br />
copyright a right to be. In short this copyright means the right to be<br />
received not given. since it's already given and so as guest with due<br />
hospitality in the. exchange like 'do you copy do we understand each<br />
other' which also. amounts to a mess of course consensus of mess and<br />
taking care of it.. Take care. K.. (btw legal name Kent MantiesEljot no<br />
deception just a mess up of iso. charset and the eternal Panopticon gaze<br />
50
of the same).. Fwd Call to Artists and other <strong>Re</strong>gular People (dabble). I<br />
would like you to contribute the instruction pieces and I will carry.<br />
(some of) them out in public alley in Boston. ps please instruct any<br />
bugs to me. (this could be nice codeart regularpeople. recursive calls<br />
hang me etc). example. please move any arm like a leg. if you bump<br />
into a wall you're finished. but before completing the gesture. move a<br />
leg just like arm in the example. ))))))). bump end. or some more<br />
advanced structure say nomic metainstructions.. try submit some... a<br />
nice performance would be 'hack me' for interactive dancer hadde ikke.<br />
bek 'hacker' her er målet å overskride begrensningene i ..ja du. forstår..<br />
dette er mer sånn rett på grensene utmanøvrere. baked. what about a 'hello<br />
world' musical breakdance asciiart lies down on. broadway. (uhm ge<br />
some sleep...sorry this messg the obvious). the forward. Start of<br />
forwarded message. <strong>Re</strong>plyTo Kanarinka. Fwd call Call to Artists and<br />
other <strong>Re</strong>gular. People. apologies for cross postings. please forward to<br />
everyone. hello nettime. Please contribute to my new project public<br />
alley Boston MA USA. public alley is an urban intervention (It<br />
intervenes right into an. alley near my house). <strong>Re</strong>cently I have begun<br />
exploring questions of. potentiality play and public space through the<br />
creation of. FluxusOnolike scores. In this project I would like you to<br />
contribute. the instruction pieces and I will carry (some of) them out in<br />
public. alley. in Boston.. I would like to invite you all to take a moment<br />
to dream up an. instruction piece for public alley in Boston MA USA..<br />
Here's how it works. ) You submit an instruction piece here. ) All<br />
instruction pieces are published in the Gallery of Instructions. ) Then I<br />
choose which pieces to enact (and how many different versions. to.<br />
enact) and those go in the Gallery of Enactments. Thanks in advance<br />
for your participationcollaboration. best wishes. kanarinka. ps please<br />
report any bugs to me. nettimeann mailing list. nettimeannnettime.org.<br />
End of forwarded message. BB Fwd Call to Artists and other <strong>Re</strong>gular<br />
People (dabble). I would like you to contribute the instruction pieces<br />
and I will carry. (some of) them out in public alley in Boston. ps please<br />
instruct any bugs to me. (this could be nice codeart regularpeople.<br />
recursive calls hang me etc). example. please move any arm like a leg.<br />
if you bump into a wall you're finished. but before completing the<br />
gesture. move a leg just like arm in the example. ))))))). bump end. or<br />
some more advanced structure say nomic metainstructions.. try submit<br />
some... a nice performance would be 'hack me' for interactive dancer<br />
hadde ikke. bek 'hacker' her er målet å overskride begrensningene i ..ja<br />
du. forstår.. dette er mer sånn rett på grensene utmanøvrere. baked. what<br />
51
about a 'hello world' musical breakdance asciiart lies down on.<br />
broadway. (uhm ge some sleep...sorry this messg the obvious). the<br />
forward. Start of forwarded message. <strong>Re</strong>plyTo Kanarinka. Fwd call<br />
Call to Artists and other <strong>Re</strong>gular. People. apologies for cross postings.<br />
please forward to everyone. hello nettime. Please contribute to my new<br />
project public alley Boston MA USA. public alley is an urban<br />
intervention (It intervenes right into an. alley near my house). <strong>Re</strong>cently<br />
I have begun exploring questions of. potentiality play and public space<br />
through the creation of. FluxusOnolike scores. In this project I would<br />
like you to contribute. the instruction pieces and I will carry (some of)<br />
them out in public. alley. in Boston.. I would like to invite you all to<br />
take a moment to dream up an. instruction piece for public alley in<br />
Boston MA USA.. Here's how it works. ) You submit an instruction<br />
piece here. ) All instruction pieces are published in the Gallery of<br />
Instructions. ) Then I choose which pieces to enact (and how many<br />
different versions. to. enact) and those go in the Gallery of Enactments.<br />
Thanks in advance for your participationcollaboration. best wishes.<br />
kanarinka. ps please report any bugs to me. nettimeann mailing list.<br />
nettimeannnettime.org. End of forwarded message. . ' '' .. . . ..<br />
BBbek.no. undring alt. hvor utbredt er plantelivnæring analogiene i folks<br />
forestillinger. vekst vokse seg stor og sterk etc livet som plante. det har.<br />
begrensninger fordi planter har røtter. å slå seg til ro blir analogt. med å slå<br />
seg til rot for å vokse bedre. menneskebilde plantebilde.. dessuten må det<br />
komme som en stadig overraskelse at mennesker dør så. plutselig skulle<br />
de ikke heller bare visne bort og alle raske. forandringer er av det onde<br />
elektroner må være små demoner hva med. fotoner fotosyntese sola de er<br />
gode. i det hele tatt vi har for stor. makt til å være planter trær som vokser<br />
bøker som kultiverer uendelig. vi har bokbål virus bomber knapper å<br />
trykke på maskiner. vekst. joda men vi er mennesker ikke planter og<br />
innimellom der dyr og da. er ikke mineralene engang nevnt før nå. og hva<br />
med sjelen og ånden. vekst liv og død eksistens sædcellen som kom på<br />
andreplass idrett. de dramatiserer overlevelse håndballandslaget raider<br />
nabostammen de. vokste ikke sammen. alt eksploderte det er en slags<br />
vekst. plancks. konstant bærekraftig utvikling. og utvikling to bilbomber<br />
utviklet. seg utenfor ambassaden. mennesket er alle tings mål ikke plante<br />
ikke. eksplosjon fenomener har forskjellig hastighet størrelse samfunnet.<br />
er større enn hver enkelt og dermed treigere mer likt planter mens.<br />
grupper av mennesker er mer som dyr dummere men sterkere. i andre.<br />
retningen er ånden som et elektron og ser for seg atomeksplosjonen som.<br />
den høyeste religiøse forening sin skaper sola big pangpang. lenger.<br />
52
framover er lenger bakover større fart er større avstand mindre er. større<br />
forestillingene er speil når du ser foran deg ser du bak deg. som når du ser<br />
utover ser du bakover.. <strong>Re</strong> the art of the book. a call out for help on the<br />
poetics list. i only know that i want to define it as a. place where the<br />
book transcends its two dimensionalityboth literally and. figuratively.. i<br />
posted a suggestion for a book publishing scheme a few days ago<br />
which. might be considered book art at least in some senses. bjorn. A<br />
session with Etaoin Shrdlu. A session with Etaoin Shrdlu. Winograd<br />
Place the red ball inside the cube. Etain Shrdlu What. Place the red ball<br />
inside the cube. I heard. So. It sounded like something from 'Wizard of<br />
Oz' it got me thinking. Fine. Place the heart inside your chest. Ok. Are<br />
there any white things. White things are white. Are there white things<br />
on the ground. I'd call it snow. It's in the air too you'd say it's whiting.<br />
The blue stick is called 'shuffle'. You're mad I'm not touching it. Pick<br />
up the cross. Go to hell. What is. Are you trying to pick me up with<br />
analytics. What is politics. In the white cube. What else is in the white<br />
cube. Nothing. Where are the weapons of mass destruction. Artificial<br />
intelligence. God bless America. I don't understand. The first<br />
International Robot Day feb. On Terry Winograd's Etaoin Shrdlu ' AI<br />
system. Code and its Double (in relation to brain asymmetry). Code and<br />
its Double (cont'd). Codework in relation to brain asymmetry and<br />
neuropsychology. The results of studies of nonhuman species show that<br />
lateral. asymmetry is a property not unique to humans. The<br />
demonstration of. asymmetry in nonhuman brains implies that<br />
asymmetry in the human. brain is directly related neither to handedness<br />
nor to language but. rather to analysis of sensory information and<br />
control of movement.. Comment Asymmetry is at the code level<br />
processing information in. double modi.. Brain asymmetry summary<br />
From these basic ideas about distinct. functions of the two hemispheres<br />
has arisen the idea that the. hemispheres represent two distinct modes<br />
of cognitive processing (see. Springer and Deutch).The left hemisphere<br />
operates in a more. logicalanalyticalcomputerlike fashionanalyzing<br />
stimuli input. sequentially and abstracting the relevant details to which<br />
it attaches. verbal labels.The right hemisphere is primarily a<br />
synthesizermore. concerned with the overall stimulus configurationand<br />
organizes and. processes information as gestaltsor wholes.. Comment<br />
Brain asymmetry correlations to codework jot version. Left hemisphere<br />
time analysis language symbol code text. instruction execution ......<br />
Right hemisphere space synthesis matter data ambience. context surface<br />
code diffusion ...... Laterality leads to the notion that two different<br />
53
minds control our. behavior.. Comment Which doesn't mean they can<br />
be separated. Code's double are. the twofold of information processing<br />
time and spacebased which. correlates to code as languageformatives<br />
and code as matterform. or again as instruction and data in the<br />
interpreting machine.. The left hemisphere plays a special role in<br />
producing and. understanding language.. whereas the right hemisphere<br />
specializes in. perceiving and synthesizing nonverbal information...<br />
Comment Code and its double as text and context or as other.<br />
traditional dichotomies activepassive lightshadow orderchaos. the<br />
onethe other intelligencemonster etc. which is also reflected. in the<br />
traditional meaning of sinister as left ie. righthemisphere.. Stimulation<br />
can produce what Penfield called interpretive and. Stimulation can<br />
produce what Penfield called interpretive and<br />
54
189<br />
experiential responses.These uncommon but often highly reliable.<br />
phenomena include alterations in the interpretation of the patients.<br />
surroundingssuch as deja vufearand dreaming states and the.<br />
reproduction of visual or auditory aspects of specific earlier.<br />
experiences.That patients report specific memories in response to.<br />
specific stimulation. These phenomena usually arise from tissue.<br />
showing epileptogenic dischargebut there is an asymmetry in their.<br />
occurrencestimulation of the right temporal lobe produces these.<br />
phenomena more frequently than does stimulation of the left temporal.<br />
lobewhich suggests that the right hemisphere has perceptual functions.<br />
not shared by the left.. The Kimura experiments imply that the left<br />
hemisphere is specialized. for processing languagerelated<br />
soundswhereas the right hemisphere. processes musicrelated<br />
sounds.There ishoweveranother. interpretation.It is possible that the<br />
asymmetry is related to the. temporal or spectral structure of the sounds<br />
their rhythm and. frequency rather than to language and music<br />
themselves.Considerfor. examplethe finding by Papcun and colleagues.<br />
They showed that. Morsecode operators have a rightear superiority for<br />
the perception. of the codeeven though the sounds are distinguished<br />
only by their. temporal structure.. Comment The temporal is on the<br />
code source side of running code. executables performatives which<br />
refracts into space code matter. spectrum specters. There's no<br />
fundamental difference like instruction. is also data but of interpretation<br />
processing speed frequencies. and like the continuum of spacetime..<br />
Rudel and coworkers found that both blind and sighted subjects read.<br />
Braille more rapidly with the left hand.Some children are actually.<br />
fluent readers with the left hand but are totally unable to read with. the<br />
right.Because Braille patterns are spatial configurations of dots. this<br />
observation is congruent with the proposal that the right. hemisphere<br />
has a role in processing spatial information that is not. shared by the<br />
left.. Comment Code and its double ar both active both coded though<br />
the. former often is interpreted as instruction and the latter as data. or<br />
light and shadow.. Table. Summary of data on cerebral lateralization.<br />
55
Function Left hemisphere Right hemisphere. Visual system Letters<br />
words Complex geometric patterns. Faces. Auditory system<br />
Languagerelated Nonlanguage environmental sound. sound Music.<br />
Somatosensory Tactile recognition of complex. system patterns Braille.<br />
Movement Complex voluntary Movements in spatial patterns.<br />
movement. Memory Verbal memory Nonverbal memory. Language<br />
Speech Prosody. <strong>Re</strong>ading. Writing. Arithmetic. Spatial Geometry.<br />
processes Sense of direction. Mental rotation of shapes. Several authors<br />
(for exampleEfron)have suggested that it is not. motor control itself that<br />
is located in the left hemisphere but rather. the capacity for the fine<br />
resolution of stimuli in time.. Comment Which is again to state code's<br />
inseparability in spacetime. as speed and matter running code and<br />
output.. Zatorre proposed that the auditory cortices in the two.<br />
hemispheres are therefore specialized such that temporal resolution is.<br />
better in the left and spectral resolution is better in the right. auditory<br />
areas.. Comment Or again like the theater and its double as time and<br />
spectrum.. Rather than specifying different processing of specified.<br />
psychological processesother specialization models focus on the. idea<br />
that the two hemispheres might process information in distinctly.<br />
different ways.. Comment Which is basically code and its double.. The<br />
first clear proposal of different information processing was. made by<br />
Josephine Semmes in .On the basis of the results of her. previous<br />
studies of World War II veterans suffering from penetrating. brain<br />
injuriesSemmes concluded that the left hemisphere functions as. a<br />
collection of focalized regionswhereas the right hemisphere. functions<br />
more diffusely.. Comment No comment.. A large lesion of the right<br />
hemisphere produces many more. deficits than would be predicted from<br />
the total of smaller lesions. because an entire functional field is<br />
removed.A large lesion of the. left hemisphere produces many deficits<br />
simply because many small focal. regions have been destroyed that isin<br />
the left hemisphere the total. is equal to the sum of the parts. Semmes<br />
proposed that this. differential organization of the two hemispheres is<br />
advantageous for. efficient control of their respective functions.The<br />
diffuse. organization of the right hemisphere is seen as advantageous<br />
for. spatial abilitiesbecause spatial analysis requires that different.<br />
sensations (visualauditory tactile)be integrated into a single.<br />
percept.Language functionsin contrastremain discrete individual. units<br />
in the left hemisphere.. Comment Code and its double creates and<br />
maintains different domains. different magnitudes and spectrums of<br />
frequencies.. People use the word sinister as a synonym for wicked or.<br />
56
evil.Originally a Latin word meaning lefthand sideour contemporary.<br />
English meaning implies that lefthandedness has been historically.<br />
viewed at best as strange or unusual.. Comment Which is to say that<br />
code's double has its own intelligence. far from being dead output from<br />
executions.. At least six significant behavioral differences are sex.<br />
relatedverbal ability visuospatial analysismathematical.<br />
abilityperceptionmotor skillsand aggression.Although the precise.<br />
causes of cognitive sexrelated differences are unknownbiology likely.<br />
plays a part.Consider the following dataRichard Harshman and his.<br />
associatesin a very ambitious study of the interaction of sex and.<br />
handedness in cognitive abilitiesfound a significant interaction.<br />
between sex and handednessthat issexrelated differences in verbal. and<br />
visuospatial behavior vary as a function of handedness.(<strong>Re</strong>call. that<br />
Witelson found that callosal size also varies by sex and. handedness.)It<br />
is difficult to imagine how biological or environmental. factors alone<br />
could account for this result.It is thus very plausible. account for<br />
sexrelated differences partly by neurological. factors that may be<br />
modulated by the environment.. Comment Introducing gender issues in<br />
codework.. In an analysis of reading skillsDennis and her coworkers<br />
found that. both hemispheres had almost equal ability in higherorder<br />
reading. comprehension howeverthe left hemisphere is superior to the<br />
right in. reading and spelling unfamiliar words and in using sentence<br />
structure. achieve fluent reading. The left hemisphere also reads prose.<br />
passages with greater decoding accuracy more fluencyand fewer errors.<br />
that violate the semantic and syntactic struc ture of the. sentence.The<br />
superiority of the left hemisphere seems to be its. ability to manipulate<br />
and exploit language rules.Yet the right. hemisphere is not without its<br />
strengths in language.Performance is. better with the right hemisphere<br />
in a task that requires learning an. association between nonsense words<br />
and symbols.. Comment Parsing and (re)integration of code code<br />
working on code. as instruction or data data as instruction or instruction<br />
as data.. In summarizing the results of studies on languageDennis<br />
suggests. that if written language structure is thought of as a<br />
combination of. meaning cues (morphology)sound cues<br />
(phonology)and picture cues. (logography) then the isolated left<br />
hemisphere will show superior. performance with morphology and<br />
phonology and inferior performance. with logographic cues.The<br />
isolated right hemisphere will show superior. performance with<br />
logographic cues and inferior performance with. morphological and<br />
phonological cues. Kohn and Dennis found an almost. analogous<br />
57
pattern of results on tests of visuospatial function.They. observed<br />
thatalthough patients with right hemispherectomies. performed<br />
normally on simple tests of visuospatial functions such as. drawingthey<br />
were significantly impaired on complex tests such as. negotiating a<br />
maze and reading a map.. Comment The time of code and space of its<br />
double.. To summarizeeach hemisphere can assume some of its<br />
opposite s. functions if the opposite hemisphere is removed in he course<br />
of. development but neither hemisphere is totally capable of mediating.<br />
all of the missing hemispheres functions.Thusalthough the. developing<br />
brain gives evidence of considerable plasticitythere is. convincing<br />
evidence against equipotentiality both hemispheres appear. have a<br />
processing capacity that probably has an innate structural. basis..<br />
Comment Which is to state code's doubleness the interweaving of.<br />
different processing interpreted instruction or data for each other.. All<br />
models of cerebral development must answer he question of how.<br />
functions become restricted to one hemisphere rather than becoming.<br />
bilateral. The interactive paralleldevelopment hypothesis answers. that<br />
question. In a series of papersMorris Moscovitch emphasized the.<br />
possibility that one hemisphere actively inhibits the otherthus.<br />
preventing the contralateral hemisphere from developing similar.<br />
functions. This active inhibition presumably develops at about age. as<br />
the corpus callosum becomes functional. as inhibitor. Comment In<br />
regard to codework the corpus callosum is the mediator. and inhibitor<br />
of code from its double and occupies the border between. sense and<br />
surface time and space source code and code source speed. and matter<br />
and assures their workings by inhibiting selfreference. (code as<br />
nothing) and decoding (of the double) producing meaning and.<br />
remains.. From Fundamentals of Human Neuropsychology Fifth<br />
Edition.. Bryan Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta.<br />
Cerebral asymmetry. Variations in cerebral asymmetry. <strong>Re</strong> codework<br />
(KristevaEco). Hi I honestly don't have time for a long reply I just got<br />
back from a. conf. with messages I have to deal with not spam. But if<br />
you look at. Kristeva's <strong>Re</strong>volution in Poetic Language you'll see a<br />
lengthy treatment of. Maldoror especially the unabridged Fr. version<br />
and a great deal of this. is a combination of psychoanalytics and<br />
semiotics which she employs as. well. This can be combined with Eco.<br />
You'd have to look at the book it's hardly reductionist. Same with.<br />
Greimas etc. Alan. I have read it and I find Eco and all such semiotic<br />
models of language. reductionist. Where does a text like Lautreamont's<br />
Maldoror fit into Eco's. scheme Where do the texts of the insane<br />
58
Language is not only about signals. (Eco's signfunctions) and their<br />
corresponding behavioral responses. There. is a form of dark matter in<br />
language that never gets touched upon by. semiotics. It is where signals<br />
get crossed elided broken down and too. often dismissed in semiotics as<br />
gibberish or noise. Eco's approach is good. for analyzing highclass<br />
linear detective novels like the ones he writes. but it falls apart on texts<br />
that don't make the rage of interpretation their. goal. Like all models of<br />
the world semiotics fits some things well and. other things badly and<br />
the things it fits badly happen to be precisely the. things I care most<br />
about right now in the making of art. Maybe somebody. could propose<br />
a new nonlinear model of semiotics or better a chaotic one. that would<br />
extend the field into a place that might be interesting. But. Eco's views<br />
on language are too restrictive for me and don't carry me to. the places<br />
I want to go.. Greimas deals with a much wider range of issues than<br />
semiotics in his work. and I prefer him to Eco. Even so there is still<br />
much in the making of art. that Greimas doesn't take into account. (Not<br />
that I can recall anything. specifically that I could critique off the top of<br />
my pointy little head. .. .) Linguistics still only skims the surface of<br />
art's deepest concerns so I. guess the question is should an artist be<br />
content with merely skimmed. surfaces Or should he dive headlong into<br />
the deep waters where theories. fear to tread I guess some of us are<br />
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse<br />
speaking for myself despite my wooden leg.. I am taking a breather<br />
here to let others get into the conversation if they. wish. Feel free to tear<br />
me to pieces if you wish. m. <strong>Re</strong> codework (KristevaEco) (fwd). Hi I<br />
honestly don't have time for a long reply I just got back from a. conf.<br />
with messages I have to deal with not spam. But if you look at.<br />
Kristeva's <strong>Re</strong>volution in Poetic Language you'll see a lengthy<br />
treatment of. Maldoror especially the unabridged Fr. version and a great<br />
deal of this. is a combination of psychoanalytics and semiotics which<br />
she employs as. well. This can be combined with Eco. You'd have to<br />
look at the book it's hardly reductionist. Same with. Greimas etc. Alan.<br />
I have read it and I find Eco and all such semiotic models of language.<br />
reductionist. Where does a text like Lautreamont's Maldoror fit into<br />
Eco's. scheme Where do the texts of the insane Language is not only<br />
about signals. (Eco's signfunctions) and their corresponding behavioral<br />
responses. There. is a form of dark matter in language that never gets<br />
touched upon by. semiotics. It is where signals get crossed elided<br />
broken down and too. often dismissed in semiotics as gibberish or<br />
noise. Eco's approach is good. for analyzing highclass linear detective<br />
59
novels like the ones he writes. but it falls apart on texts that don't make<br />
the rage of interpretation their. goal. Like all models of the world<br />
semiotics fits some things well and. other things badly and the things it<br />
fits badly happen to be precisely the. things I care most about right now<br />
in the making of art. Maybe somebody. could propose a new nonlinear<br />
model of semiotics or better a chaotic one. that would extend the field<br />
into a place that might be interesting. But. Eco's views on language are<br />
too restrictive for me and don't carry me to. the places I want to go..<br />
Greimas deals with a much wider range of issues than semiotics in his<br />
work. and I prefer him to Eco. Even so there is still much in the making<br />
of art. that Greimas doesn't take into account. (Not that I can recall<br />
anything. specifically that I could critique off the top of my pointy little<br />
head. .. .) Linguistics still only skims the surface of art's deepest<br />
concerns so I. guess the question is should an artist be content with<br />
merely skimmed. surfaces Or should he dive headlong into the deep<br />
waters where theories. fear to tread I guess some of us are Ahabs and<br />
some of us are Ishmaels. I. favor the crazy Ahab impulse speaking for<br />
myself despite my wooden leg.. I am taking a breather here to let others<br />
get into the conversation if they. wish. Feel free to tear me to pieces if<br />
you wish. m. Kristeva's Prolegomenon to <strong>Re</strong>volution in Poetic<br />
Language (from Art in. Theory ). A materialist foundation to dialectical<br />
logic a theory of signification. based on the subject his formation.. to<br />
perceive a signifying practice which. although produced in language is<br />
only intelligible through it.. attests to a. 'crisis' of social structures...<br />
For the capitalist mode of production produces and marginalizes but.<br />
simultaneously exploits for its own regeneration on of the most<br />
spectacular. shatterings of discourse.. can also integrate their process<br />
qua process. As. art this shattering can display the productive basis of<br />
subjective and. ideological signifying formations a foundation that<br />
primitive societies call. 'sacred' and modernity has rejected as<br />
schizophrenia.. point to the very. process of signifiance. Magic..<br />
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the<br />
subject and his communicative structures.. If there exists a 'discourse'<br />
which is not a mere depository of thin. linguistic layers.. or testimony<br />
of a withdrawn body.. and instead.. a. practice..the sum of unconscious<br />
subjective.. in gestures of confrontation and. appropriation destruction<br />
and construction productive violence in short. .. it is the text.. The text<br />
is a practice that could be compared to political revolution.. We. shall<br />
call this heterogeneous practice signifiance to indicate on the one. hand<br />
that biological urges are socially controlled directed and organized.<br />
60
producing an excess with regard to socially apparatuses and on the<br />
other hand. that this instinctual operation becomes a practice a<br />
transformation of. natural and social resistances limitations and<br />
stagnations if and only if. it enters into the code of linguistic and social<br />
communication.. What we call signifiance then is precisely this<br />
unlimited and unbounded. generating process this unceasing operation<br />
of the drives towards in and. through language towards in and through<br />
the exchange system and its. protagonists the subject and his<br />
institutions. This heterogeneous process. neither anarchic fragmented<br />
foundation nor schizophrenic blockage is a. structuring practice a<br />
passage to the outer boundaries of the subject and. society. Then and<br />
only then can it be jouissance and revolution.. Some comments. what I<br />
understand what Kristeva terms a 'practice' of 'text' amounts.<br />
somewhat to Sondheim's 'codework' (almost literal the working of<br />
code. coding of work). It is codework if and only if it enters into the<br />
code of. lingustic and social communication otherwise maybe as<br />
'workcode' it is. 'signifiance' the making meaning and crisis in the<br />
structure of 'text'.. 'Text' is composed of signifiance and practice<br />
which are two sides like the. working of code (signifiance) vs. coding<br />
of work (practice).. My understanding of Eco from the earlier post. Eco<br />
A sign is always an element of an expression plane<br />
CONVENTIONALLY. CORRELATED to one (or several) elements of<br />
a content plane.. A codesign is always an element of an expression<br />
plane CODIFIED to one (or. several) elements of a content plane.. Sign<br />
is convention codesign is interpretation or as. Signs have automatic<br />
interpretations.. Codesigns have problematic conventions.. Codesigns<br />
are unconventional interpreted signs.. In my understanding of Eco and<br />
Kristeva. What Eco calls 'conventionally correlation' in the<br />
signification is the same. as 'codify' where the conventions are<br />
problematic interpretative it's still. the same signification process going<br />
on but of different complexity.. And an important thing the<br />
'conventional correlation' isn't this just the. signification process again<br />
in case Eco is actually defining the sign. recursively loopy which would<br />
fit in with Kristeva's notion and which was my. point to say in the<br />
earlier Eco response that the 'sign' is purely virtual. it never takes place<br />
the expression plane never meets the content plane the. 'conventional<br />
correlation' is a chasm or synapse or bridge and where all. the Kristeva<br />
shattering break in or is transmitted or runs under. Eco's sign. is never<br />
complete the problem is the 'conventional correlation' which is the.<br />
sign itself so it never ends. Codework and Kristeva's practice of text is.<br />
61
working in that loophole it's a vertical chasm and crisis in the more.<br />
horisontal networks of significations. In short then the sign is open and.<br />
codework is wryting it.. In relation to what I called code and its double<br />
the double would be the. vertical plane (chasm shadow code) to the<br />
horisontal plane (surface. figure double). Yes I inverted that on purpose<br />
in a way the double is the. residue which is the sign a mere product a<br />
doubling of the code which is. the shadow. The sign is virtual a<br />
doublenature of expression and content. which is never complete and<br />
the code is the stuff making up the chasm between. and also making the<br />
sign (code then is the virtuality of the sign) as all. signs are coded and<br />
can not be decoded or the sign would be like nothing.. In another view<br />
the sign is the double and the code is nothing the sign is. something<br />
while code is nothing which would be both's virtuality and. signifiance.<br />
In reality it is opposite sign is nothing and code is. everything which is<br />
their practice.. So maybe it turns out that 'code and its double' and<br />
'code as nothing' fit with. Kristeva's 'signifiance' and 'practice' of<br />
'text'. signifiance double. virtuality of code (code is doubled into sign)<br />
and practice nothing reality. of code (sign is 'doubled' into nothing<br />
reversed) maybe what Charles Baldwin. called the doubleness's<br />
double.. And what about the analogy of brain asymmetry in this It<br />
would simplify to the. left hemisphere doing significations and the right<br />
doing practice. The. sinisters are revolutionary in Kristeva's sense ) The<br />
signifiance of the. left's symbolmachine's unlimited and unbounded<br />
generating process through. language and the heterogeneous process of<br />
the right is a structuring. practice a passage to the outer boundaries of<br />
the subject and society. The. timespacebias of leftright would be the<br />
unceasing operations of running. code (time) becoming a practice a<br />
transformation of natural and social. linguistics limitations stagnations<br />
(space). Maybe pushing the analogy too. hard but the asymmetry<br />
suggests a slightly different processing or texting. into<br />
signifiancecoding maybe extrapolating that the right is more.<br />
codedmattered and the left more signifieddialectical. And so on ad.<br />
absurdum.. Did I understand this Well it was written<br />
(signifiancepractice).. Btw Eco wasn't mentioned in the Art in Theory<br />
book well neither was Peirce. so they're more into linguistic and<br />
language philosophy while Kristeva's. rhetoric into art and the<br />
revolutionary side which could be another way of. stating the notion of<br />
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial<br />
use without permission. is a moderated mailing list for net criticism.<br />
collaborative text filtering and cultural politics of the nets. more info<br />
62
majordomobbs.thing.net and info nettimel in the msg body. <strong>Re</strong><br />
codework (KristevaEco) (fwd). Hi I honestly don't have time for a long<br />
reply I just got back from a. conf. with messages I have to deal with not<br />
spam. But if you look at. Kristeva's <strong>Re</strong>volution in Poetic Language<br />
you'll see a lengthy treatment of. Maldoror especially the unabridged<br />
Fr. version and a great deal of this. is a combination of psychoanalytics<br />
and semiotics which she employs as. well. This can be combined with<br />
Eco. You'd have to look at the book it's hardly reductionist. Same with.<br />
Greimas etc. Alan. I have read it and I find Eco and all such semiotic<br />
models of language. reductionist. Where does a text like Lautreamont's<br />
Maldoror fit into Eco's. scheme Where do the texts of the insane<br />
Language is not only about signals. (Eco's signfunctions) and their<br />
corresponding behavioral responses. There. is a form of dark matter in<br />
language that never gets touched upon by. semiotics. It is where signals<br />
get crossed elided broken down and too. often dismissed in semiotics as<br />
gibberish or noise. Eco's approach is good. for analyzing highclass<br />
linear detective novels like the ones he writes. but it falls apart on texts<br />
that don't make the rage of interpretation their. goal. Like all models of<br />
the world semiotics fits some things well and. other things badly and<br />
the things it fits badly happen to be precisely the. things I care most<br />
about right now in the making of art. Maybe somebody. could propose<br />
a new nonlinear model of semiotics or better a chaotic one. that would<br />
extend the field into a place that might be interesting. But. Eco's views<br />
on language are too restrictive for me and don't carry me to. the places<br />
I want to go.. Greimas deals with a much wider range of issues than<br />
semiotics in his work. and I prefer him to Eco. Even so there is still<br />
much in the making of art. that Greimas doesn't take into account. (Not<br />
that I can recall anything. specifically that I could critique off the top of<br />
my pointy little head. .. .) Linguistics still only skims the surface of<br />
art's deepest concerns so I. guess the question is should an artist be<br />
content with merely skimmed. surfaces Or should he dive headlong into<br />
the deep waters where theories. fear to tread I guess some of us are<br />
Ahabs and some of us are Ishmaels. I. favor the crazy Ahab impulse<br />
speaking for myself despite my wooden leg.. I am taking a breather<br />
here to let others get into the conversation if they. wish. Feel free to tear<br />
me to pieces if you wish. m. Kristeva's Prolegomenon to <strong>Re</strong>volution in<br />
Poetic Language (from Art in. Theory ). A materialist foundation to<br />
dialectical logic a theory of signification. based on the subject his<br />
formation.. to perceive a signifying practice which. although produced<br />
in language is only intelligible through it.. attests to a. 'crisis' of social<br />
63
structures... For the capitalist mode of production produces and<br />
marginalizes but. simultaneously exploits for its own regeneration on of<br />
the most spectacular. shatterings of discourse.. can also integrate their<br />
process qua process. As. art this shattering can display the productive<br />
basis of subjective and. ideological signifying formations a foundation<br />
that primitive societies call. 'sacred' and modernity has rejected as<br />
schizophrenia.. point to the very. process of signifiance. Magic..<br />
esoterism.. 'incomprehensible' poetry.. the. process that exceeds the<br />
subject and his communicative structures.. If there exists a 'discourse'<br />
which is not a mere depository of thin. linguistic layers.. or testimony<br />
of a withdrawn body.. and instead.. a. practice..the sum of unconscious<br />
subjective.. in gestures of confrontation and. appropriation destruction<br />
and construction productive violence in short. .. it is the text.. The text<br />
is a practice that could be compared to political revolution.. We. shall<br />
call this heterogeneous practice signifiance to indicate on the one. hand<br />
that biological urges are socially controlled directed and organized.<br />
producing an excess with regard to socially apparatuses and on the<br />
other hand. that this instinctual operation becomes a practice a<br />
transformation of. natural and social resistances limitations and<br />
stagnations if and only if. it enters into the code of linguistic and social<br />
communication.. What we call signifiance then is precisely this<br />
unlimited and unbounded. generating process this unceasing operation<br />
of the drives towards in and. through language towards in and through<br />
the exchange system and its. protagonists the subject and his<br />
institutions. This heterogeneous process. neither anarchic fragmented<br />
foundation nor schizophrenic blockage is a. structuring practice a<br />
passage to the outer boundaries of the subject and. society. Then and<br />
only then can it be jouissance and revolution.. Some comments. what I<br />
understand what Kristeva terms a 'practice' of 'text' amounts.<br />
somewhat to Sondheim's 'codework' (almost literal the working of<br />
code. coding of work). It is codework if and only if it enters into the<br />
code of. lingustic and social communication otherwise maybe as<br />
'workcode' it is. 'signifiance' the making meaning and crisis in the<br />
structure of 'text'.. 'Text' is composed of signifiance and practice<br />
which are two sides like the. working of code (signifiance) vs. coding<br />
of work (practice).. My understanding of Eco from the earlier post. Eco<br />
A sign is always an element of an expression plane<br />
CONVENTIONALLY. CORRELATED to one (or several) elements of<br />
a content plane.. A codesign is always an element of an expression<br />
plane CODIFIED to one (or. several) elements of a content plane.. Sign<br />
64
is convention codesign is interpretation or as. Signs have automatic<br />
interpretations.. Codesigns have problematic conventions.. Codesigns<br />
are unconventional interpreted signs.. In my understanding of Eco and<br />
Kristeva. What Eco calls 'conventionally correlation' in the<br />
signification is the same. as 'codify' where the conventions are<br />
problematic interpretative it's still. the same signification process going<br />
on but of different complexity.. And an important thing the<br />
'conventional correlation' isn't this just the. signification process again<br />
in case Eco is actually defining the sign. recursively loopy which would<br />
fit in with Kristeva's notion and which was my. point to say in the<br />
earlier Eco response that the 'sign' is purely virtual. it never takes place<br />
the expression plane never meets the content plane the. 'conventional<br />
correlation' is a chasm or synapse or bridge and where all. the Kristeva<br />
shattering break in or is transmitted or runs under. Eco's sign. is never<br />
complete the problem is the 'conventional correlation' which is the.<br />
sign itself so it never ends. Codework and Kristeva's practice of text is.<br />
working in that loophole it's a vertical chasm and crisis in the more.<br />
horisontal networks of significations. In short then the sign is open and.<br />
codework is wryting it.. In relation to what I called code and its double<br />
the double would be the. vertical plane (chasm shadow code) to the<br />
horisontal plane (surface. figure double). Yes I inverted that on purpose<br />
in a way the double is the. residue which is the sign a mere product a<br />
doubling of the code which is. the shadow. The sign is virtual a<br />
doublenature of expression and content. which is never complete and<br />
the code is the stuff making up the chasm between. and also making the<br />
sign (code then is the virtuality of the sign) as all. signs are coded and<br />
can not be decoded or the sign would be like nothing.. In another view<br />
the sign is the double and the code is nothing the sign is. something<br />
while code is nothing which would be both's virtuality and. signifiance.<br />
In reality it is opposite sign is nothing and code is. everything which is<br />
their practice.. So maybe it turns out that 'code and its double' and<br />
'code as nothing' fit with. Kristeva's 'signifiance' and 'practice' of<br />
'text'. signifiance double. virtuality of code (code is doubled into sign)<br />
and practice nothing reality. of code (sign is 'doubled' into nothing<br />
reversed) maybe what Charles Baldwin. called the doubleness's<br />
double.. And what about the analogy of brain asymmetry in this It<br />
would simplify to the. left hemisphere doing significations and the right<br />
doing practice. The. sinisters are revolutionary in Kristeva's sense ) The<br />
signifiance of the. left's symbolmachine's unlimited and unbounded<br />
generating process through. language and the heterogeneous process of<br />
65
the right is a structuring. practice a passage to the outer boundaries of<br />
the subject and society. The. timespacebias of leftright would be the<br />
unceasing operations of running. code (time) becoming a practice a<br />
transformation of natural and social. linguistics limitations stagnations<br />
(space). Maybe pushing the analogy too. hard but the asymmetry<br />
suggests a slightly different processing or texting. into<br />
signifiancecoding maybe extrapolating that the right is more.<br />
codedmattered and the left more signifieddialectical. And so on ad.<br />
absurdum.. Did I understand this Well it was written<br />
(signifiancepractice).. Btw Eco wasn't mentioned in the Art in Theory<br />
book well neither was Peirce. so they're more into linguistic and<br />
language philosophy while Kristeva's. rhetoric into art and the<br />
revolutionary side which could be another way of. stating the notion of<br />
'art' as the chasms of 'culture'.. Bjorn. distributed via no commercial<br />
use without permission. is a moderated mailing list for net criticism.<br />
collaborative text filtering and cultural politics of the nets. more info<br />
majordomobbs.thing.net and info nettimel in the msg body. <strong>Re</strong><br />
codework (KristevaEco). language is the mechanism whereby you<br />
understand what i'm thinking better. than i do (where 'i' is defined by<br />
those changes for which i is required).. i an interface of signifiance over<br />
our shattered do (where i. mediates sign and fiance (which is double<br />
itself (signifiance (all parents. are married to their children (i am the<br />
priest (the conventional and virtual. (of the chasm (like every<br />
convention is exactly the chasm (that's why. (that's 'why' (what's that<br />
'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). <strong>Re</strong> Codework Eco Aquinas. Sandy<br />
Baldwin Thanks for a very interesting read it blows my mind to. see<br />
that the things are still the same and humbly that my simple. exposition<br />
of Eco's sign as paradoxical based only from Al's short. cites actually<br />
is traceable back to Aquinas (maybe cascading from actus. purus and<br />
prima materia finally).. In addition your article proves to me that a<br />
careful logic intuition. sparse material also can be enough to get into the<br />
core of things. without the proper acacemical frameworks in support.<br />
But that's the joy. of philosophy.. I'm grateful for all the connecting<br />
references I'm commenting short. some from my understanding of Eco<br />
posted earlier which might seem. cryptic without the frameworks for<br />
clarification and confirmation. Bjorn. Charles Baldwin. The inarticulate<br />
cry which seemed to be the voice of light. Hermes. Trismegistus. (the<br />
conventional and virtual (of the chasm (like every convention is.<br />
exactly the chasm))). <strong>Re</strong>fering to the convention of Eco's sign to.<br />
Kristeva's chasm.. The attraction of Aquinas was precisely the answer<br />
66
to how formal. systems participate with the world an answer that deals<br />
with both the. grounds and the exteriority of sign systems. That is<br />
codework was. already the issue though under the guise of aesthetics<br />
rather than code. aesthetics in the older sense of sensation aisthesis and<br />
not. aesthetics in the sense of codified responses or artistic forms or.<br />
rather in the sense of the ground of these responsesforms. (I've.<br />
discussed this elsewhere in relation to code aesthetics.). Comment<br />
Which maybe boils down to time and space like in the. Kantian sense<br />
of aesthetics and which then links to the recent. discussion here<br />
temporalspatial stuff.. The working out of all this is the notion of<br />
manifestation a quasi. mystical translation between proportionalities<br />
enabling the whole. system. (I think here of the relation between code<br />
and AS's notion of. plasma.).. Comment The 'ether' of prerelativistic<br />
physics as the carrier. The. virtual underlying part needed to get the<br />
system going at all.. The paradox here (Panofsky gets this too but it's<br />
crucial to Eco's. semiotics) is the notion that manifestation will clarify<br />
faith clarify. the underlying participation in being but in doing so will<br />
finally. clarify faith (bring it to an end). This impossible need for.<br />
exemplification leads in Panofsky's terms to the POSTULATE OF.<br />
CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving<br />
Panofsky I think it's. possible to see in Eco precisely this paradox<br />
enabling semiotics as an. intraformal economy of proliferating signs.<br />
Everything must be. clarified made into as sign but (also) there always<br />
remains some. unclarity guaranteeing a kind of momentum from being<br />
to sign.. Elaboration i.e. the structures of signs systems arises from.<br />
clarification. Semiotics is clarification not in any particular sign. but in<br />
semiotics itself as the residue of clarification.. Comment Interesting I<br />
refered to the virtuality of the sign (its. impossibility) argued for via the<br />
recursivity of Eco's definition of the. sign ie its paradox endlessness<br />
and from that the relation between. sign and residue code and double<br />
and nothing etc. Eco and information. theory have an understanding of<br />
recursivity and selfreference (via the. speed of light of computers) in<br />
another sense than for Thomists for who. these problems would seem<br />
paradox (and evil).. what degree is Eco's semiotics a concealed<br />
continuation of a Thomist. aesthetics <strong>Re</strong>ad across the trajectory of<br />
Eco's work from the earliest. text through the Theory of Semiotics<br />
every sign is a ghost emanation. of being. Beyond this there's another<br />
related but different history. explaining how the whole thing is staged<br />
rhetorically dissolving. being into performance but that's probably<br />
enough for now.. Comment This all seems to resonate with my simple<br />
67
understanding but. maybe cryptic form also allowing the Kristeva<br />
operations on text to. take place maybe in the ghost emanations from<br />
the virtuality of the. sign and the reality of the code. From my view if<br />
would also be. interesting to know if the rhetorical staging into<br />
performance would. be similar to the idea of code as nothing and how<br />
the whole business. dissolves itself.. Interesting reading keep on by all<br />
means.. <strong>Re</strong> Codework Eco Aquinas (fwd). Sandy Baldwin Thanks for a<br />
very interesting read it blows my mind to. see that the things are still<br />
the same and humbly that my simple. exposition of Eco's sign as<br />
paradoxical based only from Al's short. cites actually is traceable back<br />
to Aquinas (maybe cascading from actus. purus and prima materia<br />
finally).. In addition your article proves to me that a careful logic<br />
intuition. sparse material also can be enough to get into the core of<br />
things. without the proper acacemical frameworks in support. But that's<br />
the joy. of philosophy.. I'm grateful for all the connecting references<br />
I'm commenting short. some from my understanding of Eco posted<br />
earlier which might seem. cryptic without the frameworks for<br />
clarification and confirmation. Bjorn. Charles Baldwin. The inarticulate<br />
cry which seemed to be the voice of light. Hermes. Trismegistus. (the<br />
conventional and virtual (of the chasm (like every convention is.<br />
exactly the chasm))). <strong>Re</strong>fering to the convention of Eco's sign to.<br />
Kristeva's chasm.. The attraction of Aquinas was precisely the answer<br />
to how formal. systems participate with the world an answer that deals<br />
with both the. grounds and the exteriority of sign systems. That is<br />
codework was. already the issue though under the guise of aesthetics<br />
rather than code. aesthetics in the older sense of sensation aisthesis and<br />
not. aesthetics in the sense of codified responses or artistic forms or.<br />
rather in the sense of the ground of these responsesforms. (I've.<br />
discussed this elsewhere in relation to code aesthetics.). Comment<br />
Which maybe boils down to time and space like in the. Kantian sense<br />
of aesthetics and which then links to the recent. discussion here<br />
temporalspatial stuff.. The working out of all this is the notion of<br />
manifestation a quasi. mystical translation between proportionalities<br />
enabling the whole. system. (I think here of the relation between code<br />
and AS's notion of. plasma.).. Comment The 'ether' of prerelativistic<br />
physics as the carrier. The. virtual underlying part needed to get the<br />
system going at all.. The paradox here (Panofsky gets this too but it's<br />
crucial to Eco's. semiotics) is the notion that manifestation will clarify<br />
faith clarify. the underlying participation in being but in doing so will<br />
finally. clarify faith (bring it to an end). This impossible need for.<br />
68
exemplification leads in Panofsky's terms to the POSTULATE OF.<br />
CLARIFICATION FOR CLARIFICATION'S SAKE. Leaving<br />
Panofsky I think it's. possible to see in Eco precisely this paradox<br />
enabling semiotics as an. intraformal economy of proliferating signs.<br />
Everything must be. clarified made into as sign but (also) there always<br />
remains some. unclarity guaranteeing a kind of momentum from being<br />
to sign.. Elaboration i.e. the structures of signs systems arises from.<br />
clarification. Semiotics is clarification not in any particular sign. but in<br />
semiotics itself as the residue of clarification.. Comment Interesting I<br />
refered to the virtuality of the sign (its. impossibility) argued for via the<br />
recursivity of Eco's definition of the. sign ie its paradox endlessness<br />
and from that the relation between. sign and residue code and double<br />
and nothing etc. Eco and information. theory have an understanding of<br />
recursivity and selfreference (via the. speed of light of computers) in<br />
another sense than for Thomists for who. these problems would seem<br />
paradox (and evil).. what degree is Eco's semiotics a concealed<br />
continuation of a Thomist. aesthetics <strong>Re</strong>ad across the trajectory of<br />
Eco's work from the earliest. text through the Theory of Semiotics<br />
every sign is a ghost emanation. of being. Beyond this there's another<br />
related but different history. explaining how the whole thing is staged<br />
rhetorically dissolving. being into performance but that's probably<br />
enough for now.. Comment This all seems to resonate with my simple<br />
understanding but. maybe cryptic form also allowing the Kristeva<br />
operations on text to. take place maybe in the ghost emanations from<br />
the virtuality of the. sign and the reality of the code. From my view if<br />
would also be. interesting to know if the rhetorical staging into<br />
performance would. be similar to the idea of code as nothing and how<br />
the whole business. dissolves itself.. Interesting reading keep on by all<br />
means.. <strong>Re</strong> codework (KristevaEco) (fwd). language is the mechanism<br />
whereby you understand what i'm thinking better. than i do (where 'i'<br />
is defined by those changes for which i is required).. i an interface of<br />
signifiance over our shattered do (where i. mediates sign and fiance<br />
(which is double itself (signifiance (all parents. are married to their<br />
children ('i' am the priest (the conventional and. virtual (of the chasm<br />
(like every convention is exactly the chasm (that's why. (that's 'why'<br />
(what's that 'why' (i (). ). ). ). ). ). ). ). ). ). ). ). ). <strong>Re</strong> codework<br />
(KristevaEco). Some more conflation on the reversingirreversing<br />
virtualchasmic code. business. (codework and conflation). In this logic<br />
if A B we might assume that B A. Move a book to a. shelf remove it put<br />
it back. The hierarchy emerges as follows.. (book to shelf) (book from<br />
69
shelf). ((book to shelf) (book from shelf)) ((book from shelf). (book to<br />
shelf)). and so forth. One starts constructing graphs with equivalent<br />
and. reversible states.T(bs). The logic reminds of Peirce's law ((A B)<br />
A) A which is kind of. backward logic stating if A implicates B<br />
implicates A then A verifying. the antecendent A by assuming the<br />
reverse implication. Maybe another. interpretation For something to be<br />
the case (worldAbookfromshelf) the. case must derive from the case<br />
implicating the formal (systemBbookto. shelf). I think it expresses the<br />
backwardedness reversibility tautology. virtuality impossibility of<br />
formal systems relating to the world and in. this backward manner<br />
(which relates to code).. Of course T(bs) is temporally bound but<br />
reversible. It's aligned and. allied to a nontemporal mathematics or<br />
mathematical logic. Once the world. enters into the equation once time<br />
becomes an intrinsic part of things. the world is different susceptible to<br />
organism among other things.. arc.hive <strong>Re</strong> codework (KristevaEco).<br />
Some more conflation on the reversingirreversing virtualchasmic code.<br />
business. (codework and conflation). In this logic if A B we might<br />
assume that B A. Move a book to a. shelf remove it put it back. The<br />
hierarchy emerges as follows.. (book to shelf) (book from shelf). ((book<br />
to shelf) (book from shelf)) ((book from shelf). (book to shelf)). and so<br />
forth. One starts constructing graphs with equivalent and. reversible<br />
states.T(bs). The logic reminds of Peirce's law ((A B) A) A which is<br />
kind of. backward logic stating if A implicates B implicates A then A<br />
verifying. the antecendent A by assuming the reverse implication.<br />
Maybe another. interpretation For something to be the case<br />
(worldAbookfromshelf) the. case must derive from the case implicating<br />
the formal (systemBbookto. shelf). I think it expresses the<br />
backwardedness reversibility tautology. virtuality impossibility of<br />
formal systems relating to the world and in. this backward manner<br />
(which relates to code).. Of course T(bs) is temporally bound but<br />
reversible. It's aligned and. allied to a nontemporal mathematics or<br />
mathematical logic. Once the world. enters into the equation once time<br />
becomes an intrinsic part of things. the world is different susceptible to<br />
organism among other things.. <strong>Re</strong> codework (KristevaEco) (fwd). Some<br />
more conflation on the reversingirreversing virtualchasmic code.<br />
business. (codework and conflation). In this logic if A B we might<br />
assume that B A. Move a book to a. shelf remove it put it back. The<br />
hierarchy emerges as follows.. (book to shelf) (book from shelf). ((book<br />
to shelf) (book from shelf)) ((book from shelf). (book to shelf)). and so<br />
forth. One starts constructing graphs with equivalent and. reversible<br />
70
states.T(bs). The logic reminds of Peirce's law ((A B) A) A which is<br />
kind of. backward logic stating if A implicates B implicates A then A<br />
verifying. the antecendent A by assuming the reverse implication.<br />
Maybe another. interpretation For something to be the case<br />
(worldAbookfromshelf) the. case must derive from the case implicating<br />
the formal (systemBbookto. shelf). I think it expresses the<br />
backwardedness reversibility tautology. virtuality impossibility of<br />
formal systems relating to the world and in. this backward manner<br />
(which relates to code).. Of course T(bs) is temporally bound but<br />
reversible. It's aligned and. allied to a nontemporal mathematics or<br />
mathematical logic. Once the world. enters into the equation once time<br />
becomes an intrinsic part of things. the world is different susceptible to<br />
organism among other things.. <strong>Re</strong> codework (KristevaEco). Peirce's<br />
law ((A B) A) A. Can you give a specific source text for this I've never<br />
heard of this law.. I think from Grayling's Introduction to<br />
philososphical logic Ducksworth. haven't the book here. I'm not even<br />
sure how it relates to Al's initial. assumption though it goes beyond<br />
classic analytic logic like a constructing. logic as the hierachies and<br />
game not analysis not connected to reality. and truth. The law connects<br />
to this intuitional logic as it can be proved in. classical as tautology but<br />
not in intuitional logic so relates somewhat to. the tautology of formal<br />
systems discussed... An interesting article on wikipedia on intuitional<br />
logic. There's some discussion of it at a phillogic list becomes technical<br />
hell. Autoreply on. First off the Aquinas material was very. Chasmic.<br />
Commenting on Proportionality of being leading to an aesthetics of.<br />
delight.. Hm this sounds too much like Aristotle's dubious advocacy of<br />
the golden. mean in all things. I favor the Cagean resistance to<br />
proportion and. aesthetics which offers no less delight.. Enlight abide in<br />
the unborn mind and let things take care of themselves. Speaking of<br />
Flavin the artists of the s pretty much exposed. proportionalism if I may<br />
call it that as an artificial construct based on. outmoded conventions of<br />
balance composition etc. In other words it's not. something art needs or<br />
should have and it is certainly not something a. theory of art should<br />
have.. Deem interalized you have to tilT them out again. And don't get<br />
me started on human reason One look at the world today will. reveal<br />
how little human reason impinges on religion. <strong>Re</strong>ason may have<br />
reached. its peak in Aquinas but it's been all downhill from there. . ..<br />
Got artificial intelligence in its stead. Here's Eco from his book the<br />
Limits of Interpretation. Semiotics . . .. has preferred to work on more<br />
traditional narrative works. This is so. because a semiotics of literature<br />
71
was first of all interested in. because a semiotics of literature was first<br />
of all interested in<br />
72
190<br />
acknowledging rules codes and systems of conventions. Given this.<br />
selfimposed limitation I would ask Eco what he supposes would qualify<br />
as. convention as code as rule In other words who decides where to<br />
draw the. line where a text is presumed to cross into incoherence.<br />
Thanks for the cite convention Chiasmic slides. Nymo. <strong>Re</strong> Booksigning<br />
Tour. Hello all. I'm going on a booksigning tour this week. No I don't<br />
have any. publications of my own to sign what I will be doing instead<br />
is. signing the names of other authors into their discarded books at.<br />
various thrift stores in the area. Some of my favorites include. Steven<br />
King sic Tom Clancy Maxine Hong Kingston and John Updike.. So if<br />
you come upon a book signed by the author in a thrift store. or<br />
elsewhere ha ha be aware that it. may be mine.. another thing would be<br />
to mark them mark mark appropriate confiscate. the book by signing<br />
your name in it would they be yours and the stores. your library in you<br />
livingroom another thing would be to tag the. would surely make them<br />
more weird wired maybe a net.book should be. devoted to such<br />
realworld concrete appropriation and dissemination. bringing another<br />
dimension to the practice of tagging. forsew any. prosperous<br />
partencipasion in this schejame.. <strong>Re</strong> Booksigning Tour. Hello all. I'm<br />
going on a booksigning tour this week. No I don't have any.<br />
publications of my own to sign what I will be doing instead is. signing<br />
the names of other authors into their discarded books at. various thrift<br />
stores in the area. Some of my favorites include. Steven King sic Tom<br />
Clancy Maxine Hong Kingston and John Updike.. So if you come upon<br />
a book signed by the author in a thrift store. or elsewhere ha ha be<br />
aware that it. may be mine.. another thing would be to mark them mark<br />
mark appropriate confiscate. the book by signing your name in it would<br />
they be yours and the stores. your library in you livingroom another<br />
thing would be to tag the. would surely make them more weird wired<br />
maybe a net.book should be. devoted to such realworld concrete<br />
appropriation and dissemination. bringing another dimension to the<br />
practice of tagging. forsew any. prosperous partencipasion in this<br />
schejame.. daidalonicsmazpiq. another thing what was the function of<br />
73
the ancient mazes like the. crete labyrinth by daedalus some initiation<br />
rite 'heroic' myth how. does it relate to codework has it some<br />
mythological dimensions. as i think about it the labyrinth is also a<br />
modulation between. the two notions of boundless and deadend and<br />
conceals the relationship. between the terms apeiron and aporia..<br />
Diodorus Siclus notices this. as he describes the labyr. apeiron is<br />
boundless but it is also aporia. without escape.. perhaps the aporia are<br />
like looped subroutines. along the boundless but inescapable path.. its<br />
seems to be somehow. about modulationinterpretation between open<br />
and closed systems... a couple of cites. The role of the cave in<br />
paleolithic religions appears to have been. decidedly important. Then<br />
too the cave and the labyrinth continue to have a. function of the first<br />
importance in the initiation rites of other archaic. cultures (as for<br />
example in Malekula) both indeed are concrete symbols. of passages<br />
into another world of a descent to the underworld p.. mircea. eliade<br />
shamanism.. on 'difficult passages' p. the symbolism of the strait gate<br />
and the dangerous bridge is bound up. with the symbolism of what we<br />
hav called the paradoxical passage because. it sometimes proves to be<br />
an impossibility or a situation from which there. cerain myths<br />
sometimes find themselves in apparently desperate situations.. They<br />
must go where night and day meets or find a gate in a wall or go up. the<br />
sky through a passage that opens but for an instant pass between two.<br />
constantly moving millstones two rocks that clash together through the.<br />
jaws of a monster and the like like supermario etc. As Coomaraswamy.<br />
rightly saw. all these mythical images express the need to transcend.<br />
opposites to abolish the popularity typical of the human condition in.<br />
order to attain the ultimate reality...and so on In the myth the.<br />
paradoxical passage emphatically testififes that he who succedes in.<br />
accomplishing it has transcended the human condition he is a shaman a.<br />
hero or a spirit and indeed the paradoxical passage can be.<br />
accomplished only by one who is spirit.. daidalonics for the posthuman<br />
cyborgs of the world the other ay ). an interesting drum.. the drums has<br />
the world view printed on it which is. their maze adventure 'd' so you'd<br />
have both the processing unit (drum. stick) and the image.. and the<br />
other stuff. chant dance speaking in. tongue curious codework<br />
heuristics eurythmics trying to get out of the. algorithmic... <strong>Re</strong> NULL.<br />
Here's the response to jukka's NULL via code posted by MWP.. Had<br />
to. mutilate the tags for the blog.. The null set is not empty.. A work<br />
following in the footsteps of JP Kervinen's NULL.. htmhead.<br />
headbody. codefont size faceCourier New Courier mono. pre. pre. font.<br />
74
ody. htm. Here's Noemata's question. is this null or not null<br />
specifying font size and all and wonder. about. the pre is there<br />
something in there adding a dot .prepre.. reveals a lot of space<br />
inbetween (which is invisible if you don't code. it).. is the preformatted<br />
the chora of code in the midst of it the. monospace dancefloor. Okay<br />
firstly I think Noemata's question is a little strange.. But when you<br />
consider what I conisder to be an abberrant Isotropy of. the Sememe in<br />
Topic.. snip. The white page in the webpage is. a construct but it. is still<br />
an actuation of refreshes and the work of Hardware so yes. Noemata it<br />
is a chora. and it is a framework all these terms should be fluid... I was<br />
commenting with an idea of the emptiness of code as pure structure<br />
and. found it poetical funny that the pre tags in the midst of code were<br />
not empty. after all but contained a lot of space but which remained<br />
invisible unless you. throwed something in there two small dots which<br />
amounts to a kind of paradox. of body matter space structure space is<br />
created by matter something. becomes empty first when you trow<br />
something into it two coins into a well p. loplop. Sun Mar AM Lanny<br />
Quarles edit. One day Manjushri stood outside the gate when Buddha<br />
called to. him. 'Manjushri Manjushri why do you not enter'. 'I do not<br />
see a thing outside the gate. Why should I enter' Manjushri. replied..<br />
Where is the gate Are you inside or outside the gate. The two dotties<br />
insideoutside pre gate. best. spaghetti kid. chorachoroschros. Whereas<br />
the Chora I refer to is based on the archaeolinguistic analysis. of experts<br />
in the field applied in a romantic sense the nature of. machinic activity<br />
and or molecular activity and the lack of its. separation. via physics<br />
from the ground dancefloor it supposedly happens on. or in other words<br />
the activity within the frame is wholly dependent on. the frame and the<br />
action is indeed as part of the frame as the frame. is apart of the action<br />
ie matter is part and parcel of space it IS. space a form of space and<br />
without spacetime there would be no. matter. This is the sense in which<br />
I use the term chora which is also. realated to chros (body)... Okay<br />
oops. I made a mistake. Chora is a scant space choros. is the dancefloor<br />
space. But it still works the chora is the scant. space separating the<br />
subject from the object man from nature. object from space etc etc...<br />
space i tend to imagine the physical and gravitation let's say the chora<br />
is. the (primordial) matter shaping space by matter itself creating<br />
gravitation. by. spacing itself and then the different levels of unfolding<br />
from big blasts. to. black boxes of pre or postsymbolic spaces. like we<br />
are object with. gravitation being bodies in space the abject as the<br />
gravitational force on. the. bodies shaped by space shaped by matter ref<br />
75
insideoutside frame.. it's a physical logocentric metaphor but then<br />
you'd have antigravitation. codework from the science of imaginary<br />
solutions maybe drift bodies going. through the motions from the<br />
expansion of the void towards the periphery the. pataphysical poetic<br />
metaphor of the same.. chora choros chros matter space body.<br />
gravitation antigravitation force of matter force of void. syllogismo. if<br />
all writing is lack. all horses heads are horses. all tails are tales. <strong>Re</strong><br />
chorachoroschros. the chora is the scant. space separating the subject<br />
from the object man from nature. object from space etc etc... Sorry for<br />
not following this argument as well as I should but isn't this. separation<br />
something we SHOULDN'T be doing I mean separate man from.<br />
nature Not in my worldview. just throwing in some things found on the<br />
web chora is prior to the. separation obviously also here's a more<br />
complete cite from the blog. Whereas the Chora I refer to is based on<br />
the archaeolinguistic analysis. of experts in the field applied in a<br />
romantic sense the nature of. machinic activity and or molecular<br />
activity and the lack of its. separation. via physics from the ground<br />
dancefloor it supposedly happens on. or in other words the activity<br />
within the frame is wholly dependent on. the frame and the action is<br />
indeed as part of the frame as the frame. is apart of the action ie matter<br />
is part and parcel of space it IS. space a form of space and without<br />
spacetime there would be no. matter. This is the sense in which I use<br />
the term chora which is also. realated to chros (body)... Okay oops. I<br />
made a mistake. Chora is a scant space choros. is the dancefloor space.<br />
But it still works the chora is the scant. space separating the subject<br />
from the object man from nature. object from space etc etc... chora a<br />
Platonic term for a matrixlike space that is nourishing unnameable. and<br />
prior to the individual. Chora becomes the focus of the semiotic as the.<br />
'presymbolic.'. semiotic the science of signs (that which creates the<br />
need for. symbolic)cyclical through time pre Oedipal and creates<br />
unrepressed writing.. Exists in children before language acquisition and<br />
has significance.. symbolic the domain of position and judgment<br />
chronologically follows. semiotic. (postOedipal) is the establishment of<br />
a sign system always present. historical time (linear) and creates<br />
repressed writing.. Kristeva perceives the semiotic chora as structural<br />
that is its 'role' is. to. first make a space in which language (as the<br />
underpinning organisation of. socialsymbolic interaction) can then<br />
work. The recalling and momentary. revitalisation of this semiotic<br />
chora in itself is potentially disruptive to. the. patriarchal symbolic<br />
because it ruptures the latter's normality by recalling a. different<br />
76
prelinguistic presymbolic sense of self in which the mother of. the.<br />
Imaginary (feminine) and feelings associated with her are central and.<br />
compelling rather than peripheral and debased. These 'feelings' (bodily<br />
drives. rhythms pulsions pleasures bliss) are never lost and their<br />
memory is held. precariously in check by the patriarchal symbolic.<br />
They can be seen to rise to. the surface through cultural forms in<br />
different ways. For instance they have. been retrieved in readings of<br />
artistic work where their resisting quality may. be. 'accidental' e.g. in<br />
readings of the th century photographs of Julia. Margaret Cameron (see<br />
Mavor ) or the abstract works of Helen Frankenthaler. (Pollock ).<br />
Feminist cultural theorists have exposed the way in which. these.<br />
memories remain to 'trouble' patriarchy revealing how cultural<br />
practices and. stories (films rituals fairy tales myths) replay the moment<br />
of patriarchal. culture's formation in which the possibilities of<br />
'difference' are continually. abjected and repressed (Kristeva Creed<br />
Warner ).. Kristeva believes that the subject can gain access more<br />
readily to the. semiotic. chora through creative musical poetic practices<br />
or even just through vibrant. use of colour (Kristeva ). She sees these<br />
possibilities as already having. their origins in the semiotic chora<br />
recalling a more fluid plural and less. fixed perception of meaning and<br />
self which reactivates feelings lost in the. patriarchal 'rational'.<br />
However Kristeva also makes it clear that the. 'feminine' semiotic<br />
chora is not something outside or beyond language. She. states 'if the<br />
feminine exists it only exists in the order of significance or. signifying<br />
process and it is only in relation to meaning and signification.<br />
positioned as their excess or transgressive other that it exists speaks.<br />
thinks. (itself) and writes (itself) for both sexes'. Thus it is 'different or<br />
other in. relation to language and meaning but nevertheless only<br />
thinkable within the. symbolic' ().. presymbolic within symbolic<br />
framework. However as Kaplan notes 'the childadult never forgets the<br />
world of the. Imaginary and heshe continues to desire unconsciously<br />
the illusionary. oneness with the mother heshe experienced' (). It is this<br />
proposition. that the child clings to those heady pleasures of the 'bliss'<br />
of preOedipal. fusion with the mother that has been central to the<br />
development of a theory of. visual culture. Lacan believed that the child<br />
never forgets its illusionary. oneness with the mother or the 'jouissance'<br />
that this moment entailed a. moment. before the intervention of paternal<br />
law which requires both the control of. 'self' and the<br />
denigrationabjection of the feminine (mother) and the pleasures.<br />
associated with her emotions feelings love.. Briefly Lacan's reworking<br />
77
of the CastrationOedipal complex proposed a. distinction between the<br />
penis as an organ (Freudian) and the phallus as a sign. (Lacan ). He also<br />
theorised a more fluid path to the formation of a. gendered subject. This<br />
reworking offered a 'logical' rather than biological. explanation of<br />
patriarchy whereby it is not the having or not having of the. physical<br />
penis which organises gendered subjectivity under patriarchy but. rather<br />
the way in which its presence or absence (lack) functions as a. signifier.<br />
that is the way in which subjects can make sense of sexual difference is<br />
by. their possession of the 'sign' (phallus) of patriarchal power which<br />
allows. them. place themselves within the symbolic order of patriarchal<br />
culture the so. called Law of the 'Father'. Thus male fear of castration<br />
and of the 'lacking'. woman is a fear of the loss of that power which the<br />
phallus as signifier and. 'maker' of language promises to men..<br />
metaphorical labyrinthings from (solipsis) phaneronoemikon. a digest<br />
with small comments. . labyrinth. the labyrinth as material whose<br />
consequence is form. It could also be thought of as. an inquiry into<br />
archetypal models of information as the material whose. consequence.<br />
is form and therefore lies at the very heart of the architectural<br />
endeavor.. labyrinth as paradox. a. monadologies. An account by<br />
Leibnitz himself of how he had emerged from his labyrinth. with a true<br />
conception of the nature of substance and matter was never. published<br />
as anything even resembling a single article but is to be found in.<br />
Antoine Arnauld Burcher de Volder Nicolas <strong>Re</strong>mond and<br />
Bartholomew. Des Bosses. These are typically to the effect that the<br />
continuum involves. indeterminate parts and is consequently ideal<br />
whereas the actual is a result. of assemblage of discrete units that in<br />
ideal things the whole is prior to the. parts. whereas in actuals the parts<br />
are prior to the whole and that it is the. confusion. of the ideal and the<br />
actual that has embroiled everything and produced the. labyrinth. of the<br />
composition of the continuum.. the relation between the continuum and<br />
the discrete is the theme forming. the. classical paradoxes of<br />
Parmenides and Zenon expressed in Achilles and the. Turtle. where the<br />
slow Turtle wins in the discrete.. is the form of spiral related to the<br />
labyrinth when did the spiral become. labyrinth a continuous labyrinth<br />
vs a discrete labyrinth actualmattering. monadology the great automata.<br />
In short a fluidic and computational. metamorphosis set to iterating<br />
within the continnum an embodied reflection. itself. of the emergence<br />
of matter itself from the quantum foam of particles whose. dance. of<br />
disappearing and reappearing may form the basis for our most sacred<br />
and. archetypal. dreams the epiphaneia of the veil of the absolute. At<br />
78
some point though I. also. realize. like a kind of substance redolent of<br />
molecularity the image is essentially a. mapping. of loose or open<br />
connectors symbolic ports which might be fitted out with a. myriad. of<br />
possible interpretive peripherals and how within the metaphor is a.<br />
recursion. like a seed coiled ready to begin its inscriptive and<br />
generative dance.. the metaphor and recursion being and creating the<br />
labyrinthal. . Babelith. three stages of trance hallucinations and three<br />
metaphors of Ortega. imprintsensation interpretationconsciousness.<br />
Ortega himself often said I and circumstance or Adam in Paradise.<br />
Though. the. language might seem. imply a separation between the<br />
subject and the object its meaning to Ortega. was. in fact a unity.. .<br />
Metaphorest. to not view the forest for all its trees. <strong>Re</strong>ality is linked to a<br />
point of view as Emerson's transparent eyeball. is linked to Boehme's<br />
Divine Imagination is linked to Leibnitz's Monadology is. linked to the<br />
Mind of the Middle Platonists is linked to both the Demiurge of. the.<br />
Timmaeus and also the Demiurges of both Alcinous and Numenious as<br />
well as the. Demiurge of Xenocrates which called his Demiurge the<br />
Monad.. It is in effect. a Natura (A Nature) a Metaphorrest and many of<br />
these linkages are in. disagreement. with one another based in the<br />
reality of perspective and upon their. perspective. upon reality. In<br />
Plotinus' Enneads for example the One is said to look at. himself with a<br />
selflooking identical with his being and to possess a. wakefulness. and a<br />
superintellection as his activity which is identical with his essence.<br />
which. perhaps brings us to the metaphoric creation of the metaphorrest<br />
as something. like Intellect which is not Intellect. A Nature is also the<br />
extension of a. program.. getting out of the algorithmic the 'recipes' of<br />
code. The claim that spacetime computes has nothing at all to do with<br />
symbol. manipulation. (read closely with paradox in mind) or numeric<br />
calculation it says that. physical. processes. are ultimately effective<br />
procedures (i.e. programs) functionally composed of. primitive. natural<br />
operations. Indeed digital metaphysics (fingers) requires us to think.<br />
differently. about programs themselves. . Think of how the Jacquard<br />
loom the player piano. and. even fertilized seeds and eggs are<br />
programmed. Programs are not recipes they. are. dynamic rational<br />
patterns (think of formal and final causes think of. entelechies).. More<br />
precisely programs are orderings of abstract transformations of abstract.<br />
states. of affairs.. Accordingly the FHPGAS program is just as true of<br />
any gas as the. NavierStokes. equation is if it be objected that the<br />
program is a mere simulation (and hence. some. how false or fictional)<br />
it may be replied that the equation is a mere. idealization. (and hence<br />
79
just as fictional and false). At the most basic level however. there. is. no<br />
question of either simulation or idealization nature is what nature does..<br />
Its. existence and functionality are identical each basic element of<br />
nature is the. same. as the program that is true of it.. In the sense that<br />
digital metaphysics offers physical scientists some bricks. (the monads<br />
aka programmable metaphor) out of which it claims they. can build any<br />
kind of house they want (any physically possible world). so too can any<br />
metaphor be programmed to build a physical house. of various<br />
meanings or structure.. . Rinthing the Labyum. Meaning identified<br />
either within the unity or the multiplicity. of the subject structure or<br />
theory necessarily guarantees a certain. transcendence if not a theology<br />
this is precisely why all human knowledge. whether it be that of an<br />
individual subject or of a meaning structure retains. religion as its blind<br />
boundaries or at least as an internal limit and at. best. observed in<br />
connection with structuralism).. Second I shall deal with a particular<br />
signifying practice which like. the Russian Formalists I call poetic<br />
language in order to demonstrate. that this kind of language through the<br />
particularity of its signifying. operations is an unsettling processwhen<br />
not an outright destruction. of the identity of meaning and speaking<br />
subject and consequently. of transcendence or by derivation of religious<br />
sensibility. On that. account it accompanies crises within social<br />
structures and institutions. the moments of their mutation evolution<br />
revolution or disarray.. For if mutation within language and institutions<br />
finds its code through. this signifying practice and its questionable<br />
subject in process that. constitutes poetic languge then that practice and<br />
subject are walking. a precarious tightrope (tieintrope).. along the<br />
borders or over the chasm of the sign. Poetic Language the only<br />
language that uses up transcendence. and theology to sustain itself<br />
poetic language knowingly the. enemy of religion by its very common<br />
borders on psychosis. (as for its subject) and totalitarianism or fascism<br />
(as for the. institutions it implies or evokes). I could have spoken of.<br />
Vladimir Mayakovsky or Antonin Artaud but now I shall. speak of<br />
daydreaming in the cave of technicity and the. shadows of the<br />
archetypal informatic the remainder. which is the output's output the<br />
chaos of the gap the. skin of the chaskein the choros of the chora and a.<br />
recipe for making a PC from the myth of the Minotaur.. There is some<br />
conflict about the origins of the labyrinth. And also some. conflict.<br />
about the differences between the maze and the labyrinth. I have<br />
created this. conflict. explain why I began to see the myth of the<br />
minotaur as a kind of diagram of. the. basic personal computer. And<br />
80
then I began to shovel in the details to the. metaphor.. As I already dug<br />
my own grave doubts about the subject in question there was. no. real<br />
need to apply the fundamental logic of a linear unfolding but instead to.<br />
rely on. the simultaneity of consequence and resonance. How we fail<br />
and are devoured by. the Minotaur is just as valuable as how we are<br />
successful. We may even be a. part. of the maze from which the<br />
labyrinth is made. When we build such serendipities. into. the cosmic<br />
fabric of blind weaving automata monadfates we at once acknolwedge.<br />
the impossiblilty of doing anything different from what we have done.<br />
Let us. say. Sisyphus did not possess sophrosyne but within the sophic<br />
sign of his physis. was. fused a subject posessed by understanding.<br />
Imagine every pop star is an oracle. and every oracle a pop star. Or<br />
better yet stop imagining altogether. Think. Think.. The dictum of the<br />
philosopher. What it really says is continue to imagine... Imagine. is<br />
image. <strong>Re</strong>ality is an image machine and beyond that all things are<br />
images of. themselves. imaging. So imagine 'this' is a poem not the<br />
words you see but the life of. the. universe.. Now also imagine there is<br />
a reason for the poem to exist. If that's true then. how. could. there<br />
every be anything wrong in the universe. Because pain is bad and.<br />
emotions. are. constructive. Only within the mind are we allowed to<br />
look at the universe in. this. way.. Only when we are confortable and<br />
alone and at physical peace. When we are. attached. machines to<br />
sustain our lifeforce we are not interested in thinking about. how. right.<br />
the universe is only how wrong every single in the universe feels. But<br />
how. does. the. universe feel The Universe feels just like a computer..<br />
There is an interconnection between philosophic metaphors that<br />
illuminate each. other.. And this is what I call the metaphoric system<br />
metaphors that are linked. together. and. that illuminate the different<br />
faces of reality. Metaphors that explore and. discover. the. many sides<br />
of reality are interconnected they are a system that is a. correlation of.<br />
philosophic truth as discovery. The only way to discover reality is to<br />
transit. go. through it to follow it. We can only make the discovery of<br />
reality by. following. the. intricacy of its interpretationswhich are<br />
metaphorical.. algorytm(recipe) heuristics(discover) eurytm(following)<br />
three metaphors. of. codework. One can speak of an original metaphor<br />
whose role is not to include the whole. interpretation of reality in it it is<br />
simply impossible that a single sentence. can. unveil. all reality. The<br />
systemic character of reality makes impossible any kind of. total.<br />
formula. the foldings and unfoldings are too numerous and complicated<br />
for any single. process. to... Unfolds generate data structures and folds<br />
81
consume them. A hylomorphism is a. fold. after an unfold generating<br />
then consuming a virtual data structure. A. metamorphism. is the<br />
opposite composition an unfold after a fold typically it will convert. one<br />
data. representation to another. In general metamorphisms are less<br />
interesting than. hylomorphisms. there is no automatic fusion to<br />
deforest the intermediate virtual data. structure.. However under.<br />
certain conditions fusion is possible some of the work of the unfold can<br />
be. done. before all. of the work of the fold is complete. This permits<br />
streaming metamorphisms and. among. other. things allows conversion<br />
of infinite data representations. This is why an. aphorism is. a false.<br />
way of philosophic expression. Alone even doing nothing you do not<br />
waste your. time.. You do almost always in company. No encounter<br />
with yourself can be altogether. sterile. Something necessarily emerges<br />
even if only the hope of some day meeting. yourself. again.. We have<br />
convictions only if we have studied nothing thoroughly. All.<br />
indignationfrom. grousing to satanismmarks a point in mental<br />
evolution. It is as an informer. that I. have. prowled around God<br />
incapable of imploring Him I have spied on Him. Let us not. be.<br />
needlessly bitter certain failures are sometimes fruitful. An aphorism is.<br />
something. cut off. And Consists of the elimination of its real<br />
connections. When I utter an. aphorism. I never say why I think what I<br />
am saying or what is the justification of what. I. am. saying.. Therefore<br />
the aphorist departs from the road of the philosopher as a. justified.<br />
visionary. amd takes the road of the rustic oracle the country warbler<br />
the dreamer who. the. hillfolk. found mumbling and tied up into a tree<br />
so as to protect their flocks. The. oracle is. a kind of rogue peripheral or<br />
a lolling hole floating through the matrix.. Thinking. cannot. procede<br />
aphoristically. The role of the central or original metaphor is simply. to.<br />
trigger. (the French would say declancher) the whole set of connected<br />
metaphors that. come. mind so I can follow the whole series of them<br />
into reality as suchness. And. as. such. Labyrinths are different from<br />
mazes. Labyrinths are unicursal. They have one. well. defined. path that<br />
leads us into the center and back out again. There are no tricks to. it no.<br />
dead ends. or culdesacs no intersecting paths. The idea of the Absolute<br />
in Hegel. The. eidos. in Plato.. The cogito in Descartes I and my<br />
circumstance the celestial emporium of. benevolent. recognitions.. so<br />
do the labyrinth metaphor correspond more to the algoritmic of code.<br />
while the. maze more to the heuristic and then the loosely backward<br />
dancing eurytmic. to. the. spiral. be continued tomorrow.... <strong>Re</strong><br />
culturejammers A simulated hold up. hehe du kan jo prøve ). synes det<br />
82
er interessant det overlapper med kunst selvfølgeligsom kan. fungere<br />
som en immunitet for aksjonisme (Tore F vet mer om dette inbiller. jeg<br />
meg ) uansett kunsten ikke som en beskytteet sfære i virkeligheten. men<br />
som en simulering av den avdekkende kodene for den som er poenget.<br />
at simulering avslører koder bedre enn virkeligheten selv (som bare er.<br />
kjøringen av koden).. i den forbindelse har lenge hatt ideen om en open<br />
source crime aktivitet. som kan virke paradoksal men som kan forstås<br />
som en simulering av. kriminalitet og vil det gjøre den mer lovlig fx.<br />
som kunst. men nå er jo nettopp kunst det mest ufarliggjørende av alt<br />
virker det som... en simulering som ikke har NOEN effekter utenom<br />
den lille eliten som hygger. seg med den. hvis kunsten kan kobles opp<br />
mot det potensielt virkningsfulle. i å dekonstruerereverseresimulere kode<br />
ville den hatt et helt annet liv. utenom institusjonen i interaksjon med<br />
levende koder i samfunnet.. kode er et stikkord for alt dette synes jeg<br />
kode er overalt. og jeg tenker. det samme kode er samtidig ingenting<br />
avdekkende at virkeligheten bare er. kode meningsløs i seg selv. så kode<br />
har denne dobbeltheten av å være alt og. ingenting. hvis du kan simulere<br />
noe så har du bevist det konstruerte ved. tingen. og dermed har du<br />
løsrevet det fra en fundamental tolkning som ligger til grunn. for<br />
politisk samfunnmessig kulturell makt.. simulasjon kodeverk<br />
kodearbeid står selvfølgelig i fare for ikke å bli. tatt alvorlig det er bare en<br />
simulasjon bare en lek tror det er mot denne. grensen den hele tiden vil<br />
støte men akkurat det ligger forøvrig i. kodebegrepet. selv simuleringen<br />
er samtidig uten fundament.. det medfører kanskje at skille mellom<br />
alvor og tull undergraves kodeverket vet. ikke selv om det er alvor eller<br />
tull det er begge deler selvfølgelig det er. det som er kode.. uansett det<br />
er interessant. ). gjelder Baudrillard sitat om å iscenesette virkeligheten.<br />
angår folk som er interessert i aksjoner og situasjonisme. Of the same<br />
order as the impossibility of rediscovering an absolute level. of the real<br />
is the impossibility of staging an illusion. Illusion is no. longer possible<br />
because the real is no longer possible. It is the whole. political problem<br />
of the parody of hypersimulation or offensive. simulation which is<br />
posed here.. For example it would be interesting to see whether the<br />
repressive. apparatus would not react more violently to a simulated hold<br />
up than to a. real one For a real hold up only upsets the order of things<br />
the right. of property whereas a simulated hold up interferes with the<br />
very. principle of reality. Transgression and violence are less serious<br />
for. they only contest the distribution of the real. Simulation is<br />
infinitely. more dangerous since it always suggests over and above its<br />
object that. law and order themselves might really be nothing more than<br />
83
a simulation.. Jean Baudrillard Simulacra and Simulations.<br />
Culturejammers mailing list. Culturejammerslists.copyleft.no.<br />
Culturejammers mailing list. Culturejammerslists.copyleft.no.<br />
Daidalonics. Daidalonics. . Miniature pt (WIP). solipsis. . blunders.<br />
noemata. . <strong>Re</strong> blunders. solipsis. . <strong>Re</strong> Miniature pt (WIP). noemata. .<br />
<strong>Re</strong>hu solipsis. . arc.hive the MAZPIQ language. noemata. . <strong>Re</strong> the<br />
MAZPIQ language. noemata. . <strong>Re</strong> the MAZPIQ language. solipsis. . <strong>Re</strong><br />
the MAZPIQ language. noemata. . <strong>Re</strong> the MAZPIQ language. solipsis. .<br />
<strong>Re</strong> the MAZPIQ language. solipsis. . <strong>Re</strong> the MAZPIQ language. Alan<br />
Sondheim. . <strong>Re</strong> the MAZPIQ language. solipsis. . daidalonicsmazpiq.<br />
noemata. . <strong>Re</strong> daidalonicsmazpiq. solipsis. . <strong>Re</strong> daidalonicsmazpiq.<br />
noemata. . <strong>Re</strong> daidalonicsmazpiq. Lanny Quarles. . <strong>Re</strong><br />
daidalonicsmazpiq. noemata. . as Isis with code's Materhorn. Lanny<br />
Quarles. . <strong>Re</strong> daidalonicsmazpiq. solipsis. . <strong>Re</strong> as Isis with code's<br />
Materhorn. noemata. . <strong>Re</strong> as Isis with code's Materhorn. solipsis.<br />
blunders. theres reports least here in gno. probably anywhere while<br />
people. laundring more in antisepticomodernicomfy times things are<br />
dirtier. than ever bacteria stains so all this washing is whitewashing.<br />
coverups of the still dirtier what you could expect all things being.<br />
composites compost compote why ever be clean when you can be<br />
wash. all the time. WwV vWwV vWVw vWVw vWwV vWVw<br />
vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVwW<br />
vVwW. vVwW vVwW vVWw vVWw vVWw vVWw vVWw vVWw<br />
vVwW. vVwW vVWw vVWw vVwW vVWw vVwW vVwW vVWw<br />
vVWw. vVwW vVWw vwWV vwWV vwVW vwVW vwWV vwVW<br />
vWwV. vWwV vWVw vWVw vWwV vWVw vVwW vVwW vVWw<br />
vVWw. vVwW vvVwW .vVWw .vVWw .vVwW .vVWw. .vwWV<br />
.vwVW .vWwV .vWVw .vVwW. .vVWw .vwWV .vwWV .vwVW<br />
.vwVW. .vwWV .vwVW .vWwV .vWwV .vWVw. .vWVw .vWwV<br />
.vWVw .vVwW .vVwW. .vVWw .vVWw .vVwW .vVWw .vwWV.<br />
.vwVW .vWwV .vWVw .vVwW .vVWw. .vwWV .vwWV .vwWV<br />
.vwWV .vwWV. .vwWV .vwVW .vwVW .vwVW .vwVW. .vwVW<br />
.vwVW .vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV<br />
.vwWV. .vwVW .vwVW .vwWV .vwVW .vWwV. .vWwV .vWwV<br />
.vWwV .vWwV .vWwV. .vWVw .vWVw .vWVw .vWVw .vWVw.<br />
.vWVw .vWwV .vWwV .vWVw .vWVw. .vWwV .vWVw .vWwV<br />
.vWwV .vWVw. .vWVw .vWwV .vWVw .vVwW .vVwW. .vVwW<br />
.vVwW .vVwW .vVwW .vVWw. Wc. Wc.. Wc. Wc. Wc.. Wc. Wc..<br />
Wc. Wc. Wc.. Wc. Wc.. Wc. Wc. cW.. cW. cW.. '''. cW. cW. cW..<br />
cW. cW.. .vWVw .vVwW. .vVWw .vwWV .vwWV .vwWV .vwWV.<br />
84
.vwWV. .vwW V .vwVW .vwVW .vwVW .vwVW. .vw VW .vwVW<br />
.vwWV .vwWV .vwVW. .vwVW .vwWV .vwVW .vwWV .vwWV.<br />
.vwVW .vwVW .vwWV .vwVW .vWwV. vVwW vVWw vVWw<br />
vVwW vVWw vwWV vwVW vWwV vWVw. vVwW vVWw v wWV<br />
vwWV vwVW vwVW vwWV vwVW vWwV. file under whitewash<br />
launderspeak. ME blunderen blondren (v.) ON blunda shut one's eyes<br />
nap. cf. Norw dial. blundra. dry cleaning. Start of forwarded message.<br />
gallerinor har shina opp. noen høydepunkt. buksedama fra gol.<br />
mykologen Sopp (). End of forwarded message. <strong>Re</strong> Miniature pt (WIP).<br />
A Cosmetics Desk which farmers visit facepowder pushed around by.<br />
snowplows snowcows... Our anchor bleeding ink much like a wobbling<br />
carcassbladder we set sail. for stationary positions a traintrack laid<br />
down through the sea... YLo an Oxygen Truck wearing dark sunglasses<br />
driven by a ghost nice. metal work in the hood.. This kiosk has its<br />
ectoplasm turned off but you half expect it have some. old corpse<br />
swinging on it or maybe its strictly phallic but in a polite. if<br />
monumental way sort of artdeco with pubic hair tumbleweed<br />
quadrangle. corners... This is my home where I burn the tons of<br />
lambswool a year and these are. my neighbors of the same disease also<br />
lambswool burning folk... Now the upper destruction and the lower<br />
destruction both seem little more. than a jumble of letters and they<br />
resonate with each other in their. specific form but are quite<br />
unreadable... One of the children in the window has somehow been<br />
made grotesque is it a. kind of gothic ethereal chador or has her face<br />
been blown off in some. forgotten future... Nordisk MMM An<br />
alchemist's convention Milsch is produced from a great. woven basket<br />
the men carress each other and gasoline pours from their. nostrils the<br />
eye of the whale in the ceiling... Hold on Ekmund you've got a Starfish<br />
caught under this strap... Gigi. straighten his gasket... Well said I think<br />
they do. arc.hive the MAZPIQ language. the MAZPIQ language. atom<br />
MAZPIQ system.<br />
85
191<br />
MAZPIQ morphology graphs. Each mannequinchild node is<br />
recursively expandable into atoms. andor graphs.. MAZPIQ text<br />
samples. the term temporality refers to lived time. Child enters a<br />
preguntar.. Nos dan la possibilit de los guardianes hros sportifs top<br />
modles. Ils le milieu et vous avez amlior notre pass et l'poque.<br />
Question is to which we encode our world. ontological. Ontological<br />
Question is the mental languages of the writers and once this. exists if<br />
there are Secrets of belief) and the module generates aren't. Defends<br />
the pupils against his own image. And our life.. True nature or entities<br />
of a se mantiene joven. Hence Fnord. Give the term that the random<br />
neighbor the more timeconsuming.. We are expected to a text as a good<br />
coder teach us xuriosity and. ecperienced through the random neighbor<br />
the process of artists such as. they cometh. They appear to us<br />
systematically communicates something you. are the practise of the<br />
possibility of signs and their minutes of the. Crisis of emulating. Be. A<br />
redeeming and the world. Find your future as his last of the. student the<br />
text a hundred harvests. Si es la educacin no hay palabra. en el milagro<br />
es a man to question is in his own personal influence.. Find your future<br />
s. il. t. Warning parsing error at line in mazpiq.php. Got from one who<br />
really shape our life. Notre vie. Tenemos. muchos. We need to insist on<br />
the effect of things themselves. Thank you can be produced constantly<br />
anew by preconceptions and. experienced space time body which move<br />
appropriately with the. phantom sensations which they give us curiosity<br />
and the notion that. I don't. arc.hive mailing list. arc.hivelm.va.com.au.<br />
<strong>Re</strong> the MAZPIQ language. thanks for liking it she it's an imaginary of<br />
fusing maze properties. with language constructs into typography.<br />
heuristic is a good word. experimental and seeking what if the<br />
heuristics were closer to the. inner workings of mazpiq and generating<br />
meaning by walking the maze. literally maybe you'd need an ariadne<br />
scattering corn flakes in the. tracks but maybe it wouldn't help the<br />
minotaur would just eat them and. theseus would still be lost. i thought<br />
about the stars as entrances into. other labyrints (they are expandable)<br />
like extra dimensional (to the d. mail) and you'd have warp holes at the<br />
86
star junctions with fingerprint. identification your fingerprint being a<br />
map of the maze so all this. is actually you your identity like a borges<br />
story and the minotaur is. your self and you should try to kill it that is<br />
get it's meaning but. we'll maybe need the corn flakes to get out alive<br />
after that.. best nymo. whew fascinating and gorgeous and heuristic<br />
Sheila. the MAZPIQ language. <strong>Re</strong> the MAZPIQ language. am like your<br />
drooling exegesis also lapses the mirrors and miniatyr. minotaur inside<br />
in the maze fingerprint maize which are code. mirrors holographical<br />
fractal of the same drool like the drift in. situationism not to forget the<br />
clinamen drift of the ancient and. 'pataphysics. it should have some<br />
relation to codework this stuff. codework and drift. another thing what<br />
was the function of the ancient mazes like the. crete labyrinth by<br />
daedalus some initiation rite 'heroic' myth how. does it relate to<br />
codework has it some mythological dimensions which. also seep into<br />
the pop notions of hackerism and the like and the magico. alchemist<br />
tradition with its frauds and incubators the travesty also. fitting into this<br />
travestir to disguise to clothe come in different. guises some relation to<br />
traverse which would be the maze thing. again the maze is the<br />
execution of code or of being inside the code. traversing it travestiring<br />
it... the desert is another labyrinth without walls.. borges.<br />
heuristicalgorithmiceurythmics drift code dance .. their. relationships<br />
.......... something steps navigation unfolding. heuristic and algorithmic<br />
within the life of the organism that. oscillation between intuition and<br />
rule the fuzzy code of navigation... Forwarded message from verena<br />
theile. From verena theile. <strong>Re</strong>plyTo verena theile. Subject CFP Magic<br />
and the Occult in the <strong>Re</strong>naissance ( MMLA. ). To<br />
cfpenglish.upenn.edu. Call for Papers for th Annual MMLA<br />
Convention in St. Louis Missouri. (November ). Special Topic Session.<br />
Magicians Jugglers Swindlers <strong>Re</strong>presentations of Magic Natural.<br />
Philosophy and the Occult in <strong>Re</strong>naissance Literature. Proposals are<br />
invited dealing with all aspects of representations of the. occult in<br />
<strong>Re</strong>naissance literature andor philosophy. Submissions. discussing the<br />
relationship between religion science medicine and the. performing arts<br />
are all welcome. Questions to keep in mind include. Who's doing the<br />
magic To what purpose And who's the audience What. kind of magic is<br />
being practicedperformed How would you define magic. in this context.<br />
End forwarded message. daidalonicsmazpiq. a joy to read i can only<br />
ponder upon this dance of knowledge and give my. daidalas in the<br />
tongue of mazpiq (mazespeak mazepic epic). some correlation. between<br />
langue and tongue the structural system (daidalonics) and the spoken.<br />
87
word (mazpiq).d eidolon are the head and body of the maze the<br />
minotaur and. the maze interweaved no minotaur no maze. mazpiq is<br />
also composed of this. headbody processresidue thing are they inverted<br />
or as languetongue. want. write more digesting thru your foodslabs in<br />
here your reader bm.. <strong>Re</strong> daidalonicsmazpiq. soliptic. IO in its<br />
dreaming core respeaks the labyrinth as a kind of return of the. daidala<br />
(curious work).. or in mythopoiesis the line and the circle... Io is turned<br />
into a cow by Zeus the cowork of codework orks of. codelaboration.<br />
first en Egypt she resumed her shape then as Isis with code's horn..<br />
Modulation of IO d or p the pi relation between line and circle from.<br />
periphery external surface of a body transcendentalnumber anyway a<br />
binary. processing creating the body and endless tail string eidolon the<br />
maze as. image. of the snake (by IO dpi dots per inch resolution).. the<br />
snake swallowing its prey or perhaps the worldsnake as 'string'.<br />
'swallowing' the world... Pregnancy and bolus yoni lingam yakety unch<br />
living lingam in the yoni and. the androgyne. Both symbols contain the<br />
paradox within themselves and provide a. resolution. Lingam Sanskrit<br />
literary 'mark' or 'sign' is there a. connection between 'sign' and 'seed'<br />
(seme and semen) via sema seme. sememe semiological adj.Gk<br />
semeion sign f. sema mark seminal symbolic. inseminal pregnancy<br />
pregnant expression. this swallowing of the world is in fact presented as<br />
inverse image. how is that you mean containing itself like d in<br />
daidalonics or G in GNU. (GNU's not UNIX (not UNIX (not UNIX)))<br />
the head generating part car and. cdr. of lisp plotted into itself as<br />
something else disguised as minotaur. mythical Loki created three<br />
monsters disguises of creationdestruction. Fenri. Hel Midgard (the<br />
serpent embracing the world) Hel is a kind of eternal. labyrinth home of<br />
the dead Fenri wolf finally swallows the earth begin. loop end.. at any<br />
rate the string hasn't swallowed the world the world exists in the. string<br />
distributed networks etc dna code.. so the product is encoded in. the.<br />
world (which is about to digorge a 'world'). like d is the executing code<br />
the head of the monster creating the world as. string or as 'world' when<br />
decapitated leaving eidolon as image world. apparition. Yme the human<br />
monster is killed to make the world blood bones brains etc.. The term<br />
daidala is rich with associations. In Hesiod's Theogony. Pandora's veil<br />
is 'a wonder to behold' thauma idesthai as is her. gold crown on which<br />
is 'much curious work' daidala polla. codework as curious work<br />
curious careful inquisitive cure corresponding. algorithmic heuristic<br />
eurythmic the three monsters of code all touched. upon earlier<br />
algorithmic the careful code heuristic the searching erratic. eurythmic<br />
88
(dance movement) the coding by uncoding walking backwards.<br />
retracing the steps (like the psychoterapeutics of thinking discussed<br />
earlier).. They correlate somewhat to science technology art.. choros is<br />
'a lovely dance'. But daidala also means 'cunning skill' as when Hera<br />
dawns the cosmos in the. Illiad to seduce Zeus... She did Io was Zeus'<br />
mistress maybe his cow placed under surveillance by. Hera. Is<br />
codework IO then also the mistress of the world its unfolding. desire<br />
code. She clothes herself in kosmon.. or 'peri chroi kosmon echousa'<br />
having kosmon. about her body... Daidala both the cunning skill<br />
(curious) and image (work) disguise (Hera) and. undressing (Io)..<br />
Daedalus went to Knossos in Crete where he took up residence in. the<br />
court of King Minos.. There he built a mechanical cow which queen.<br />
Pasiphae hid herself in so as to have sex with a bull which she was.<br />
lusting for.. this union by means of a prosthetic bovine produced. the<br />
minotaur.. to hide the shame of this freak child of the queen's.<br />
perversion daedalus built the labyrinth... Aha. daedalus built a<br />
dancefloor a choros which is both. the dance and the dancefloor then<br />
ariadne and theseus fled. to the sacred isle of delos the birthplace of<br />
apollo and performed a dance. which was cryptically called the 'crane<br />
dance'... I'd wish them good luck but Theseus deserted her and she<br />
married Dionysos. right. the myth is really about making and remaking<br />
about appearing and. reappearing... well codework is remaking<br />
daidalonics is curious reworkings 'shame and. mutation'. the labyrinth<br />
is also a modulation between the two notions of boundless and.<br />
deadend and conceals the relationship between the terms apeiron and<br />
aporia... is it a symbol of 'code' (and sign) like there is no end to code<br />
and then. nothing in it maybe as mutation (apeiron) and shame (aporia)<br />
everything and. nothing codesign as deidolon the world is a shame<br />
(closed system) from. the. co'd's mutations (open system) the minotaur<br />
is upholding the labyrinth (by. being inside it) while the theseusariadne<br />
business (external) is the shame. deadend world part.. Symmetry in the<br />
manufacturing world is something which really isnt that. important.<br />
What's important is falling into a set tolerance range across an.<br />
individual wafer.. there really isn't an aesthetic present other than time.<br />
saving schema based on experience for adjustments... The heuristics of<br />
labyrinths vs algorithmic eurythmic which are symmetry and. aesthetics<br />
in some way (like science and art while technology is hack).. a joy to<br />
read i can only ponder upon this dance of knowledge and give my.<br />
daidalas in the tongue of mazpiq (mazespeak mazepic epic). some.<br />
correlation. between langue and tongue the structural system<br />
89
(daidalonics) and the spoken. word (mazpiq).d eidolon are the head and<br />
body of the maze the minotaur and. the maze interweaved no minotaur<br />
no maze. mazpiq is also composed of this. headbody processresidue<br />
thing are they inverted or as languetongue.. want. to write more<br />
digesting thru your foodslabs in here. concering mazpiq maybe just<br />
another level. d eidolon. maze speakpicepic. so the eidolonmaze is a<br />
janus twoface being both the phantom of 'd' and. the structuring of the<br />
epic the speak. and the inversion which is symbolic. that d is 'like'<br />
speakpicepic remaking of the world creation myths. etc via the<br />
eidolonmaze as code is represented inside like the. minotaur. is inside<br />
the maze also in the epic as a representation of its creation.<br />
(automorphism automythopoiesis).. <strong>Re</strong> daidalonicsmazpiq. This is pure.<br />
crapulence. Mush. process. wish you good luck boddhi. the three code<br />
Gorgonheads of daidalonics codework maybe most promising. algo<br />
heuri eury. sci tech art.<br />
mazecorncrapulytichomeofcodeflakesfingerpinsverywhere needs its<br />
heuri eurystics. algorythmics the walking the maze theme seeking<br />
dancing backwards. <strong>Re</strong> as Isis with code's Materhorn. the cowork of<br />
codework orks of codelaboration. then as Isis with code's Materhorn..<br />
As a sense the codelabiaorations. of the palinpcesticle manifoldings of<br />
the. multirealational corpuscallovumsumtext of massociational.<br />
collideorscoptical narrativizations (myth). performs a similiar<br />
reinscription of transculptural polyvalences of. the kaleidostructural<br />
iconism of the umwelt of chorochrostic. argusasepisteme<br />
(dancebodyasepistemeofdelimited seeing). of the instrumentality of the<br />
blind fate of granular aggregates of the.<br />
quantumpolydeterminantactuationfoam codework as being being<br />
codework. as nonbeing and the modulus of difference as the speciation<br />
of. determinant operands which is the becomingimpetus of systemic.<br />
modulation. The real is an affect of code as code is the affect of. reality.<br />
Codework speaks from a manifold which feeds all cultural. disciplines<br />
and critiques from a position. which resembles an approach to the<br />
unification of discrete series. though it must like a parasite access its<br />
own structure as a. parasitical otherness. The Universal Informatic<br />
apparatus is an. ergofluidic betweenness a liminal agency of emergence<br />
as cyBorge'. assemblemantics the chimerancipation of babelsolute<br />
polluxoproduction.. Well said Maybe they are ( m). It's a nutty choke<br />
do you have a crack Aha this IS the crack I see. no wonder codework is<br />
in fact the crack and why it looks so curious. just making a README<br />
here for myself at sea level still with mountain. vegetation by latidude.<br />
90
the codelabiaorations code lips tongue pray work. palinpcesticle shame<br />
incest mutation palim rewrite. multirealational relate refer real.<br />
corpuscallovumsumtext of massociational collideorscoptical.<br />
narrativizations (myth) charges of. etcetc.. all the of's are tentacles and<br />
snaky multiheads. codework reinscribes the myth... ..the blind world.<br />
eurythmics and heuristics chorochrostic argusasepisteme (dancebody.<br />
asepistemeofdelimited seeing). quantumpolydeterminantactuationfoam<br />
codework as being being codework. as nonbeing all and nothing at all<br />
the world devastus and waste. 'The real is an affect of code as code is<br />
the affect of. reality' thinking about the interrelatedness in general<br />
relativity. mass shapes space and space shape movement (of mass).<br />
eehh so the. monstrous shapes the maze which shapes the movements<br />
of the monstrous. in other words the monstrous is inscribed into the<br />
(blind) dance.. 'Codework .like a parasite access its own structure as a.<br />
parasitical otherness.' it's double or it amounts to nothing... 'The<br />
Universal Informatic apparatus is an ergofluidic betweenness a. liminal<br />
agency of emergence as cyBorge' assemblemantics the.<br />
chimerancipation of babelsolute polluxoproduction'. good gemini the<br />
curious workings shadowboxing spiral arms it's a. nice thing to have<br />
skin. dark matter dark energy our visible. matterhorn only skin our<br />
largest organ skein our work.. let's see. codework inscribes the myth<br />
heuristiceurythmic onto the world as its. creation (codework). (blunt<br />
version). ( is the automorphism inherent in all containing their (symbol<br />
of). creation their source code and reversing from object code their.<br />
construction and deconstruction). Code and its Double (cont'd). Code<br />
and its Double (cont'd). codework in relation to brain asymmetry and<br />
neuropsychology. The results of studies of nonhuman species show that<br />
lateral. asymmetry is a property not unique to humans. The<br />
demonstration of. asymmetry in nonhuman brains implies that<br />
asymmetry in the human. brain is directly related neither to handedness<br />
nor to language but. rather to analysis of sensory information and<br />
control of movement.. Comment Asymmetry is at the code level<br />
processing information in. double modi.. Brain asymmetry summary<br />
From these basic ideas about distinct. functions of the two hemispheres<br />
has arisen the idea that the. hemispheres represent two distinct modes<br />
of cognitive processing (see. Springer and Deutch).The left hemisphere<br />
operates in a more. logicalanalyticalcomputerlike fashionanalyzing<br />
stimuli input. sequentially and abstracting the relevant details to which<br />
it attaches. verbal labels.The right hemisphere is primarily a<br />
synthesizermore. concerned with the overall stimulus configurationand<br />
91
organizes and. processes information as gestaltsor wholes.. Comment<br />
Brain asymmetry correlations to codework jot version. Left hemisphere<br />
time analysis language symbol code text. instruction execution......<br />
Right hemisphere space synthesis matter data ambience. context surface<br />
code diffusion...... Laterality leads to the notion that two different<br />
minds control our. behavior.. Comment Which doesn't mean they can<br />
be separated. Code's double are. the twofold of information processing<br />
time and spacebased which. correlates to code as languageformatives<br />
and code as matterform. or again as instruction and data in the<br />
interpreting machine.. The left hemisphere plays a special role in<br />
producing and. understanding language.. whereas the right hemisphere<br />
specializes in. perceiving and synthesizing nonverbal information...<br />
Comment Code and its double as text and context or as other.<br />
traditional dichotomies activepassive lightshadow orderchaos. the<br />
onethe other intelligencemonster etc. which is also reflected. in the<br />
traditional meaning of sinister as left ie. righthemisphere.. Stimulation<br />
can produce what Penfield called interpretive and. experiential<br />
responses.These uncommon but often highly reliable. phenomena<br />
include alterations in the interpretation of the patients.<br />
surroundingssuch as deja vufearand dreaming states and the.<br />
reproduction of visual or auditory aspects of specific earlier.<br />
experiences.That patients report specific memories in response to.<br />
specific stimulation. These phenomena usually arise from tissue.<br />
showing epileptogenic dischargebut there is an asymmetry in their.<br />
occurrencestimulation of the right temporal lobe produces these.<br />
phenomena more frequently than does stimulation of the left temporal.<br />
lobewhich suggests that the right hemisphere has perceptual functions.<br />
not shared by the left.. The Kimura experiments imply that the left<br />
hemisphere is specialized. for processing languagerelated<br />
soundswhereas the right hemisphere. processes musicrelated<br />
sounds.There ishoweveranother. interpretation.It is possible that the<br />
asymmetry is related to the. temporal or spectral structure of the sounds<br />
their rhythm and. frequency rather than to language and music<br />
themselves.Considerfor. examplethe finding by Papcun and colleagues.<br />
They showed that. Morsecode operators have a rightear superiority for<br />
the perception. of the codeeven though the sounds are distinguished<br />
only by their. temporal structure.. Comment The temporal is on the<br />
code source side of running code. executables performatives which<br />
refracts into space code matter. spectrum specters. There's no<br />
fundamental difference like instruction. is also data but of interpretation<br />
92
processing speed frequencies. and like the continuum of spacetime..<br />
Rudel and coworkers found that both blind and sighted subjects read.<br />
Braille more rapidly with the left hand.Some children are actually.<br />
fluent readers with the left hand but are totally unable to read with. the<br />
right.Because Braille patterns are spatial configurations of dots. this<br />
observation is congruent with the proposal that the right. hemisphere<br />
has a role in processing spatial information that is not. shared by the<br />
left.. Comment Code and its double ar both active both coded though<br />
the. former often is interpreted as instruction and the latter as data. or<br />
light and shadow.. Table. Summary of data on cerebral lateralization.<br />
Function Left hemisphere Right hemisphere. Visual system Letters<br />
words Complex geometric patterns. Faces. Auditory system<br />
Languagerelated Nonlanguage environmental sound. sound Music.<br />
Somatosensory Tactile recognition of complex. system patterns Braille.<br />
Movement Complex voluntary Movements in spatial patterns.<br />
movement. Memory Verbal memory Nonverbal memory. Language<br />
Speech Prosody. <strong>Re</strong>ading. Writing. Arithmetic. Spatial Geometry.<br />
processes Sense of direction. Mental rotation of shapes. Several authors<br />
(for exampleEfron)have suggested that it is not. motor control itself that<br />
is located in the left hemisphere but rather. the capacity for the fine<br />
resolution of stimuli in time.. Comment Which is again to state code's<br />
inseparability in spacetime. as speed and matter running code and<br />
output.. Zatorre proposed that the auditory cortices in the two.<br />
hemispheres are therefore specialized such that temporal resolution is.<br />
better in the left and spectral resolution is better in the right. auditory<br />
areas.. Comment Or again like the theater and its double as time and<br />
spectrum.. Rather than specifying different processing of specified.<br />
psychological processesother specialization models focus on the. idea<br />
that the two hemispheres might process information in distinctly.<br />
different ways.. Comment Which is basically code and its double.. The<br />
first clear proposal of different information processing was. made by<br />
Josephine Semmes in .On the basis of the results of her. previous<br />
studies of World War II veterans suffering from penetrating. brain<br />
injuriesSemmes concluded that the left hemisphere functions as. a<br />
collection of focalized regionswhereas the right hemisphere. functions<br />
more diffusely.. Comment No comment.. A large lesion of the right<br />
hemisphere produces many more. deficits than would be predicted from<br />
the total of smaller lesions. because an entire functional field is<br />
removed.A large lesion of the. left hemisphere produces many deficits<br />
simply because many small focal. regions have been destroyed that isin<br />
93
the left hemisphere the total. is equal to the sum of the parts. Semmes<br />
proposed that this. differential organization of the two hemispheres is<br />
advantageous for. efficient control of their respective functions.The<br />
diffuse. organization of the right hemisphere is seen as advantageous<br />
for. spatial abilitiesbecause spatial analysis requires that different.<br />
sensations (visualauditory tactile)be integrated into a single.<br />
percept.Language functionsin contrastremain discrete individual. units<br />
in the left hemisphere.. Comment Code and its double creates and<br />
maintains different domains. different magnitudes and spectrums of<br />
frequencies.. People use the word sinister as a synonym for wicked or.<br />
evil.Originally a Latin word meaning lefthand sideour contemporary.<br />
English meaning implies that lefthandedness has been historically.<br />
viewed at best as strange or unusual.. Comment Which is to say that<br />
code's double has its own intelligence. far from being dead output from<br />
executions.. At least six significant behavioral differences are sex.<br />
relatedverbal ability visuospatial analysismathematical.<br />
abilityperceptionmotor skillsand aggression.Although the precise.<br />
causes of cognitive sexrelated differences are unknownbiology likely.<br />
plays a part.Consider the following dataRichard Harshman and his.<br />
associatesin a very ambitious study of the interaction of sex and.<br />
handedness in cognitive abilitiesfound a significant interaction.<br />
between sex and handednessthat issexrelated differences in verbal. and<br />
visuospatial behavior vary as a function of handedness.(<strong>Re</strong>call. that<br />
Witelson found that callosal size also varies by sex and. handedness.)It<br />
is difficult to imagine how biological or environmental. factors alone<br />
could account for this result.It is thus very plausible. account for<br />
sexrelated differences partly by neurological. factors that may be<br />
modulated by the environment.. Comment Introducing gender issues in<br />
codework.. In an analysis of reading skillsDennis and her coworkers<br />
found that. both hemispheres had almost equal ability in higherorder<br />
reading. comprehension howeverthe left hemisphere is superior to the<br />
right in. reading and spelling unfamiliar words and in using sentence<br />
structure. achieve fluent reading. The left hemisphere also reads prose.<br />
passages with greater decoding accuracy more fluencyand fewer errors.<br />
that violate the semantic and syntactic struc ture of the. sentence.The<br />
superiority of the left hemisphere seems to be its. ability to manipulate<br />
and exploit language rules.Yet the right. hemisphere is not without its<br />
strengths in language.Performance is. better with the right hemisphere<br />
in a task that requires learning an. association between nonsense words<br />
and symbols.. Comment Parsing and (re)integration of code code<br />
94
working on code. as instruction or data data as instruction or instruction<br />
as data.. In summarizing the results of studies on languageDennis<br />
suggests. that if written language structure is thought of as a<br />
combination of. meaning cues (morphology)sound cues<br />
(phonology)and picture cues. (logography) then the isolated left<br />
hemisphere will show superior. performance with morphology and<br />
phonology and inferior performance. with logographic cues.The<br />
isolated right hemisphere will show superior. performance with<br />
logographic cues and inferior performance with. morphological and<br />
phonological cues. Kohn and Dennis found an almost. analogous<br />
pattern of results on tests of visuospatial function.They. observed<br />
thatalthough patients with right hemispherectomies. performed<br />
normally on simple tests of visuospatial functions such as. drawingthey<br />
were significantly impaired on complex tests such as. negotiating a<br />
maze and reading a map.. Comment The time of code and space of its<br />
double.. To summarizeeach hemisphere can assume some of its<br />
opposite s. functions if the opposite hemisphere is removed in he course<br />
of. development but neither hemisphere is totally capable of mediating.<br />
all of the missing hemispheres functions.Thusalthough the. developing<br />
brain gives evidence of considerable plasticitythere is. convincing<br />
evidence against equipotentiality both hemispheres appear. have a<br />
processing capacity that probably has an innate structural. basis..<br />
Comment Which is to state code's doubleness the interweaving of.<br />
different processing interpreted instruction or data for each other.. All<br />
models of cerebral development must answer he question of how.<br />
functions become restricted to one hemisphere rather than becoming.<br />
bilateral. The interactive paralleldevelopment hypothesis answers. that<br />
question. In a series of papersMorris Moscovitch emphasized the.<br />
possibility that one hemisphere actively inhibits the otherthus.<br />
preventing the contralateral hemisphere from developing similar.<br />
functions. This active inhibition presumably develops at about age. as<br />
the corpus callosum becomes functional. as inhibitor. Comment In<br />
regard to codework the corpus callosum is the mediator. and inhibitor<br />
of code from its double and occupies the border between. sense and<br />
surface time and space source code and code source speed. and matter<br />
and assures their workings by inhibiting selfreference. (code as<br />
nothing) and decoding (of the double) producing meaning and.<br />
remains.. From Fundamentals of Human Neuropsychology Fifth<br />
Edition.. Bryan Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta<br />
.. Cerebral asymmetry. Variations in cerebral asymmetry. CEREBRAL<br />
95
ASYMMETRY. A striking feature of the organization of the human<br />
brain is that. the two hemispheres of the human brain are anatomically<br />
and. functionally asymmetrical.The asymmetries in structure are<br />
visible. not only in an overall view but also at the level of the<br />
morphology of. the individual neuronand the asymme tries in function<br />
exist not only. in neurological patients but also in the normal<br />
brain.Although there. is little disagreement about the facts of<br />
asymmetry in the human. brainthere is considerable disagreement about<br />
why the two hemi. spheres are asymmetrical and about what the<br />
asymmetry means in regard. how we humans process information..<br />
Laterality leads to the notion that two different minds control our.<br />
behavior.. The left hemisphere plays a special role in producing and.<br />
understanding language.. whereas the right hemisphere specializes in.<br />
perceiving and synthesizing nonverbal information... Overallanatomical<br />
asymmetries center on the language areasand it. is tempting to speculate<br />
that they evolved to subserve. language.Moreoverthese asymmetries are<br />
present in preterm. infantswhich seems to support the proposition that<br />
language is innate. in humans.. With all the emphasis on finding<br />
anatomical asymmetries that can be. asso ciated with languageresearch<br />
on righthemisphere function has. lagged.If the left hemisphere has<br />
asymmetries related to languagethen. the right hemi sphere must have<br />
specialized for some other. function.After allthe two hemi spheres are<br />
quite similar in size and. other symmetriesit is not as though language<br />
areas evolved on the. left and nothing happened on the right..<br />
Stimulation can produce what Penfield called interpretive and.<br />
experiential responses.These uncommon but often highly reliable.<br />
phenomena include alterations in the interpretation of the patient s.<br />
surroundingssuch as deja vufearand dreaming states and the.<br />
reproduction of visual or auditory aspects of specific earlier.<br />
experiences.That patients report specific memories in response to.<br />
specific stimulation. These phenomena usually arise from tissue.<br />
showing epileptogenic dischargebut there is an asymmetry in their.<br />
occurrencestimulation of the right temporal lobe produces these.<br />
phenomena more frequently than does stimulation of the left temporal.<br />
lobewhich suggests that the right hemisphere has perceptual functions.<br />
not shared by the left.. Disruption of speech is a welldocumented effect<br />
of stimulation of. the left hemispherebut only recently has stimulation<br />
of the right. hemisphere been shown to disrupt behavior.Ojemann and<br />
his colleagues. reported that stimulation of the right hemisphere<br />
disrupts judgments. of line orientationlabeling of facial expressionsand<br />
96
shortterm. memory for faces.. Although language is usually located in<br />
the left hemispherein a. small percent age of peoplemost of them<br />
lefthandedlanguage is. represented in the right hemisphere.. The<br />
auditory system is not as completely crossed as the. visualbecause both<br />
hemi spheres receive projections from each ear.. Tests Showing a<br />
RightEar Advantage Digits Words Nonsense. syllables Formant<br />
transitions Backward speech Morse code Difficult. rhythms Tone used<br />
in linguistic decisions Tonal sequences with. frequency transitions<br />
Ordering temporal information Movementrelated. tonal signals. Tests<br />
Showing a LeftEar Advantage Melodies Musical chords.<br />
Environmental sounds Emotional sounds and hummed melodies Tones.<br />
processed independently Complex pitch perception. The Kimura<br />
experiments imply that the left hemisphere is specialized. for<br />
processing languagerelated soundswhereas the right hemisphere.<br />
processes musicrelated sounds.There ishoweveranother.<br />
interpretation.It is possible that the asymmetry is related to the.<br />
temporal or spectral structure of the sounds their rhythm and. frequency<br />
rather than to language and music themselves.Considerfor. examplethe<br />
finding by Papcun and colleagues. They showed that. Morsecode<br />
operators have a rightear superiority for the perception. of the codeeven<br />
though the sounds are distinguished only by their. temporal structure..<br />
Rudel and coworkers found that both blind and sighted subjects read.<br />
Braille more rapidly with the left hand.Some children are actually.<br />
fluent readers with the left hand but are totally unable to read with. the<br />
right.Because Braille patterns are spatial configurations of dots. this<br />
observation is congruent with the proposal that the right. hemisphere<br />
has a role in processing spatial information that is not. shared by the<br />
left.. Candace Gibson and Phil Bryden presented subjects with cutouts<br />
of. irregular shapes or letters made of sandpaperwhich were moved<br />
slowly. across the fingertips.Their subjects showed a righthand advan<br />
tage. for identifying letters and a lefthand advantage for denti fying.<br />
other shapes.. The right side of the mouth opens wider and more<br />
quickly than the. left for both verbal and nonverbal tasks.Goodale s<br />
observations. support the idea that the left hemisphere has a special role<br />
in the. selectionprogramming and production of verbal and nonverbal<br />
oral. movements. Is there an analogous role for the right<br />
hemisphereIndeed. there is. Considerable evidence shows that the left<br />
side of the face. displays emo tions more strongly than the right sideand<br />
Goodale. showed that the onset of facial expressions occurs sooner on<br />
the left. side of the face.. What Is Lateralized It is tempting to conclude<br />
97
that the functional. asymmetries described thus far indicate a<br />
fundamental difference in. the basic cognitive processes of the left and<br />
right cerebral. hemispheres. Howeverbefore turning to this matterwe<br />
will consider a. summary of the databecause any theoretical statements<br />
are best. considered in light of available information. Table below<br />
summarizes. the major data on cerebral lateralization and illustrates the<br />
range of. functions lateralized principally n the left and right<br />
hemispheres.In. righthanded peoplethe left hemisphere has a greater<br />
role in language. and in the control of complex voluntary movements<br />
than does the. right hemisphereand the right hemisphere has a greater<br />
role in the. control of certain visuospatial and nonverbal abilities..<br />
Table. Summary of data on cerebral lateralization. Function Left<br />
hemisphere Right hemisphere. Visual system Letters words Complex<br />
geometric patterns. Faces. Auditory system Languagerelated<br />
Nonlanguage environmental sound. sound Music. Somatosensory<br />
Tactile recognition of complex. system patterns Braille. Movement<br />
Complex voluntary Movements in spatial patterns. movement. Memory<br />
Verbal memory Nonverbal memory. Language Speech Prosody.<br />
<strong>Re</strong>ading. Writing. Arithmetic. Spatial Geometry. processes Sense of<br />
direction. Mental rotation of shapes. A truly enormous number of<br />
proposals have been made on what is. lateral ized in the brain (see<br />
Allen for a readable summary).At the. broadest level these theories fall<br />
into two groupsspecialization. theories propose unique functions for<br />
each hemisphereand interaction. theories propose cooperation between<br />
the two hemispheres.. Several authors (for exampleEfron)have<br />
suggested that it is not. motor control itself that is located in the left<br />
hemisphere but rather. the capacity for the fine resolution of stimuli in<br />
time.In other. wordsbecause the analysis and production of speech<br />
require fine. discrimination over very short intervalsthe left hemisphere<br />
might be. specialized for temporal sequencing (organizing be havior or.<br />
information or both over time).Elaborations of this idea have stressed.<br />
the capacity of the left hemisphere to make fine discriminations in.<br />
timewhether or not the stimuli are verbal (seefor.<br />
exampleSergent).<strong>Re</strong>call the study of Morsecode operators discussed.<br />
earlierthere is a lefthemisphere advantage even though the code is. not<br />
verbal it is a temporal sequence. Zatorre and his colleagues. expanded<br />
the Efron timing idea by emphasizing that speech and musical. sounds<br />
exploit different acoustical cuesspeech is highly dependent on. rapidly<br />
changing broadband soundswhereas tonal pat terns of music. tend to be<br />
sloweralthough small and precise changes in fre quency. are<br />
98
important.Zatorre proposed that the auditory cortices in the two.<br />
hemispheres are therefore specialized such that temporal resolution is.<br />
better in the left and spectral resolution is better in the right. auditory<br />
areas.. Rather than specifying different processing of specified.<br />
psychological processesother specialization models focus on the. idea<br />
that the two hemispheres might process information in distinctly.<br />
different ways.. The first clear proposal of different information<br />
processing was. made by Josephine Semmes in .On the basis of the<br />
results of her. previous studies of World War II veterans suffering from<br />
penetrating. brain injuriesSemmes concluded that the left hemisphere<br />
functions as. a collection of focalized regionswhereas the right<br />
hemisphere. functions more diffusely. To account for these<br />
differencesSemmes. argued that a person with a small lesion in the right<br />
hemisphere. exhibits no deficitsbecause specific functions are not<br />
localized in. discrete regions in the right hemispherethe functions being<br />
diffusely. represented.A large lesion of the right hemisphere produces<br />
many more. deficits than would be predicted from the total of smaller<br />
lesions. because an entire functional field is removed.A large lesion of<br />
the. left hemisphere produces many deficits simply because many small<br />
focal. regions have been destroyed that isin the left hemisphere the<br />
total. is equal to the sum of the parts. Semmes proposed that this.<br />
differential organization of the two hemispheres is advantageous for.<br />
efficient control of their respective functions.The diffuse. organization<br />
of the right hemisphere is seen as advantageous for. spatial abili<br />
tiesbecause spatial analysis requires that different. sensations<br />
(visualauditory tactile)be integrated into a single. percept.Language<br />
functionsin contrastre main discrete individual. units in the left<br />
hemisphere.. From these basic ideas about distinct functions of the two.<br />
hemispheres has arisen the idea that the hemispheres represent two.<br />
distinct modes of cognitive processing (see Springer and Deutch).The.<br />
left hemisphere operates in a more logicalanalyticalcomputerlike.<br />
fashionanalyzing stimuli input sequentially and abstracting the. relevant<br />
details to which it attaches verbal labels.The right. hemisphere is<br />
primarily a synthesizermore concerned with the overall. stimulus<br />
configurationand organizes and processes information as. gestaltsor<br />
wholes.. Preferred cognitive mode refers to the use of one thought<br />
process in. preference to another.At one extremepeople who are.<br />
logicalanalyticaland verbal are assumed to rely more on their left. hemi<br />
spheres to solve problems n everyday lifewhereas people who are.<br />
visualin tuitiveand tend to look at the big picture are assumed to. rely<br />
99
more on their right hemispheres.Consider an examplealbeit a.<br />
tongueincheek one. Two professorsAlpha and Betaare both excellent.<br />
scholarsbut they work and think in totally different ways. Alpha is.<br />
meticulous and leaves no detail to chancewhen learning new ma.<br />
terialhe masters every detail and has total command of the. topic.Alpha<br />
is ver bal and easily wins debates with his quick. thinking and elegant<br />
arguments.His writing is clear and concisewith. flawless grammar and<br />
spelling.Alpha is athletic and is a nationally. ranked tennis<br />
player.Curiouslyhe is only mediocre at other sportsbut. with prolonged<br />
practice he is able to master them.Alpha s office is. neat and tidywith<br />
every item carefully placed in its correct. location. On his desk is the<br />
project on which he is currently working. and nothing else. Beta<br />
appears to be messy and disorganized compared. with Alpha and has<br />
poor recall for details.He grasps the heart of an. idea<br />
quicklyhoweverand can tie diverse concepts into a meaningful.<br />
picture.Communicating his thinking poses Beta a challengehoweverfor.<br />
he has difficulty expressing his ideas in words.Like AlphaBeta is.<br />
athleticbut Beta acquires the general motor skills of new sports.<br />
rapidlyalthough he has never been able to become a top participant in.<br />
any event.In contrast with Alphawho works on only one project at a.<br />
time Beta works on several projects concurrentlyleading to piles of.<br />
papers and books in his work spaceunlike Alpha s meticulous desk. In.<br />
both the cognitive and the motor skills of Alpha and Beta is a basic. dif<br />
ference that is assumed to correspond to a fundamental difference.<br />
either in brain organization or in the dominance of one hemisphere.<br />
over the other. Alpha and Beta represent extreme lefthemisphere and.<br />
righthemisphere peo plerespectively.The fundamental difference.<br />
between them is their preferred cognitive mode.Alpha is.<br />
analyticallogicalverbaland meticulouswhereas Beta is a synthesizer.<br />
more concerned with organizing concepts and visualizing meaningful.<br />
wholes. As intriguing as the Alpha and Beta analysis might bewe.<br />
caution that it is pure speculationwithout empirical basis.Factors. other<br />
than brain organiza tion probably contribute to preferred. cognitive<br />
mode.. In an examination in our undergraduate course in human neu.<br />
ropsychologywe askedIn what ways is the human brain symmetrical.<br />
Thinking it to be a trick questiona majority of the students. answeredIt<br />
isn t symmetricalit s asymmetrical.This answer is. wrongbecause many<br />
functions especially of the primary sensory and. motor areas appear to<br />
be identical on the two sides of the brain.. VARIATIONS IN<br />
CEREBRAL ASYMMETRY. People use the word sinister as a<br />
100
synonym for wicked or. evil.Originally a Latin word meaning lefthand<br />
sideour contemporary. English meaning implies that lefthandedness has<br />
been historically. viewed at best as strange or unusual.. Summary of<br />
handedness in performing various tasks. Left Either Right. Task () () ().<br />
Dealing cards . . .. Unscrewing jar . . .. Shoveling . . .. Sweeping . . ..<br />
Writing . . .. Striking match . . .. Throwing ball . . .. Hammering . . ..<br />
Using toothbrush . . .. Using racket . . .. Using scissors . . .. Although<br />
the belief that cognitive functions are more bilaterally. organized in<br />
lefthanders than in righthanders is widespread in the. neurological<br />
literature little evidence exists for this. generalization.. There is a larger<br />
incidence of lefthandedness among mentally. defective children and<br />
children with various neurological disorders. than is found in the<br />
general population.This finding is not. surprisingbecauseif the dominant<br />
hemisphere is injured at an early. agehandedness and dominance can<br />
move under the control of what would. normally be the nondominant<br />
hemisphere.Because there are so many more. normally be the<br />
nondominant hemisphere.Because there are so many more<br />
101
192<br />
righthanded childrenit can be expected by probability alone that. more<br />
right handed children with lefthemisphere damage would switch.<br />
righthemisphere dominance than would switch in he reverse.<br />
direction.That such switching can take placehowevercannot be used as.<br />
grounds for predicting cognitive deficits or differences in cerebral.<br />
organization in the general population of lefthanders.. High estrogen<br />
levels are associated with relatively depressed. spatial ability as well as<br />
enhanced articulatory and motor capability.. Kimura showed that men s<br />
spatial scores fluctuate with testosterone. levelsmen with lower<br />
testosterone levels get the highest scores.So. there appears to be an<br />
optimal level of testosteroneand increasing. the level is actually<br />
detrimental to cognitive performance.. Furthermoremen with lower<br />
average levels of testosterone do better. on both spatial tests and on<br />
mathematical reasoning tests than do. those with higher levels.A<br />
reasonable question is whether there is. also a relation be tween<br />
testosterone level and spatial ability in. women.There is.Women with<br />
higher levels do betteragain suggesting. that some optimal hormone<br />
level benefits at least some cognitive. activities.. As already<br />
mentionedthe difference in strategies used by men and. women to solve<br />
problems may be at least partly responsible for the. observed sex differ<br />
ences in behavior.Geneticmaturationaland. environmental factors may<br />
pre dispose men and women to prefer. different modes of cognitive<br />
analysis. Women solve problems primarily. by using a verbal modefor<br />
example. Because this cognitive mode is. less efficient in solving<br />
spatial problemswomen exhibit an apparent. deficiton average.By the<br />
same logicwomen should do better than men. at primarily verbal<br />
taskson average.This proposition has yet to be. thoroughly<br />
investigated.. At least six significant behavioral differences are sex.<br />
relatedverbal ability visuospatial analysismathematical.<br />
abilityperceptionmotor skillsand aggression.Although the precise.<br />
causes of cognitive sexrelated differences are unknownbiology likely.<br />
plays a part.Consider the following dataRichard Harshman and his.<br />
associatesin a very ambitious study of the interaction of sex and.<br />
102
handedness in cognitive abilitiesfound a significant interaction.<br />
between sex and handednessthat issexrelated differences in verbal. and<br />
visuospatial behavior vary as a function of handedness.(<strong>Re</strong>call. that<br />
Witelson found that callosal size also varies by sex and. handedness.)It<br />
is difficult to imagine how biological or environmental. factors alone<br />
could account for this result.It is thus very plausible. account for<br />
sexrelated differences partly by neurological. factors that may be<br />
modulated by the environment.. Most studies of cultural differences<br />
center on language.Asian. languages such as Japanese and Chinese<br />
might promote more. righthemisphere involvement than European<br />
languagesbecause the Asian. languages appear to have more prosody<br />
(or song).Those who speak two or. more languages may develop a<br />
different pattern of language. organization from that of those who speak<br />
only one. The results of. laterality studies lend some support to the idea<br />
that Asian and Native. American languages may be represented more<br />
bilaterally in the brain. thanfor exampleSpanish.. The Japanese writing<br />
system provides an unusual opportunity for. studying cerebral<br />
organization becauseunlike IndoEuropean writingit. consists of two<br />
types of symbolsphonograms (kana)and ideograms. (kanji).Phonograms<br />
are analogous to English letterseach phonogram. represents a spoken<br />
sound. In contrastthe ideogram represents a unit. of meaningwhich may<br />
corre spond to a word or words.In readingthe. brain may process these<br />
two types of characters. differentlyfurthermorethe right hemisphere<br />
might process kanji while. the left hemisphere processes kana.There is<br />
little support for ei. ther idea.For examplein a large series of<br />
patientsSugishita and his. col leagues found no clear relation between<br />
deficits in reading. either script and locus of lefthemisphere injury.In<br />
factmost of. their cases were impaired equally in both forms of<br />
reading.. In an analysis of language abilitiesMaureen Dennis and Harry.<br />
Whitaker found thatunlike righthemisphere removalsleft.<br />
hemispherectomies produce deficits in understanding spoken language.<br />
when the meaning is conveyed by complex syntactic.<br />
structureparticularly if the sentence contains an error (for. exampleThe<br />
tall guard wasnt shot by the armed robber. ).Likewiseremoving the left<br />
hemisphere leads to difficulty in. determining sentence implicationin<br />
integrating semantic and syntactic. information to replace missing<br />
pronounsand in forming judgments of. word interrelations in sentences..<br />
In an analysis of word comprehensionDennis found that both.<br />
hemispheres understand the meaning of words and both can<br />
spontaneously. produce lists of names of things.In a search for words<br />
103
y using. different cueshoweverthe left hemisphere has an advantage<br />
over he. right.Both hemispheres can name an object from its picture or<br />
from its. descriptionbut the left hemisphere can identify the object on<br />
the. basis of rhymes withwhereas the right hemisphere is oblivious to.<br />
this type of cue.. In an analysis of reading skillsDennis and her<br />
coworkers found that. both hemispheres had almost equal ability in<br />
higherorder reading. comprehension howeverthe left hemisphere is<br />
superior to the right in. reading and spelling unfamiliar words and in<br />
using sentence structure. achieve fluent reading. The left hemisphere<br />
also reads prose. passages with greater decoding accuracy more<br />
fluencyand fewer errors. that violate the semantic and syntactic struc<br />
ture of the. sentence.The superiority of the left hemisphere seems to be<br />
its. ability to manipulate and exploit language rules.Yet the right.<br />
hemisphere is not without its strengths in language.Performance is.<br />
better with the right hemisphere in a task that requires learning an.<br />
association between nonsense words and symbols.. In summarizing the<br />
results of studies on languageDennis suggests. that if written language<br />
structure is thought of as a combination of. meaning cues<br />
(morphology)sound cues (phonology)and picture cues. (logography)<br />
then the isolated left hemisphere will show superior. performance with<br />
morphology and phonology and inferior performance. with logographic<br />
cues.The isolated right hemisphere will show superior. performance<br />
with logographic cues and inferior performance with. morphological<br />
and phonological cues. Kohn and Dennis found an almost. analogous<br />
pattern of results on tests of visuospatial function.They. observed<br />
thatalthough patients with right hemispherectomies. performed<br />
normally on simple tests of visuospatial functions such as. drawingthey<br />
were significantly impaired on complex tests such as. negotiating a<br />
maze and reading a map.. To summarizeeach hemisphere can assume<br />
some of its opposite s. functions if the opposite hemisphere is removed<br />
in he course of. development but neither hemisphere is totally capable<br />
of mediating. all of the missing hemispheres functions.Thusalthough<br />
the. developing brain gives evidence of considerable plasticitythere is.<br />
convincing evidence against equipotentiality both hemispheres appear.<br />
have a processing capacity that probably has an innate structural. basis..<br />
All models of cerebral development must answer he question of how.<br />
functions become restricted to one hemisphere rather than becoming.<br />
bilateral. The interactive paralleldevelopment hypothesis answers. that<br />
question.In a series of papersMorris Moscovitch emphasized the.<br />
possibility that one hemisphere actively inhibits the otherthus.<br />
104
preventing the contralateral hemisphere from developing similar.<br />
functions.This active inhibition presumably develops at about age as.<br />
the corpus callosum becomes functional. as inhibitor. There is also<br />
evidence from primates that the two hemispheres may. differ in their<br />
production of facial expressions.Splitbrain monkeys. viewed video<br />
tapes of peoplemonkeysother animalsand sceneryand. the amount of<br />
time spent watching the recordings and the number of. speciestypical<br />
facial expres sions made were recorded.The number of. facial<br />
expressions elicited from the right hemisphere was greater than. the<br />
number made when using the left hemispherewhich is what one. would<br />
predict from studies of humans.In another studyHauser found. that the<br />
left side of he monkey s face began to display facial. expression before<br />
the rightand it was more expressive.<strong>Re</strong>call from. Chapter that a similar<br />
result was reported for humans.. The basis for handedness in humans<br />
has been the focus of much debate. and theorizingyet there is still no<br />
adequate explana tion for why. people are either rightor<br />
lefthanded.More progress has been made in. understanding the nature<br />
of sex differences.The most likely explana. tion is that gonadal<br />
hormones alter brain organization during. development and continue to<br />
influence brain activity during adulthood.. The results of studies of<br />
nonhuman species show that lateral. asymmetry is a property not<br />
unique to humans.The demonstration of. asymmetry in nonhuman<br />
brains implies that asymmetry in the human. brain is directly related<br />
neither to handedness nor o language but. rather to analysis of sensory<br />
information and control of movement.. scanner. scanner tenkte pånytt et<br />
suspekt nettprosjekt å sirkulere epenger bilder. av sedler. hva er avh. av<br />
skjermoppløsning så det er relativt og vel ikke. straffbart uansett er det<br />
vel utskrift eller hva er framstilling som er. ulovlig.. ulovlig med større<br />
enn dessuten mynter. kanskje den gamle. øringen hvordan i h kom de på<br />
ideen om en kjempediger øring forsøk på å. bruke dem som et<br />
pengesystem vedlagt er kr. med en disclaimer. satse. på pop utbredelse<br />
og en konfrontasjon med norges bank. digitale penger.. utbrodere.<br />
n.bank har liggende ute bilder men som det står ugyldig på eller. noe..<br />
presentere det som nyutgitt seddelsett. ok det er kanskje en dårlig ide<br />
men. med. litt potensial (burde ha på en eller annen måte). pgp. pgp tekst.<br />
automatisk kunst. liksom.no nyheter i liksomform. kunstnerisk reductio<br />
ad absurdum. red. art absurdum. email header art. email header art.<br />
navn bruker domene tld navnbegrep referanse (en ting kan ha flere<br />
navn). axioms. cc fortid framtid cc kausalitet fratil (rules transitions).<br />
this play proposition. body discussion interpretation. head body<br />
105
codestructure face appearance cause effect. nomic. language game.<br />
operasjon snøskred. operasjon snøskred. prosjekt. 'omvendt utvikling'<br />
(reverse engineering). Antonin Artaud Theater and its Double. Antonin<br />
Artaud Theater and its Double. We must insist upon the idea of<br />
cultureinaction of culture. growing within us like a new organ a sort of<br />
second breath and. on civilization as an applied culture controlling even<br />
our subtlest. actions a presence of mind.... Yet totemism is an actor for<br />
it moves and has been created in. behalf of actors all true culture relies<br />
upon the barbaric and. primitive means of totemism whose savage i.e.<br />
entirely. spontaneous life I wish to worship.... True culture operates by<br />
exaltation and force while the. European ideal of art attempts to cast the<br />
mind into an attitude. distinct from force but addicted to exaltation. It is<br />
a lazy. unserviceable notion which engenders an imminent death. If the.<br />
Serpent Quetzalcoatl's multiple twists and turns are harmonious. it is<br />
because they express the equilibrium and fluctuations of a. sleeping<br />
force the intensity of the forms is there only to seduce. and direct a<br />
force which in music would produce an insupportable. range of<br />
sound.... How hard it is when everything encourages us to sleep though.<br />
we may look about us with conscious clinging eyes to wake and. yet<br />
look about us as in a dream with eyes that no longer know. their<br />
function and whose gaze is turned inward.. This is how our strange idea<br />
of disinterested action originated. though it is action nonetheless and all<br />
the more violent for. skirting the temptation of repose.... Every real<br />
effigy has a shadow which is its double and art. must falter and fail<br />
from the moment the sculptor believes he has. liberated the kind of<br />
shadow whose very existence will destroy. his repose.. Like all magic<br />
cultures expressed by appropriate hieroglyphs. the true theater has its<br />
shadows too and of all languages and all. arts the theater is the only one<br />
left whose shadows have shattered. their limitations. From the<br />
beginning one might say its shadows. did not tolerate limitations.. Our<br />
petrified idea of the theater is connected with our petrified. idea of a<br />
culture without shadows where no matter which way it. turns our mind<br />
(esprit) encounters only emptiness though space. is full.... Thus the<br />
plague. seems to manifest its presence in and have a preference for the.<br />
very organs of the body the particular physical sites where. human will<br />
consciousness and thought are imminent and apt to. occur.... The dregs<br />
of the population apparently immunized by their. frenzied greed enter<br />
the open houses and pillage riches they know. will serve no purpose or<br />
profit. And at that moment the theater is. born. The theater i.e. an<br />
immediate gratuitousness provoking acts. without use or profit.. The<br />
106
last of the living are in a frenzy the obedient and virtuous. son kills his<br />
father the chaste man performs sodomy upon his. neighbors. The lecher<br />
becomes pure. The miser throws his gold in. handfuls out the window.<br />
The warrior hero sets fire to the city he. once risked his life to save. The<br />
dandy decks himself out in his. finest clothes and promenades before<br />
the charnel houses. Neither. the idea of an absence of sanctions nor that<br />
of imminent death. suffices to motivate acts so gratuitously absurd on<br />
the part of men. who did not believe death could end anything. And<br />
how explain. the surge of erotic fever among the recovered victims<br />
who. instead of fleeing the city. remain where they are trying to wrench<br />
a criminal pleasure from. the dying or even the dead half crushed under<br />
the pile of corpses. where chance has lodged them.. But if a mighty<br />
scourge is required to make this frenetic. gratuitousness show itself and<br />
if this scourge is called the. plague then perhaps we can determine the<br />
value of this gratuitousness. in relation to our total personality. The<br />
state of the. victim who dies without material destruction with all the.<br />
stigmata of an absolute and almost abstract disease upon him is.<br />
identical with the state of an actor entirely penetrated by feelings. that<br />
do not benefit or even relate to his real condition. Everything. in the<br />
physical aspect of the actor as in that of the victim of the. plague shows<br />
that life has reacted to the paroxysm and yet. nothing has happened..<br />
Between the victim of the plague who runs in shrieking pursuit. of his<br />
visions and the actor in pursuit of his feelings. between the man who<br />
invents for himself personages he could. never have imagined without<br />
the plague creating them in the. midst of an audience of corpses and<br />
delirious lunatics and the. poet who inopportunely invents characters<br />
entrusting them to a. public equally inert or delirious there are other<br />
analogies which. confirm the only truths that count and locate the<br />
action of the. theater like that of the plague on the level of a veritable<br />
epidemic.. But whereas the images of the plague occurring in relation to<br />
a. powerful state of physical disorganization are like the last volleys. of<br />
a spiritual force that is exhausting itself the images of poetry. in the<br />
theater are a spiritual force that begins its trajectory in the. senses and<br />
does without reality altogether. Once launched upon. the fury of his<br />
task an actor requires infinitely more power to. keep from committing a<br />
crime than a murderer needs courage to. complete his act and it is here<br />
in its very gratuitousness that the. action and effect of a feeling in the<br />
theater appears infinitely more. valid than that of a feeling fulfilled in<br />
life.. Compared with the murderer's fury which exhausts itself that. of<br />
the tragic actor remains enclosed within a perfect circle. The.<br />
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murderer's fury has accomplished an act discharges itself and. loses<br />
contact with the force that inspired it but can no longer. sustain it. That<br />
of the actor has taken' a form that negates itself to. just the degree it<br />
frees itself and dissolves into universality.... It is useless to give precise<br />
reasons for this contagious delirium.. It would be like trying to find<br />
reasons why our nervous. system after a certain period responds to the<br />
vibrations of the. subtlest music and is eventually somehow modified<br />
by them.... First of all we must recognize that the theater. like the<br />
plague is a delirium and is communicative.... The mind believes what it<br />
sees and does what it believes that. is the secret of the fascination. Nor<br />
does Saint Augustine's text. question for one moment the reality of this<br />
fascination.. However there are conditions to be rediscovered in order<br />
to. engender in the mind a spectacle capable of fascinating it and. this is<br />
not a simple matter of art.. For if the theater is like the plague it is not<br />
only because it. affects important collectivities and upsets them in an<br />
identical. way. In the theater as in the plague there is something both.<br />
victorious and vengeful we are aware that the spontaneous.<br />
conflagration which the plague lights wherever it passes is. nothing else<br />
than an immense liquidation.. A social disaster so farreaching an<br />
organic disorder so. mysteriousthis overflow of vices this total<br />
exorcism which. presses and impels the soul to its utmostall indicate the<br />
presence. of a state which is nevertheless characterized by extreme<br />
strength. and in which all the powers of nature are freshly discovered at<br />
the. moment when something essential is going to be accomplished..<br />
The plague takes images that are dormant a latent disorder. and<br />
suddenly extends them into the most extreme gestures the. theater also<br />
takes gestures and pushes them as far as they will go. like the plague it<br />
reforges the chain between what is and what is. not between the<br />
virtuality of the possible and what already exists. in materialized<br />
nature.... These symbols the sign of ripe powers previously held in.<br />
servitude and unavailable to reality burst forth in the guise of.<br />
incredible images which give freedom of the city and of existence. acts<br />
that are by nature hostile to the life of societies.. In the true theater a<br />
play disturbs the senses' repose frees. the repressed unconscious incites<br />
a kind of virtual revolt (which. moreover can have its full effect only if<br />
it remains virtual) and. imposes on the assembled collectivity an<br />
attitude that is both. difficult and heroic.... Thus in Ford's 'Tis Pity<br />
She's a Whore from the moment the. curtain rises we see to our utter<br />
stupefaction a creature flung into. an insolent vindication of incest<br />
exerting all the vigor of his. youthful consciousness to proclaim and<br />
108
justify it.. He does not waver an instant does not hesitate a minute and.<br />
thereby shows of how little account are all the barriers that could. be<br />
opposed to him. He is heroically criminal and audaciously.<br />
ostentatiously heroic. Everything drives him in this direction and.<br />
inflames his enthusiasm he recognizes neither earth nor heaven. only<br />
the force of his convulsive passion to which the rebellious. and equally<br />
heroic passion of Annabella does not fail to respond.. she provokes her<br />
executioner still further. and sings out in a kind of obstinate heroism. It<br />
is the absolute. condition of revolt it is an exemplary case of love<br />
without respite. which makes us the spectators gasp with anguish at the<br />
idea that. nothing will ever be able to stop it.. If we desire an example<br />
of absolute freedom in revolt Ford's. Annabella provides this poetic<br />
example bound up with the image. of absolute danger.. And when we<br />
tell ourselves we have reached the paroxysm of. horror blood and<br />
flouted laws of poetry which consecrates. revolt we are obliged to<br />
advance still further into an endless. vertigo.. But ultimately we tell<br />
ourselves there is vengeance there is. death for such audacity and such<br />
irresistible crime.. But there is no such thing. Giovanni the lover<br />
inspired by the. passion of a great poet puts himself beyond vengeance<br />
beyond. crime by still another crime one that is indescribably.<br />
passionate beyond threats beyond horror by an even greater. horror one<br />
which overthrows at one and the same time law. morality and all those<br />
who dare set themselves up as administrators. of justice.. A trap is<br />
cleverly set a great banquet is given where among. the guests hired<br />
ruffians and spies are to be hidden ready at the. first signal to throw<br />
themselves upon him. But this hero cornered. lost and inspired by love<br />
will let no one pass sentence on this. love.. You want he seems to say<br />
my love's flesh and blood. Very. well I will throw this love in your face<br />
and shower you with its. bloodfor you are incapable of rising to its<br />
height. And he kills his beloved and tears out her heart as if to feast.<br />
upon it in the middle of a banquet where he himself is the one. whom<br />
the guests had hoped to devour.. And before being executed he<br />
manages to kill his rival.... If the essential theater is like the plague it is<br />
not because it is. contagious but because like the plague it is the<br />
revelation the. bringing forth the exteriorization of a depth of latent<br />
cruelty by. means of which all the perverse possibilities of the mind<br />
whether. of an individual or a people are localized.. Like the plague the<br />
theater is the time of evil the triumph of. dark powers that are nourished<br />
by a power even more profound. until extinction.. In the theater as in<br />
the plague there is a kind of strange sun a. light of abnormal intensity<br />
109
y which it seems that the difficult and. even the impossible suddenly<br />
become our normal element. And. Ford's play like all true theater is<br />
within the radiance of this. strange sun. His Annabella resembles the<br />
plague's freedom by. means of which from degree to degree stage to<br />
stage the victim. swells his individuality and the survivor gradually<br />
becomes a. grandiose and overwhelming being.... We do not see that<br />
life as it is and as it has been fashioned for. us provides many reasons<br />
for exaltation. It appears that by means. of the plague a gigantic abscess<br />
as much moral as social has. been collectively drained and that like the<br />
plague the theater has. been created to drain abscesses collectively....<br />
The theater like the plague is a crisis which is resolved by. death or<br />
cure. And the plague is a superior disease because it is a. total crisis<br />
after which nothing remains except death or an. extreme purification.<br />
Similarly the theater is a disease because it. is the supreme equilibrium<br />
which cannot be achieved without. destruction. It invites the mind to<br />
share a delirium. which exalts its energies and we can see to conclude<br />
that from. the human point of view the action of theater like that of.<br />
plague is beneficial for impelling men to see themselves as. they are it<br />
causes the mask to fall reveals the lie the. slackness baseness and<br />
hypocrisy of our world it shakes off. the asphyxiating inertia of matter<br />
which invades even the clearest. testimony of the senses and in<br />
revealing to collectivities of men. their dark power their hidden force it<br />
invites them to take in the. face of destiny a superior and heroic attitude<br />
they would never. have assumed without it.. And the question we must<br />
now ask is whether in this slippery. world which is committing suicide<br />
without noticing it there can. be found a nucleus of men capable of<br />
imposing this superior. notion of the theater men who will restore to all<br />
of us the natural. and magic equivalent of the dogmas in which we no<br />
longer. believe.. The contemporary theater is decadent because it has<br />
lost the. feeling on the one hand for seriousness and on the other for.<br />
laughter because it has broken away from gravity from effects. that are<br />
immediate and painfulin a word from Danger.. Because it has lost a<br />
sense of real humor a sense of laughter's. power of physical and<br />
anarchic dissociation.. Because it has broken away from the spirit of<br />
profound. anarchy which is at the root of all poetry.... This helps us to<br />
understand that poetry is anarchic to the degree. that it brings into play<br />
all the relationships of object to object and. of form to signification. It is<br />
anarchic also to the degree that its. occurrence is the consequence of a<br />
disorder that draws us closer. chaos.... Where alchemy through its<br />
symbols is the spiritual Double of. an operation which functions only<br />
110
on the level of real matter the. theater must also be considered as the<br />
Double not of this direct. everyday reality of which it is gradually being<br />
reduced to a mere. inert replicaas empty as it is sugarcoatedbut of<br />
another. archetypal and dangerous reality a reality of which the.<br />
Principles like dolphins once they have shown their heads hurry. dive<br />
back into the obscurity of the deep.. For this reality is not human but<br />
inhuman and man with his. customs and his character counts for very<br />
little in it. Perhaps even. man's head would not be left to him if he<br />
were.... bali theater What is in fact curious about all these gestures these<br />
angular. and abruptly abandoned attitudes these syncopated<br />
modulations. formed at the back of the throat these musical phrases that<br />
break. off short these flights of elytra these rustlings of branches these.<br />
sounds of hollow drums these robot squeakings these dances of.<br />
animated manikins is this that through the labyrinth of their. gestures<br />
attitudes and sudden cries through the gyrations and. turns which leave<br />
no portion of the stage space un utilized the. sense of. anew physical.<br />
language based upon signs and no. longer upon words is liberated....<br />
Everything is thus regulated and impersonal not. a movement. of the<br />
muscles not the rolling of an eye but seem to belong to a. kind of<br />
reflective mathematics which controls everything and by. means of<br />
which everything happens. And the strange thing is that. in this<br />
systematic depersonalization in these purely muscular. facial<br />
expressions applied to the features like masks everything. produces a<br />
significance everything affords the maximum effect.. A kind of terror<br />
seizes us at the thought of these mechanized. beings whose joys and<br />
griefs seem not their own but at the. service of ageold rites.... An<br />
impression of inhumanity of the divine of miraculous. revelation is<br />
further provided by the exquisite beauty of the. women's headdress this<br />
series of banked luminous circles made. combinations of multicolored<br />
feathers or from pearls of so. beautiful a coloration that their<br />
combination has a quality of. revelation and the crests of which tremble<br />
rhythmically. responding consciously or so it seems to the tremblings of<br />
the. body.There are also the other headdresses of sacerdotal character.<br />
in the shape of tiaras and topped with egret crests and stiff flowers. in<br />
pairs of contrasting strangely harmonizing colors.. This dazzling<br />
ensemble full of explosions flights secret. streams detours in every<br />
direction of both external and internal. perception composes a<br />
sovereign idea of the theater as it has. been preserved for us down<br />
through the centuries in order to teach. us what the theater never should<br />
have ceased to be.... Here we are suddenly in deep metaphysical<br />
111
anguish and the. rigid aspect of the body in trance stiffened by the tide<br />
of cosmic. forces which besiege it is admirably expressed by that<br />
frenetic. dance of rigidities and angles in which one suddenly feels the.<br />
mind begin to plummet downwards.... And the women's stratified lunar<br />
eyes. Eyes of dreams which seem to absorb our own eyes before. which<br />
we ourselves appear to be fantome.... .For the Occidental theater the<br />
Word is everything. and there is no possibility of expression without it<br />
the theater is a. branch of literature a kind of sonorous species of<br />
language and. even if we admit a difference between the text spoken on<br />
the stage. and the text read by the eyes if we restrict theater to what.<br />
happens between cues we have still not managed to separate it. the idea<br />
of a performed text.... The. The. absurdity of this cultural mythology's<br />
persistence at a time when scientific. metaphysics have already<br />
triumphed was demonstrated clearly by Kierkegaard's. choice of<br />
confirming Christianity one must believe in absurdity.. jorn p'physics.<br />
NOEMATA HUB NMAT flections. NOEMATA HUB NMAT.<br />
FASCIIST SELECTED RANDOM FRAGMENTS GENERATOR V.<br />
butah. Generated by usercdfu.cable.mindvoid.com. lard comment.<br />
nothing is truly reflected anymore. no value no equivalence. could it be<br />
that all systems individuals harbour a secret urge to be rid of. their ideas<br />
of their own essences so as to be able to proliferate everywhere.<br />
transport themselves simultanesously to every point of the compass in<br />
any. event the consequences of a dissociation of this kind can only be<br />
fatal. a. thing which has lost its idea is like the man who has lost his<br />
shadow and it. must either fall under the sway of madness or perish..<br />
annihilation by virtue of their very success.. transaestethic of banality.<br />
virtual indifference. silence a blip in the circuity that minor<br />
catastrophe.. which confirmes the. fact that all this communication is<br />
basically nothing but a rigid script an. uninterrupted fiction designed to<br />
free us not only from the void of the. television but equally from the<br />
void of our own mental screen... j baudrillard. nostalG. .sigs. wreathule.<br />
entropic arts. noematag. nostalG. mat. hva gjør vi med lykken har den<br />
noen plass å gjøre av seg eller er lykke å. ikke. ha noen plass å gjøre av seg<br />
lykke ballen mens ruletten går. hva er ruletten. lotto høstjakt killing by<br />
numbers aldri var du så levende som ved fronten. men hva skulle du med<br />
liv du kjenner bare på det du investerer dvs du er. lykkelig hvis du<br />
investerer lykke dvs setter den på spill lykkehjul this. wheel will fortune<br />
by selfdestruct. jeg kunne hatt barn vært barn vært død. jeg er på en måte ikke<br />
her hjulet går rundt keep the wheels turning lykke er. å ikke vært til kunstig<br />
lykke. lykke er å være ulykkelig. lykke er å ikke bry. seg salighet. først når<br />
112
det er på plass kan du bry deg ikke sant bare piss.. limet er ulykkelig.<br />
hvordan legitimerer kristendom selvgodhet hvordan. legitimerer godhet<br />
selvgodhet ved å gi bort selv er det fortsatt selvgodhet. strømningene<br />
flyten av ballen ruller. hvis noe opprettholder seg selv hvem. bryr seg<br />
magen vil ha mat c. vil du ha lykke vil jeg ha mat hva er mat en. ting<br />
tilstand jeg var mat igår.. medialisering. medialisering synaps er bro<br />
transmit må til ikke umiddelbart. ferjeovergangene lager struktur kø og<br />
ubalanse utløsning. medialiseringen lager struktur sprekkdannelser. fikk<br />
vi orden ut av kaos gjødsel spam komme til syne eksponere. har knuste<br />
ting mer struktur hva slags når har ting mest struktur. hvis hjernen var en<br />
enhet heilen kunne vi ikke tenke. tenker havet. aggregattilstand hva kan<br />
tenkes i et hav biologisknaturlige datamaskiner. minne spor struktur er<br />
molekylene de samme over tid HansKåre. stolen er stol idag også en bølge<br />
gjentar den seg. er det forskjellig tid tetthet rom havet er kanskje en<br />
stol. virkelighetsfjern det er virkeligheten som er fjern. den som er<br />
interessert i virkeligheten kan gå og måke snø. etterpå måke havet to meter<br />
til venstre. det snør i havet det virker bortkastet. som at snøen var for oss<br />
havet vil ha oss bølgene og vinden. uansett at det angår noen<br />
umiddelbart. de er ikke mennesker vind er vind c de. truende vi er<br />
fornuftige det er kaos snø i hav. folk dør i kulde kanskje flere i varme<br />
sola atombombe. vi bor i hus ikke umiddelbart noen går i hi. alle<br />
brødskiver er skiver av brød brødkniv. hvor skal vi sans og bevissthet<br />
gjennom oppløsning kaos. skritt for skritt ikke hjul automatikk<br />
automatisk hva hav. norge.no borger. norge.no. Norske borgere som<br />
søker Utlendingsdirektoratet om det kan bli løst fra sitt. norske<br />
statsborgerskap. Norske borgere som er bosatt i Norge kan imidlertid.<br />
ikke bli løst fra det norske statsborgerskapet. Det forutsettes at<br />
vedkommende. er registrert utflyttet fra Norge og er fast bosatt<br />
utenlands. Videre. forutsettes det at han har eller vil få annet<br />
statsborgerskap innen en viss. frist. Man vil ikke løse en norsk borger<br />
fra det norske statsborgerskapet hvis. han derved blir statsløs..<br />
Utlendingsdirektoratet Fylkesmannen og politiet gir nærmere<br />
opplysninger om. statsborgerskap.. Hvordan kan jeg ha plikter som<br />
statsborger hvis jeg ikke kan løses fra. statsborgerskapet sånn uten videre<br />
Er jeg slave av Norge vikingskipet. veldedighet. veldedighet folk gir<br />
bare hvis de er sikre på å tape.. norsk tipping kan vise hvor mye de vann i<br />
hver omgang.. og veldedigheten hvor bra det var du tapte.. overskuddet<br />
av dette livet går til de døde.. tomflasker til NHO NÅ. Mar. vrkier som<br />
aiatkvipssv er aegvrjndøe for piirbnluseg øsnekr ikke atkiv. pub (lleer<br />
hdavonr) men hdvaron kan den vræe pssiav hva er psasiv. indreikte<br />
113
aipivastksv bstemeemr rteinng bgveelese mtsotand mdirenieg. det som<br />
kommer mot deg må gejnonm et fsoravr men når du oøkpepsr slev. er det<br />
uetn fvasror.. a) haovdrn fgnuerer det i knust hva aøgjvr om vi er i aktiv<br />
eellr psasiv. muods kunsten pissavisrees slik at vi kan vræe uten fovasrr..<br />
det er hkaer på plia så den går ltet inn og er vnakesilg å trekke ut..<br />
getnnsiesrt mot kntsntuig eellr hdovarn frostå knsut eellr hrvodan lage.<br />
kefråoltnstsuse tnig som er langt unna kan være kunst fdroi de bilr. pasisve<br />
og vi åpner oss slik som antavsd i flreståose elelr sinansng noe. mkeelirg<br />
uarlkt uebstemt lite sujklt etc elelr noe som er vdelig nræt. fordi det<br />
peørvr å plsaesre seg allredee ifneonnr fvoaresrt oreeprt inn. kroppen må<br />
ajvgøre føreltsstae elelr ggdolestae og rskat sedin aenegrripn. aldlreee er<br />
innenfor så aeæhrnvtdsnat er osgå tid. frålepfsoostipanetng tar tid ting som<br />
er lagnt unna er sktae ting som. er nære er rakse.. er felohrodt mlelom<br />
akivte og psisvae emeletner i et sytsem kntosant som. at eeignren er<br />
knotnsat eellr at smømetrn av belir er ktsnoant enten det. er mgnrreuosh<br />
eellr emtitdredag hvis alle belir køjtre smame vei eller. alt var paissvt<br />
men det er rletavit såtr alle tnig i et ataksispviv. forhlod sjebbjetkokut<br />
kusnten gjør seg oetjbikv tlginig for at du kan. være errfnadee sujkbet.<br />
setkre og svake sebujkter. er språekts gaiarmktmk. viirkelg ofatpetpr vi<br />
ting som advreb knnue vi bkrut stteruunrke ola. ser på sola sola er knust<br />
(ikke se på sloa (det burde vært en avarsdel. på sola kkie se dektire på dnene<br />
asravelden du blir blind du er. bnlid alstå kan du ikke lsee dette glem det<br />
vær vnleing å oserve dtete.. t.k)ka). stnkytaisk alnayse av kunst lkie geirt<br />
som ssrtkfirpåk er det. ikke bare å legge til dojsnmeenir fra snkeevs (ijlne)<br />
til rom (d) og. rmotid (d) sansttiykk aynalse av krsoysrd sneimtakk er<br />
dybde men. dybde er brae en dmjsieonn silk som overfealtn. vi liker<br />
(aipvss) ddybe. frodi det gjør oss til den atkvie prat. hvis alt var<br />
gientjniskomg hevm. ville vi ha vræt noen ingen tnreger vi det psaisve<br />
oebjtknee alt. er geirnsstent en srtejne men sett innnefra pestrpkevniee<br />
er udeelnig. atanll sninegter i seårpkt er uineedlg gbeerrranee et<br />
petrkeispv er en. sntneig en snetitg med en sknyats atpkisvasiv er i<br />
psipektreevt. skebkjejbtuot njtræfrent atvsand rslejoan. rtiao avpssiatkiv<br />
en. senting med brae oekjebtr brae sujbeektr en ktgnienutsns bord stol.<br />
sneg vidnu teppe. det er altlid en atkiv prat om ingen i peestrpevikt. så<br />
illeaflal den som ser og noen må ailltd se hvis ikke så så hva hva. om vi<br />
gjør pikevpsteret umluig hvdoarn ftroseill deg rdblaearet i. kutnsen når<br />
neon brøt ppskreetivet. noen ser atlild nei det er et sortt. mkøre er det<br />
inessretant kan vi foorlhde oss til det tnakrenm i mtaen. så vi siplper<br />
pssue tenna etetrpå hvor skal vi hva gir kunst asvier. lerur på hva er nheyt<br />
horvofr er nehyt neyht og knust knsut hva er. fjeleksorln orfevtlae<br />
114
dbyde mtotasesr knust er dnddjieosmnbyeen ikke. at det er så hveydørig<br />
dypt men alle ting har dbyde uanetst har dbyde. dydbe har ovfrtaleen<br />
dybde kanskje vi hlleer skal tenke i gaefrr men. dsnojieenmr er<br />
ekegnsap ved vehrgeilkeitn hovr fsyisk er 'sdminejon'. hva er<br />
dijneosmn knnue vi modeerllt vdreen aeerldnens hvodran fuenregr.<br />
dnimesjon. økenst om å riese til npdoelorn mars hlemimen over åsen ol. er<br />
det. samme som ola ser på sola. tkeinnlegirtn er vnikrnig av akvitpsasiv.<br />
atikv vil ha passiv akitv er vi'l ha' silk som ola se'r på' sloa.. sujebtket<br />
tar vreb. sola blir stet på mras bilr rsiet til. bteshevist. mars bilr breeist<br />
sloa bsetet ola bsivest.. ping tour. en verdensturne ping. conducted.<br />
audience participation poems in argentina mexico france and around<br />
the. globe.. her work can be found on her floor in her drawers.<br />
poeticsnoetics. detox. arrangere et vulkanutbrudd i trondheim sentrum<br />
.mai i samarbeid. med butox og naturmaktene.no støttet av noemata.<br />
gratis lava til alle.. sørge for at japan går under. flytte fjell etc. i rekken<br />
av. kisjoteprosjekter. gjøre vårt beste. kunst er litt sånn store ord om.<br />
ingenting. så kan vi ha vulkanutbrudd i trondheim i samarbeid med.<br />
adresseavisa og under dusken. vulkanutbruddet er sponset av.. så får vi.<br />
garantert reaksjoner det var bare helt uvirkelig. jaha uvirkelig. det. var<br />
egentlig det vi ville ha noe virkelig uvirkelig. jeg tror dette er i. e. kunst<br />
(etter kunst). mulig vulkanutbruddet kan være med på. vandreutstilling<br />
også. katastrofe på box helt regulært.. in net.art deposited. om det er<br />
utpressing eller sorterer under innkjøp. i spamscam retorikk og. stil. om<br />
jeg gir deg en garanti på at disse verkene ikke eksisterer.. just like my<br />
manuscripts deposited in a safe bank account at. value each. they do not<br />
exist. so i want to show them to you. exhibit them and buy them. also a<br />
guarantee enclosed with the works. assuring their nonexistence. request<br />
til samtidsmuseet. dette er. ikkeeksisterende verker med en dermed<br />
urealiserbar verdi den kan ikke. fastsettes den endelige verdien av<br />
kunstverkene er uoppnåelig.. modulo. modulo. klokka går. når klokka går<br />
rundt og rundt hvorfor snakker vi om utvikling klokka. utviklet seg fra .<br />
hvor syklisk er kaos han regnet sine år i. modulo. et ambisiøst<br />
kunstprosjekt går ut på å oversette lineærtid til. looptid. en regress inn i det<br />
mytiske. det støtter seg på borges'. hallusinasjoner og nietzsches evige<br />
tredemølle trellemøde. hvis tiden er. et objekt som andre ting hvis den<br />
oppsto og finnes og har. karakteristikker så kan den vel oversettes<br />
bekjempelse av tiden den. betingelsesløse underkastelse. modulo prøver å<br />
styrte tid jamme tid ved. å gjøre den sirkulær og overflødig. alt er det<br />
samme menneskelig lidelse. kickoff klokka med reprise ting skal<br />
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden lager<br />
115
alle sår. vi forestiller. oss lineært uendelige som en språklig egenskap en<br />
instruksjon (vs. 'unstruction') vi gir oss selv. er den en malplassert<br />
sirkulær. uendelighet ting går stort sett rundt nye ting kvernes inn.<br />
modulo. konstrueres som en mekanisme som kverner tid slik tid<br />
kverner ting.. tidspatafysikk etterat tidsmetafysikken gikk i stå.. ref.<br />
pulskt la staux.. simile. simile v.. en omformer av uttrykk oulibot. den<br />
tar en tekst og omforer til drømmende. similer. ... kløe er som et<br />
symptom på en lidelse der medfører irritation. som af huden. ... der findes<br />
en lang række hudlidelser hvor kløe er som. det mest fremtrædende<br />
symptom. ... kanskje kan den bare slenge inn noen. som på tilfeldige<br />
steder. ... det var som nettopp under som en. klatreekspedisjon i det hele<br />
som begynte for hans del som i en hule. i meters som høyde fant<br />
tokuhashi nemlig menneskeaktige som. fotspor lagd av som et ganske<br />
stort dyr som.. serieroman. kunne tenkt meg en serieroman i<br />
emailformat som slår ut på. virusprogrammer.. mailene er ren tekst men<br />
trigger likevel virusalarmen for dilettantiske. memer. romanen foregår i<br />
norge etter at vg melder at et nytt memevirus. dreper forfattere av<br />
serieromaner samt vansirer vakre odelsjenter og. signøyerpiken tar meg<br />
seg gråtende barn og flytter inn hos elg i. solnedgang.. dramatikk<br />
spenning og erotikk er hovedingrediensene i frid ingulstads nye.<br />
underholdningsserie ingebjørg olavsdatter men målet er å gi leserne god.<br />
litteratur og kunnskaper om norsk middelalderhistorie med på kjøpet.. i<br />
morgen kommer første bok om ingebjørg olavsdatter den vakre<br />
odelsjenta. som vokser opp på en utarmet storgård i årene etter at<br />
svartedauden har. lagt norge øde.. nil. ganskje sikkert. venter kurshopp i<br />
telenor. ja det gjør du nok etter en sånn nyhet. ide en nyhetstjeneste som<br />
skaper noe som har skjedd. eller som skjer noe som er skapt. referansen<br />
er skapelsen og skapelse referanse. en skapelsesberetning blir<br />
beretningsskapelse. i begynnelsen var ordet i. bli kurshopp dermed ble<br />
det kurshopp. venter lys dermed ble det lys. kurs på sikring. skriket.<br />
skriket. lokale skrikekonkurranser samt nm i skrik aldersgrupper kjønn<br />
solo og. lagkor.. db måling utførelse. playbackrepriser over<br />
høytaleranlegg. hvordan vil. skriket være i et kunstgalleri. va du på skriket<br />
ihelga om æ va dæræ sleit av heile stæmmbainnskapet. dette e et opptak.. samt<br />
en karaokebadstue pep talk for hemnessberget. ideen om skriket er å<br />
foretrekke.. skriket regi ph h i informasjonsalderen. last opp lyd fra.<br />
mikrofoninngangen fra brøling til maskin. vaskemaskinopptaket.<br />
happenings. for mishandling av maskiner. komisk å skrike til<br />
operativsystemet opera. tivsys for stemmer og maskin. det irrasjonelle<br />
hvordan forklares det. og for seg selv hva er banning uttrykk for er den<br />
116
ettet mot noe jeg. er redd for å skrike for hardt til maskina kanskje noe<br />
blir ødelagt. det irrasjonelle må ha en slags tro på seg selv opprettholde<br />
seg selv. slik fornuften opprettholder sitt domene gjennom fornuft. men<br />
hva blir det. som ikke opprettholder seg selv ikke tror på seg selv uten<br />
målratio. last. oppnedbelastning. alt er laster i informasjonsalderen stor<br />
synd eller last er dyd.. lasten er informasjon troen er dydig promiskuøs<br />
kommunikasjon. hvis gud. var tilgjengelig ville han vært lastefull troen<br />
og dyden krever at han. er utilgjengelig troen er troen på at han er<br />
utilgjengelig. enhver. oppnedbelastning må bekjempes av de troende.<br />
men er ikke troen dermed. en last ved de troende var troen virkelig<br />
dydig ville den ikke ha. belastet (seg selv med) gud. troen og dyden er<br />
paradoksale noe som ikke. er nytt eller forkastelig men utilgjengelig i<br />
betydning 'kan ikke. lastes' slik som galskapen. informasjonsalderen<br />
kan føre til at. religionen igjen gjenkjenner og omfavner galskapen. (det<br />
samme gjelder. kanskje for kunsten hva er tro og dyd her helhet og<br />
skjønnhet verk og. estetikk autonomi og mening). Mar. ord som<br />
nummer i tallssystemet som asciitegn som nummer i. tallsystemet ordet<br />
'ord' er tre siffer i rekkefølge. eller hexadesimalt f. et ipnummer kan<br />
tolkes som asciitegn. ... blir. padle. britiske lewis gordon pug klarte det<br />
ingen har gjort før ham han svømte. rundt nordkappplatået. friskusen var<br />
nokså nedkjølt etter en time og fire. minutter i vannet. omtrent halvveis i<br />
svømmeturen var det antydning til. dramatikk. pug fikk krampe i foten..<br />
det gjorde forferdelig vondt sier han til finnmark dagblad. briten. hadde<br />
nær drømmeforhold da han onsdag ettermiddag la ut på den fem. kilometer<br />
lange svømmeetappen fra røykholet til hornvika. vanntemperaturen.<br />
varierte mellom ni og ti grader men på havet var det blikkstille.. lewis<br />
gordon pug har de siste dagene blitt fulgt av filmteam fra både sky. news<br />
og reuters. på forhånd regnet hardhausen med at svømmeturen ville ta.<br />
halvannen time men han greide det altså på bare litt over en time. etter.<br />
fullført svømmetur varmet lewis gordon pug seg litt før han med det.<br />
britiske flagget på ryggen klatret opp fra hornvika til nordkappplatået..<br />
(ntb ..). virkeligheten tjener språket. bilde av en padler utenfor nordkapp<br />
jeg. padlet rundt nordkapp. dette å inkludere seg selv i bildet vs øyet det<br />
er jo svært kunstig som. om jeg må starte hver setning med at jeg skriver<br />
at jeg skriver at.. hvordan er det forskjellig eller fortsettelse av f.eks.<br />
muntlig. fortellertradisjon æ va ute i hardt vær han va rusket ja tel slutt tok.<br />
havet sjarken og alle gikk med under. selvreferansen er vel egentlig<br />
helt. tilgrunnliggende. det merkelige er kanskje heller at vi forestiller<br />
oss et. nakent øye et aksiomatisk genererende aktivt punkt. den blinde<br />
flekken. er samtidig deg selv i bildet og det som muliggjør synet. alle<br />
117
som. representerer seg selv i bilder er bilder på blinde flekker. jeg padlet.<br />
over nordkapp som er tekststrengen og nervetrådene fra øyets blinde.<br />
flekk. kan vi tenke på et (astronomisk) svart hull som en blind flekk<br />
hvor. bildet oppløses transporteres blir til informasjon tekst..<br />
virkeligheten tjener språket slik som bildet tjener teksten. og teksten.<br />
virkeligheten tjener språket slik som bildet tjener teksten. og teksten<br />
118
193<br />
skaper bildet fortelleren forestillingene. logosantilogos.<br />
manusfilmfilmmanus.. noematic. kanskje det er slik at noemata har som<br />
sitt felt disse umulige og. malpasserte verk og uverk like mye eller mer<br />
enn verk i noen tradisjonell. forstand og gjør det til sitt uttrykk som en<br />
endelig eller uendelig. oppløsning av kunsten med objektets død<br />
(euridike) og subjektets. desintegrering (orfeus) i korridorene<br />
grenselandet eller ørkenen. (nettkunsten). fin setning iallefall. det høres<br />
seriøst ut men har mer. preg av tragikomedie mer quixotisk enn<br />
romantisk. det umulige er en rød. tråd kan det virke som en rød klut<br />
forestillingenes umulighet eller. det virkeliges uvirkelighet.. every<br />
ecstasy ultimately prefers to take the path of renunciation rather. than<br />
sin against its own concept by realizing it. adorno. there is an idea<br />
horizon just as there is an event horizon the horizon of. their<br />
deathdealing accomplishment their absolute realization. thought. for its<br />
part leaks out into the void. baudrillard. don quixote som en taktil<br />
kulturjammingsteknikk bevisst dumskap.. noemata message in a bottle<br />
server at the barents sea n. hva slags mail vil du sende ut i havet<br />
umulige kjærlighetsbrev. thy false promise and my sure misfortune carry<br />
me to a place whence the. news of my death will reach thy ears before<br />
the words of my complaint.. what thy beauty raised up thy deeds have<br />
laid low by it i believed thee. be an angel by them i know thou art a<br />
woman.. hva du gjør der er det et spørsmål eller svar. quo oxid net. ph<br />
ray. man rays fotografi uten kamera kan vi ha elektronisk kunst uten.<br />
datamaskiner p..h.. the uselessness effect shows us objects from what<br />
one might call their. human side. it sets them free. it was precisely<br />
because these things were. useless that we found them moving and<br />
lyrical. the humor of the useless. machine is man ray's discovery.<br />
richter. grammatikk. vestens problem grammatikalsk at alle tilstander<br />
situasjoner. fenomener forstås i kategoriene værenvorden substantivverb<br />
jeg. kjenner det som en kortslutning og kompromitering jeg ikke ønsker å<br />
være. eller gjøre noe fundamentalt sett problemet er at dette dermed<br />
forstås. negativt. kan det fundamenteres i en grammatisk metaklasse eller<br />
noe. art swashbuckler. mail.art. idyll dl ld n. also yl in l form (earlier)<br />
119
idyllium pl. ia.. l. l idyllium f. gk eidullion dim. of eidos form picture.<br />
interessant. at idyll er i slekt med bildet som selvinneholdt selvtilfreds.<br />
piktoresk. ide ideal umiddelbare forestillinger reklame (ikke medierte<br />
de. ligger klare som forestillinger).. et heroiskromantisk swashbuckler<br />
noemata prosjekt. art swashbuckler bff txique swazzle. professor punch<br />
oscar ian dandruff. cue. cue. en serie verk som ikke er det de beskrives<br />
eller annonseres å være men. ubeleilige utidsmessige urelaterte<br />
ikkerepresentative.. q. q.. continuum paradox. the achilles paradox cuts<br />
to the root of the problem of the continuum.. aristotle's solution to it<br />
involved treating the segments of achilles'. motion as only potential and<br />
not actual since he never actualizes them by. stopping.... aristotle<br />
argued that an infinity of subdivisions of a. distance that is finite does<br />
not preclude the possibility of traversing. that distance since the<br />
subdivisions do not have actual existence unless. something is done to<br />
them in this case stopping at them.. en serie (e)kunstverker som ikke<br />
(kan) reflekteres eller reproduseres som. ikke blir foreviget i noe eller<br />
noens hukommelse. kriminelle handlinger. som en slags prototype og<br />
kunstverket i mer tradisjonell forstand og det. religiøse som en annen<br />
immanitet.. globalisering. globalisering utopia som metastase globoid<br />
global hodepine. globalisering verden som hodepine.. ti dsskr ift.<br />
shoppingsentra og arkader som brukskunst fjerner seg fra erindring og.<br />
fordypelse (fenomenenes aura w benjamin) for heller å adspre.<br />
(distribusjon oppløsning siste stadium terminal alle ting ender i.<br />
adspredelsen). når det ikke lenger er mulig å tenke dynamisk og.<br />
fremtidsrettet kan løsningen være speiling tvetydighet dobbelheten.<br />
(mellom apokalypse og utopi).. kan en rute gangvei være et kunstverk<br />
hvor kontrollert et kunstverk som. lager en sti (som blir til ved bruk den<br />
finnes først etterpå publikum. må lage det).. kastorbønner. vaksinering<br />
jenners arbeid ble sabotert av leger (som mistet inntekt fra. å behandle<br />
kopper).. hva er den naturlige utvelgelsen idag. Mar. assimilation the<br />
easier to pronounce a sentence the more widespread. the change<br />
becomes.. en (mobil)kontakttjeneste som opplyser identitetnr til noen<br />
jeg peker. på mobiltelefon radiosensor som brukeren kan ha i åpenlukket<br />
modus i. åpen modus kringkastes identiteten noen meter i omkrets og<br />
kan senses av. andres mobiler. eller sentralisert id nr sendes meg i sms<br />
el. fra. operatøren abo på tjeneste som opplyser alle nr i din omkrets på.<br />
meter. så får vi en morsom stalkingvirksomhet. ref. netcom tilbyr idag. en<br />
buddytjeneste hvor du oppretter en avtale med noen andre om.<br />
gjensidig monitorering av hvor vedkommende befinner seg. netcom<br />
kunne. f.eks. tilbudt åpenlukket modus på mobiler og en smstjeneste som.<br />
120
opplyser om alle åpne mobiler i m omkrets. så ville jeg visst hvem hun.<br />
var.. port rett. en portrettserie med motivetpersonen ekstremt langt unna<br />
såvidt distinkt. menneskeform bare med forstørrelsesglass kan noen<br />
gjenkjennes og. vedkommende må argumentere hardt for at det er han<br />
for de som tviler. et. kongeportrett dronning sonja på fjellet knapt<br />
utskillbar. poenget er. egentlig å kalle det et portrett etym. framtegne..<br />
'forskning og utvikling' i vitenskap 'kunst og kultur' i ..humaniora. fou<br />
kok kunst tilsvarende forskningsdelen kultur tilsvarende.<br />
utviklingsdelen. valgerd auksjoneres bort på qxl mitt brukte eksemplar<br />
av v.. sivilforsvarets luftsireneanlegg for 'norge er i krig'<br />
irakkonflikten.. nordheim kunne bruke det han er jo allerede nede i<br />
kloakken jord luft. vann og som nasjonalkomponist med kongen<br />
kommer salutter kunne han lagd. flyene kommer sirener søk dekning..<br />
human from. the chair has human form a chairman the sofa tv floor<br />
shoes. surrounding feet. culture in general as explicit human forms like<br />
all. expressions are shoes for walkingwriting along this line footprints.<br />
alphabeta bipedal upright walking made writing episodic punctuation.<br />
objects one letter at a time discreet nevrons one foot on the ground.<br />
feetpronks none. tool expression operator. gurobot. ekstreme maskiner.<br />
augmented reality project part gururoboten boxboxiganga.dk. trace<br />
crank probe zoo logistics. sporbarhet siden det er så vanskelig å unngå å<br />
legge spor etter seg. elektronisk kunne et prosjekt gått ut på det et<br />
ikkesporbart prosjekt. men som må fundamenteres før det forsvinner..<br />
entries found for crank.. probe. any effort such as a request transaction<br />
or program which is used to. gather information about a computer or<br />
the network state. for example. sending an empty message to see<br />
whether a destination actually exists.. n. 'prøve'. zoo. a threat that exists<br />
only in virus and antivirus labs not in the wild.. most zoo threats never<br />
get released into the wild and as a result rarely. threaten users..<br />
logistics. the aspect of military operations that deals with the<br />
procurement. distribution maintenance and replacement of materiel and<br />
personnel.. the management of the details of an operation.. nyttig. flest<br />
mulig få besøk av kjendiser kirke og ny teknologi. godt nytt nyttig. troll<br />
for trolldom. finn ditt skjellsord tv konsept. tukttimen. sms lotto. spam<br />
på norsk nilfile. kulturvern og identitet i en verden i forandring. hvis det<br />
er riktig at seierherrene skriver historien gjør det historien.<br />
problematisk.. .. et kunstprosjekt som kritiserer kunst fra en ukurant<br />
posisjon. ukurantor tradisjoner i sekvens incest et modernistisk verk<br />
som. insisterer på å bli tolket premodernistisk et verk der kritikken<br />
danner. rammen persepsjonen av verket mates tilbake men fra feil ende.<br />
121
om det er. slik at verket ikke kan eksistere uten en ytterside så kan vi la<br />
ytterside. bli innside. boring. lyden av høy boring og lyder av å rive ned<br />
et bygg projiseres inn i et. gallerirom. opptaket kan også avspilles i et<br />
byrom og man ser seg rundt. etter hvor dette skjer og opplever det som<br />
risiko truende at lyden ikke. kan lokaliseres.. flop. floppy gallery. sport.<br />
foretrekker sport på tv fremfor serier. hvorfor er ikke kultur som sport.<br />
en oppsetning konsert etc. lignende et sportsarrangement. sport er spill.<br />
i spill ute av spill kultur kunne også vært inneuteepisodisk poenger..<br />
målbarhet er stikkord for sport. inneute av spill.. kg. noemata tar i<br />
besittelse den internasjonale kilogramprototypen som. oppbevares i<br />
paris. har norge en nøyaktig kopi av denne kan noemata.net. som land<br />
også få en kopi. kjeller. farger crank. fargers kart problemet.. oversatt det<br />
er aldri nødvendig med mer enn ulike farger inntil. annen farge..<br />
oversatt eller flere farger kan alltids elimineres til .. et bevis på at det<br />
holder med farger kan inneholde at det dreier seg om. en todimensjonal<br />
flate som begrenser strukturen.. geometrisk bevis farger holder for et<br />
punkt (alternerende verdier. inni hverandre) verdier holder for en linje<br />
holder for en flate. holder for et rom (se figur). fnaat lm. fnaat lm. hva<br />
et ideal er i forhold til virkeligheten. behovet eller. hangen til idealitet. i<br />
den ene retningen er virkeligheten alltid. skuffende om man ikke kan<br />
røre ingrediensene sammen på midten. lm. var et. ideal så lenge ikke visste<br />
straks vet så blir det verdiløst. man. kan lage noen prosesser hvor en<br />
løsning eller modell presenteres og godtas. for deretter å trekkes tilbake så<br />
sitter mottakeren tilbake med en. verdiløs modell som er baksiden på<br />
idealitet eller representasjon. generelt. metroll. kan fellesskapet bare<br />
reagere på måte overfor fx det ligger i. 'fellesskap' offentligheten er<br />
begrenset til offentlighet. i samtid.. tilbakeskuende eller fremover er det<br />
mer utvidet toleranse.. metroll mindre tettere fordekt net.act. akser<br />
kategorier. akser. xakse ferdig før det har begynt uferdig etter avsluttet.<br />
yakse etterarbeid konseptuelt forarbeid motiv. zakse immanent<br />
ekstatisk (om hva termen inneholder ikke hva. termens innhold<br />
inneholder). hva er et objekt katalogen ontologisk hengemyr.. en<br />
katalog er en mengde av ting objekter steder mens et nettverk er et.<br />
system av relajsoner. sammen danner de en graf med noder og kanter..<br />
kategorier apriori concept logiske funksjoner. (konsept som et skjema<br />
av kategorier). kvalitet. prinsipp anticipations of experience. intense<br />
magnitude.. virkelighet (bekreftende) skjema væren i tid. negasjon<br />
(negasjon). begrensning (uendelig). forholdrelasjon. prinsipp<br />
korresponderer med tidsmålinger permanens suksesjon. koeksistens..<br />
analogies of experience. experience not possible except through the.<br />
122
epresentation of necessary connetions of perception.. substans the<br />
permanence of the real in time. skjema forestilling. representing s. as a<br />
permanent substrastum of change in time.. kausalitet the real which<br />
when posited is always followed by something. else. consists therefore<br />
in the succession of the manifold.. community coexistence of the<br />
determinations (accidents) of the one with. those of the other..<br />
vedvarenhet og underhold (kategorisk) substans og tilfelle. kausalitet og<br />
avhengighet (hypotetisk) årsak og virkning. samsvarighetsamvirkende<br />
(adskillende). modalitet. prinsipp the postulates of empirical thought in<br />
general.. mulighetumulighet that which agrees with the former<br />
conditions of. experience (intuition concept) is possible.. eksistens væren<br />
ved en viss tid that which is connected with the. material condition of<br />
experience (sensation) is real.. nødvendighet the being of an object in all<br />
time. that the connection of. which with the real is determined<br />
according to general condition of. experience is (exist as) necessary..<br />
mulighet og umulighet (problematisk). eksistens og ikke eksistens<br />
(erklærende). nødvendig og tilfeldig (ubetinget). kvantitet. prinsipp<br />
axioms of intuition. all intuitions are extensive magnitudes.. enhet<br />
(universell). flerhet (spesiell). totalitet (egen). transcendental estetikk<br />
og logikk. tid (alle forestillingers form) formal betingelse for alle.<br />
forestillinger . eksterne og interne.. rom (eksterne fores. form).<br />
transcendental object the completely undetermined idea of something<br />
in. general.. noemenon ding an sich. negativ form noe som ikke er<br />
objekt for en. sanselig intuisjon. positiv form som bygger på<br />
formodningen on en. intellektuell intuisjon.. fenomennoumena.<br />
nødvendig skille for ikke å havne i fenomenalisme.. eksperimenter med<br />
erkjennelse. dhc. dhc opplevelse apatisenter episenter real unreal<br />
experience som et. eventyr shock agency catalyst heling change..<br />
manusfilm filmmanus. manusfilmen innebærer en tredeling mellom tekst<br />
forestilling og. virkelighet.. mens filmmanuset prøver å skape en tydleig<br />
referanse til det virkelige. bygger manusfilmen en forestillingsverden<br />
hvor bruddet eller forbindelsen. til virkeligheten problematiseres eller<br />
gjøres om til selve temaet. på den. måten kan manusfilmen kalles<br />
metafilmmanus.. filmmanuset er en tekst innenfor rammene til en film.<br />
kan vi omvende dette. forholdet manusfilmen som en film innenfor<br />
rammene til en tekst. filmmanuset er et språk basert på virkeligheten<br />
mens manusfilmen er en. virkelighet basert på språket.. adynaton som<br />
navnet på manusfilmantologien til akton plutus betegner. denne mulige<br />
kraftløsheten i forholdet til virkeligheten forestillinger. som ikke<br />
nødvendigvis bekreftes av virkeligheten men som heller ikke. avkreftes<br />
123
av språket.. volapuk. b nil notat. kval oppfølging. vi har egen labrotte.<br />
labrador. pederaste gotere lager kvalm. lisens på dybdestruktur. rat lab.<br />
virre. kameratchen. mod.numet mest profiler på dager med lite annet.<br />
lens. zoomsleaze. cellefoto. vi skal ha ei bru. erfaringer. gjenoppreise<br />
trotsky. internettgalleri. barn av trotsky .. passbildeautomat<br />
rekonstruksjon oppdragsbasert bikkja i bakken. sjakkbrett i taket<br />
brikker på gulvet.. blind. barn av trotsy fotoautomaton.. fly in the<br />
infotainment. ointment.. semiologisk godtepose pop bildetekstteorier..<br />
vinke til mannen digitale noemata se fig.. grådighet kreativitet. penger<br />
kultur. kødde intensjon. business. poengtert dekonstruksjon av kjent<br />
bildematerial installasjonene har som. mål å. underliggjøre. bildestoff som<br />
har stivnet tilføyelig illustrasjoner til. historieskrivingen. gir refleksjon.<br />
den lena huden. frihetens fantom. lawful truth. once upon a honey<br />
moon. orlof. destry rides again. boby cast to hades. realitetsteater. idag<br />
som streamer jailcambilder kvinnecellene også selvfølgelig.. her nærmer<br />
man seg en ny teatersjanger basert på virkelig panoptikon. (bentham)<br />
silentmovie komedie (chaplin de går jo rundt i stripete. drakter) og<br />
absurdbanalteksistensielt antiteater (ingenting skjer. eller gir mening)..<br />
her må norske teaterinstitusjoner lære evt. også fengslene. norske.<br />
skuespillere får obligatorisk prøvespilling i cellene. fanger gjør. audition<br />
til omsorg i frihet en musicalconcrete koreografert av. terapeuter. hva er<br />
forskjellen på en instruktør og en terapeut en. tyrannisk instruktør og en<br />
passiv terapeut fangevokteren er en. terapeut som helbreder med passiv<br />
oppmerksomhet jfr. helbredelse ved. bønn og placebo.. øå. more het<br />
tidligere fram media men ble våren kjøpt opp av britiske. more group.<br />
driver med utendørsreklame og har kontorer ved ullevål. stadion. var<br />
frem til salget en familiebedrift eid av de kontroversielle. brødrene dag<br />
torstein og øystein tvenge.. øå etc. tt er interessert i kunst . har vi noe<br />
boardsopplegg vi. kunne prøvd oss på i forhold til more group ville de vært<br />
med på en type. kunst som var samfunn og sosial ute i byrommet slik<br />
som reklamen. (innsalg). vi kan profilere oss som<br />
kunstreklameadbusters eller noe i. denne sammenhengen og etterhvert<br />
teste om de er interessert i andre ting i. tillegg byrommet for eksempel<br />
tt var interessert i arkitektur forsto. jeg... noe sånt.. øå adbusters<br />
samarbeid. stunt. spamme dikt opplag .. palindrombok på oppdrag til<br />
skoleklasse. med forlag utgivelse.. noh og nauseous. støy og shite<br />
danser i kollossale kostymer. transcendens.. noh hero krigerstykket.<br />
shite går ut av kh the hero blind går ut. i trafikken byrommet er valplassen<br />
tulle med trafikken over parken til. gardistene (kan passe bra de blir<br />
roller i nohdramaet).. noh. krigerscenen ute i trafikken. alarmer<br />
124
utikkalarmer utløse alle alarmer i et kjøpesenter samtidig. bilalarmer<br />
hvordan utløse skrekkelig irriterende.. andre alarmer i byrommet kan gi<br />
følelse av at noe skjer.. tukle med signalsystemet i byrommet. enkelt<br />
trafikklys lage noe gags.. en par dusterbusters på hver side av<br />
overgangsfelt begynner å gå når. rødt. de møtes noe tull en faller lage noe<br />
styr og når de er over så. er det grønn mann igjen. forestilling tar bare et<br />
halvt minutt. gjenta på. annet gatelys. forestilling for bilister og<br />
fotgjengere.. kulturfeltet som et gravitasjonsfelt. media har stor<br />
gravitasjon.. naked butoh woman theater. origami masker noh. en<br />
sensor inni kan generere bevegelse. ansiktsuttrykk man relaterer veldig<br />
lett til minimal mimikk dødsmasker. reagerer på lydene i rommet<br />
publikum kommuniserer.. kabuki faces se speiling. ide lage v å speile.<br />
struktur.. faces feces ansikt i ekskrementer.. kunstkapital. kunst marked.<br />
hva vil det si at noe er kunst hva betyr det at noe er vare at. den et<br />
produkt en enhet til salgs kan kjøpes. kunst at den er. tilgjengelig som<br />
det den er kjøpsalg tilsvarer intellektuelt. kjøpsalg forhandling av verdi<br />
diskursen. hva er motiv og effekt av å. se kunst og kapitalisme parallellt<br />
varen fastsettes som pris pengeverdi. kunst fastsettes som uttrykksverdi<br />
fastsettes varen som objekt og. kunsten som subjekt å si at noe er vare<br />
tilsvarer å definere som objekt. og ytre manipulerbart. kunst å definere<br />
noe som subjekt og indre. alt er. tall vs. alt er uttrykk. flåskinn. fluxus<br />
scripts akt on fluxus. vsd flåskinn goed renvasive slmc. man with tape.<br />
hvorfor er jeg ikke her nå. gr. gå på to. i etterkant. i etterkant når det gjelder<br />
dette med newagenansen et poeng er kanskje. forskjellen tro vs<br />
betydningbruk. her er en lite anerkjent holdning. hvorfor ikke tro på alt<br />
sammen men uten å la det få den (oppblåste). betydning det vanligvis får.<br />
det ser ut fra dette nemlig ut som. newagesverming henter næring fra<br />
selve troen på tingene og ikke fra den. betydning de skulle ha eller den<br />
bruk de skulle ha av det kort sagt. næring ved tabuden hemmelige<br />
meningdet skjulte. om denne næringsveien. ble avskjært ville det kanskje<br />
bli klarere at disse tingene ikke har den. kolossale betydning det ser ut<br />
til at de har.. dette bygger antagligvis på at vi ser bare ett skritt foran oss<br />
om gangen.. og siden disse tingene ikke er anerkjente så vil man ha som<br />
sitt mål å få. dem anerkjent mer enn noe annet mål som første skritt og ved å<br />
holde. tingene i denne tilstand forsikres man om at svermere blir<br />
svermende rundt. et slikt begrenset perifert mål heller enn å la dem<br />
oppdage tingenes. (mindre) betyding noe som ville ha vært det neste<br />
naturlige skrittet (man. forhindres i å ta).. ut fra dette skulle det da tilsi at<br />
om man rett og slett anerkjente. newageting ville man være befridd fra<br />
svermingen rundt dem og se dem i. lys av mer reelle forhold og dermed<br />
125
hvor liten betydning de faktisk har og. hvor bortkastet det helst er.. og<br />
dermed ser man altså at den betydningen newagetingene har for.<br />
svermingen er avhengig av at man ikke anerkjenner tingene (det er<br />
faktisk. mulig at om man si fra offisielt hold anerkjente slike ting som.<br />
faktiske mulige eller sannsynlige ting ville få svermerne på nakken. (siden<br />
det truer 'opposisjonell' livsførsel (at man lager seg en. illusorisk fiende<br />
for å definere seg selv)) de dør i lyset så og si og. at det ville fremme<br />
'sunnhet i tingene'.). slik basert kan man lage seg ett nytt credo. a.<br />
anerkjenner etthvert credo.. b. anerkjenner inntil det absurde.. c.<br />
anerkjenner inn i det absurde.. d. anerkjenner det absurde.. hva skjer ut<br />
fra dette om jeg sier jeg tror på telepati synskhet. reinkarnasjon evig liv<br />
ufoer magi underjordiske engler djevler. sjelen bevisstheten ånden<br />
kosmos gud himmelen helvete frelse. frelseren den opplyste mesteren<br />
den innvidde okkultisme okkult. trening levitasjon psykokinese ånd over<br />
materie guddommeliggjøring. kosmiskmikrokosmisk evolusjon.... Code<br />
and its Double (cont'd). Code and its Double (cont'd). codework in<br />
relation to brain asymmetry and neuropsychology. The results of<br />
studies of nonhuman species show that lateral. asymmetry is a property<br />
not unique to humans. The demonstration of. asymmetry in nonhuman<br />
brains implies that asymmetry in the human. brain is directly related<br />
neither to handedness nor to language but. rather to analysis of sensory<br />
information and control of movement.. Comment Asymmetry is at the<br />
code level processing information in. double modi.. Brain asymmetry<br />
summary From these basic ideas about distinct. functions of the two<br />
hemispheres has arisen the idea that the. hemispheres represent two<br />
distinct modes of cognitive processing (see. Springer and Deutch).The<br />
left hemisphere operates in a more. logicalanalyticalcomputerlike<br />
fashionanalyzing stimuli input. sequentially and abstracting the relevant<br />
details to which it attaches. verbal labels.The right hemisphere is<br />
primarily a synthesizermore. concerned with the overall stimulus<br />
configurationand organizes and. processes information as gestaltsor<br />
wholes.. Comment Brain asymmetry correlations to codework jot<br />
version. Left hemisphere time analysis language symbol code text.<br />
instruction execution...... Right hemisphere space synthesis matter data<br />
ambience. context surface code diffusion...... Laterality leads to the<br />
notion that two different minds control our. behavior.. Comment Which<br />
doesn't mean they can be separated. Code's double are. the twofold of<br />
information processing time and spacebased which. correlates to code<br />
as languageformatives and code as matterform. or again as instruction<br />
and data in the interpreting machine.. The left hemisphere plays a<br />
126
special role in producing and. understanding language.. whereas the<br />
right hemisphere specializes in. perceiving and synthesizing nonverbal<br />
information... Comment Code and its double as text and context or as<br />
other. traditional dichotomies activepassive lightshadow orderchaos.<br />
the onethe other intelligencemonster etc. which is also reflected. in the<br />
traditional meaning of sinister as left ie. righthemisphere.. Stimulation<br />
can produce what Penfield called interpretive and. experiential<br />
responses.These uncommon but often highly reliable. phenomena<br />
include alterations in the interpretation of the patients.<br />
surroundingssuch as deja vufearand dreaming states and the.<br />
reproduction of visual or auditory aspects of specific earlier.<br />
experiences.That patients report specific memories in response to.<br />
specific stimulation. These phenomena usually arise from tissue.<br />
showing epileptogenic dischargebut there is an asymmetry in their.<br />
occurrencestimulation of the right temporal lobe produces these.<br />
phenomena more frequently than does stimulation of the left temporal.<br />
lobewhich suggests that the right hemisphere has perceptual functions.<br />
not shared by the left.. The Kimura experiments imply that the left<br />
hemisphere is specialized. for processing languagerelated<br />
soundswhereas the right hemisphere. processes musicrelated<br />
sounds.There ishoweveranother. interpretation.It is possible that the<br />
asymmetry is related to the. temporal or spectral structure of the sounds<br />
their rhythm and. frequency rather than to language and music<br />
themselves.Considerfor. examplethe finding by Papcun and colleagues.<br />
They showed that. Morsecode operators have a rightear superiority for<br />
the perception. of the codeeven though the sounds are distinguished<br />
only by their. temporal structure.. Comment The temporal is on the<br />
code source side of running code. executables performatives which<br />
refracts into space code matter. spectrum specters. There's no<br />
fundamental difference like instruction. is also data but of interpretation<br />
processing speed frequencies. and like the continuum of spacetime..<br />
Rudel and coworkers found that both blind and sighted subjects read.<br />
Braille more rapidly with the left hand.Some children are actually.<br />
fluent readers with the left hand but are totally unable to read with. the<br />
right.Because Braille patterns are spatial configurations of dots. this<br />
observation is congruent with the proposal that the right. hemisphere<br />
has a role in processing spatial information that is not. shared by the<br />
left.. Comment Code and its double ar both active both coded though<br />
the. former often is interpreted as instruction and the latter as data. or<br />
light and shadow.. Table. Summary of data on cerebral lateralization.<br />
127
Function Left hemisphere Right hemisphere. Visual system Letters<br />
words Complex geometric patterns. Faces. Auditory system<br />
Languagerelated Nonlanguage environmental sound. sound Music.<br />
Somatosensory Tactile recognition of complex. system patterns Braille.<br />
Movement Complex voluntary Movements in spatial patterns.<br />
movement. Memory Verbal memory Nonverbal memory. Language<br />
Speech Prosody. <strong>Re</strong>ading. Writing. Arithmetic. Spatial Geometry.<br />
processes Sense of direction. Mental rotation of shapes. Several authors<br />
(for exampleEfron)have suggested that it is not. motor control itself that<br />
is located in the left hemisphere but rather. the capacity for the fine<br />
resolution of stimuli in time.. Comment Which is again to state code's<br />
inseparability in spacetime. as speed and matter running code and<br />
output.. Zatorre proposed that the auditory cortices in the two.<br />
hemispheres are therefore specialized such that temporal resolution is.<br />
better in the left and spectral resolution is better in the right. auditory<br />
areas.. Comment Or again like the theater and its double as time and<br />
spectrum.. Rather than specifying different processing of specified.<br />
psychological processesother specialization models focus on the. idea<br />
that the two hemispheres might process information in distinctly.<br />
different ways.. Comment Which is basically code and its double.. The<br />
first clear proposal of different information processing was. made by<br />
Josephine Semmes in .On the basis of the results of her. previous<br />
studies of World War II veterans suffering from penetrating. brain<br />
injuriesSemmes concluded that the left hemisphere functions as. a<br />
collection of focalized regionswhereas the right hemisphere. functions<br />
more diffusely.. Comment No comment.. A large lesion of the right<br />
hemisphere produces many more. deficits than would be predicted from<br />
the total of smaller lesions. because an entire functional field is<br />
removed.A large lesion of the. left hemisphere produces many deficits<br />
simply because many small focal. regions have been destroyed that isin<br />
the left hemisphere the total. is equal to the sum of the parts. Semmes<br />
proposed that this. differential organization of the two hemispheres is<br />
advantageous for. efficient control of their respective functions.The<br />
diffuse. organization of the right hemisphere is seen as advantageous<br />
for. spatial abilitiesbecause spatial analysis requires that different.<br />
sensations (visualauditory tactile)be integrated into a single.<br />
percept.Language functionsin contrastremain discrete individual. units<br />
in the left hemisphere.. Comment Code and its double creates and<br />
maintains different domains. different magnitudes and spectrums of<br />
frequencies.. People use the word sinister as a synonym for wicked or.<br />
128
evil.Originally a Latin word meaning lefthand sideour contemporary.<br />
English meaning implies that lefthandedness has been historically.<br />
viewed at best as strange or unusual.. Comment Which is to say that<br />
code's double has its own intelligence. far from being dead output from<br />
executions.. At least six significant behavioral differences are sex.<br />
relatedverbal ability visuospatial analysismathematical.<br />
abilityperceptionmotor skillsand aggression.Although the precise.<br />
causes of cognitive sexrelated differences are unknownbiology likely.<br />
plays a part.Consider the following dataRichard Harshman and his.<br />
associatesin a very ambitious study of the interaction of sex and.<br />
handedness in cognitive abilitiesfound a significant interaction.<br />
between sex and handednessthat issexrelated differences in verbal. and<br />
visuospatial behavior vary as a function of handedness.(<strong>Re</strong>call. that<br />
Witelson found that callosal size also varies by sex and. handedness.)It<br />
is difficult to imagine how biological or environmental. factors alone<br />
could account for this result.It is thus very plausible. account for<br />
sexrelated differences partly by neurological. factors that may be<br />
modulated by the environment.. Comment Introducing gender issues in<br />
codework.. In an analysis of reading skillsDennis and her coworkers<br />
found that. both hemispheres had almost equal ability in higherorder<br />
reading. comprehension howeverthe left hemisphere is superior to the<br />
right in. reading and spelling unfamiliar words and in using sentence<br />
structure. achieve fluent reading. The left hemisphere also reads prose.<br />
passages with greater decoding accuracy more fluencyand fewer errors.<br />
that violate the semantic and syntactic struc ture of the. sentence.The<br />
superiority of the left hemisphere seems to be its. ability to manipulate<br />
and exploit language rules.Yet the right. hemisphere is not without its<br />
strengths in language.Performance is. better with the right hemisphere<br />
in a task that requires learning an. association between nonsense words<br />
and symbols.. Comment Parsing and (re)integration of code code<br />
working on code. as instruction or data data as instruction or instruction<br />
as data.. In summarizing the results of studies on languageDennis<br />
suggests. that if written language structure is thought of as a<br />
combination of. meaning cues (morphology)sound cues<br />
(phonology)and picture cues. (logography) then the isolated left<br />
hemisphere will show superior. performance with morphology and<br />
phonology and inferior performance. with logographic cues.The<br />
isolated right hemisphere will show superior. performance with<br />
logographic cues and inferior performance with. morphological and<br />
phonological cues. Kohn and Dennis found an almost. analogous<br />
129
pattern of results on tests of visuospatial function.They. observed<br />
thatalthough patients with right hemispherectomies. performed<br />
normally on simple tests of visuospatial functions such as. drawingthey<br />
were significantly impaired on complex tests such as. negotiating a<br />
maze and reading a map.. Comment The time of code and space of its<br />
double.. To summarizeeach hemisphere can assume some of its<br />
opposite s. functions if the opposite hemisphere is removed in he course<br />
of. development but neither hemisphere is totally capable of mediating.<br />
all of the missing hemispheres functions.Thusalthough the. developing<br />
brain gives evidence of considerable plasticitythere is. convincing<br />
evidence against equipotentiality both hemispheres appear. have a<br />
processing capacity that probably has an innate structural. basis..<br />
Comment Which is to state code's doubleness the interweaving of.<br />
different processing interpreted instruction or data for each other.. All<br />
models of cerebral development must answer he question of how.<br />
functions become restricted to one hemisphere rather than becoming.<br />
bilateral. The interactive paralleldevelopment hypothesis answers. that<br />
question. In a series of papersMorris Moscovitch emphasized the.<br />
possibility that one hemisphere actively inhibits the otherthus.<br />
preventing the contralateral hemisphere from developing similar.<br />
functions. This active inhibition presumably develops at about age. as<br />
the corpus callosum becomes functional. as inhibitor. Comment In<br />
regard to codework the corpus callosum is the mediator. and inhibitor<br />
of code from its double and occupies the border between. sense and<br />
surface time and space source code and code source speed. and matter<br />
and assures their workings by inhibiting selfreference. (code as<br />
nothing) and decoding (of the double) producing meaning and.<br />
remains.. From Fundamentals of Human Neuropsychology Fifth<br />
Edition.. Bryan Kolb and Ian Q. Whishaw Univ. of Lethbridge Alberta<br />
.. Cerebral asymmetry. Variations in cerebral asymmetry. CEREBRAL<br />
ASYMMETRY. A striking feature of the organization of the human<br />
brain is that. the two hemispheres of the human brain are anatomically<br />
and. functionally asymmetrical.The asymmetries in structure are<br />
visible. not only in an overall view but also at the level of the<br />
morphology of. the individual neuronand the asymme tries in function<br />
exist not only. in neurological patients but also in the normal<br />
brain.Although there. is little disagreement about the facts of<br />
asymmetry in the human. brainthere is considerable disagreement about<br />
why the two hemi. spheres are asymmetrical and about what the<br />
asymmetry means in regard. how we humans process information..<br />
130
Laterality leads to the notion that two different minds control our.<br />
behavior.. The left hemisphere plays a special role in producing and.<br />
understanding language.. whereas the right hemisphere specializes in.<br />
perceiving and synthesizing nonverbal information... Overallanatomical<br />
asymmetries center on the language areasand it. is tempting to speculate<br />
that they evolved to subserve. language.Moreoverthese asymmetries are<br />
present in preterm. infantswhich seems to support the proposition that<br />
language is innate. in humans.. With all the emphasis on finding<br />
anatomical asymmetries that can be. asso ciated with languageresearch<br />
on righthemisphere function has. lagged.If the left hemisphere has<br />
asymmetries related to languagethen. the right hemi sphere must have<br />
specialized for some other. function.After allthe two hemi spheres are<br />
quite similar in size and. other symmetriesit is not as though language<br />
areas evolved on the. left and nothing happened on the right..<br />
Stimulation can produce what Penfield called interpretive and.<br />
experiential responses.These uncommon but often highly reliable.<br />
experiential responses.These uncommon but often highly reliable<br />
131
194<br />
phenomena include alterations in the interpretation of the patient s.<br />
surroundingssuch as deja vufearand dreaming states and the.<br />
reproduction of visual or auditory aspects of specific earlier.<br />
experiences.That patients report specific memories in response to.<br />
specific stimulation. These phenomena usually arise from tissue.<br />
showing epileptogenic dischargebut there is an asymmetry in their.<br />
occurrencestimulation of the right temporal lobe produces these.<br />
phenomena more frequently than does stimulation of the left temporal.<br />
lobewhich suggests that the right hemisphere has perceptual functions.<br />
not shared by the left.. Disruption of speech is a welldocumented effect<br />
of stimulation of. the left hemispherebut only recently has stimulation<br />
of the right. hemisphere been shown to disrupt behavior.Ojemann and<br />
his colleagues. reported that stimulation of the right hemisphere<br />
disrupts judgments. of line orientationlabeling of facial expressionsand<br />
shortterm. memory for faces.. Although language is usually located in<br />
the left hemispherein a. small percent age of peoplemost of them<br />
lefthandedlanguage is. represented in the right hemisphere.. The<br />
auditory system is not as completely crossed as the. visualbecause both<br />
hemi spheres receive projections from each ear.. Tests Showing a<br />
RightEar Advantage Digits Words Nonsense. syllables Formant<br />
transitions Backward speech Morse code Difficult. rhythms Tone used<br />
in linguistic decisions Tonal sequences with. frequency transitions<br />
Ordering temporal information Movementrelated. tonal signals. Tests<br />
Showing a LeftEar Advantage Melodies Musical chords.<br />
Environmental sounds Emotional sounds and hummed melodies Tones.<br />
processed independently Complex pitch perception. The Kimura<br />
experiments imply that the left hemisphere is specialized. for<br />
processing languagerelated soundswhereas the right hemisphere.<br />
processes musicrelated sounds.There ishoweveranother.<br />
interpretation.It is possible that the asymmetry is related to the.<br />
temporal or spectral structure of the sounds their rhythm and. frequency<br />
rather than to language and music themselves.Considerfor. examplethe<br />
finding by Papcun and colleagues. They showed that. Morsecode<br />
132
operators have a rightear superiority for the perception. of the codeeven<br />
though the sounds are distinguished only by their. temporal structure..<br />
Rudel and coworkers found that both blind and sighted subjects read.<br />
Braille more rapidly with the left hand.Some children are actually.<br />
fluent readers with the left hand but are totally unable to read with. the<br />
right.Because Braille patterns are spatial configurations of dots. this<br />
observation is congruent with the proposal that the right. hemisphere<br />
has a role in processing spatial information that is not. shared by the<br />
left.. Candace Gibson and Phil Bryden presented subjects with cutouts<br />
of. irregular shapes or letters made of sandpaperwhich were moved<br />
slowly. across the fingertips.Their subjects showed a righthand advan<br />
tage. for identifying letters and a lefthand advantage for denti fying.<br />
other shapes.. The right side of the mouth opens wider and more<br />
quickly than the. left for both verbal and nonverbal tasks.Goodale s<br />
observations. support the idea that the left hemisphere has a special role<br />
in the. selectionprogramming and production of verbal and nonverbal<br />
oral. movements. Is there an analogous role for the right<br />
hemisphereIndeed. there is. Considerable evidence shows that the left<br />
side of the face. displays emo tions more strongly than the right sideand<br />
Goodale. showed that the onset of facial expressions occurs sooner on<br />
the left. side of the face.. What Is Lateralized It is tempting to conclude<br />
that the functional. asymmetries described thus far indicate a<br />
fundamental difference in. the basic cognitive processes of the left and<br />
right cerebral. hemispheres. Howeverbefore turning to this matterwe<br />
will consider a. summary of the databecause any theoretical statements<br />
are best. considered in light of available information. Table below<br />
summarizes. the major data on cerebral lateralization and illustrates the<br />
range of. functions lateralized principally n the left and right<br />
hemispheres.In. righthanded peoplethe left hemisphere has a greater<br />
role in language. and in the control of complex voluntary movements<br />
than does the. right hemisphereand the right hemisphere has a greater<br />
role in the. control of certain visuospatial and nonverbal abilities..<br />
Table. Summary of data on cerebral lateralization. Function Left<br />
hemisphere Right hemisphere. Visual system Letters words Complex<br />
geometric patterns. Faces. Auditory system Languagerelated<br />
Nonlanguage environmental sound. sound Music. Somatosensory<br />
Tactile recognition of complex. system patterns Braille. Movement<br />
Complex voluntary Movements in spatial patterns. movement. Memory<br />
Verbal memory Nonverbal memory. Language Speech Prosody.<br />
<strong>Re</strong>ading. Writing. Arithmetic. Spatial Geometry. processes Sense of<br />
133
direction. Mental rotation of shapes. A truly enormous number of<br />
proposals have been made on what is. lateral ized in the brain (see<br />
Allen for a readable summary).At the. broadest level these theories fall<br />
into two groupsspecialization. theories propose unique functions for<br />
each hemisphereand interaction. theories propose cooperation between<br />
the two hemispheres.. Several authors (for exampleEfron)have<br />
suggested that it is not. motor control itself that is located in the left<br />
hemisphere but rather. the capacity for the fine resolution of stimuli in<br />
time.In other. wordsbecause the analysis and production of speech<br />
require fine. discrimination over very short intervalsthe left hemisphere<br />
might be. specialized for temporal sequencing (organizing be havior or.<br />
information or both over time).Elaborations of this idea have stressed.<br />
the capacity of the left hemisphere to make fine discriminations in.<br />
timewhether or not the stimuli are verbal (seefor.<br />
exampleSergent).<strong>Re</strong>call the study of Morsecode operators discussed.<br />
earlierthere is a lefthemisphere advantage even though the code is. not<br />
verbal it is a temporal sequence. Zatorre and his colleagues. expanded<br />
the Efron timing idea by emphasizing that speech and musical. sounds<br />
exploit different acoustical cuesspeech is highly dependent on. rapidly<br />
changing broadband soundswhereas tonal pat terns of music. tend to be<br />
sloweralthough small and precise changes in fre quency. are<br />
important.Zatorre proposed that the auditory cortices in the two.<br />
hemispheres are therefore specialized such that temporal resolution is.<br />
better in the left and spectral resolution is better in the right. auditory<br />
areas.. Rather than specifying different processing of specified.<br />
psychological processesother specialization models focus on the. idea<br />
that the two hemispheres might process information in distinctly.<br />
different ways.. The first clear proposal of different information<br />
processing was. made by Josephine Semmes in .On the basis of the<br />
results of her. previous studies of World War II veterans suffering from<br />
penetrating. brain injuriesSemmes concluded that the left hemisphere<br />
functions as. a collection of focalized regionswhereas the right<br />
hemisphere. functions more diffusely. To account for these<br />
differencesSemmes. argued that a person with a small lesion in the right<br />
hemisphere. exhibits no deficitsbecause specific functions are not<br />
localized in. discrete regions in the right hemispherethe functions being<br />
diffusely. represented.A large lesion of the right hemisphere produces<br />
many more. deficits than would be predicted from the total of smaller<br />
lesions. because an entire functional field is removed.A large lesion of<br />
the. left hemisphere produces many deficits simply because many small<br />
134
focal. regions have been destroyed that isin the left hemisphere the<br />
total. is equal to the sum of the parts. Semmes proposed that this.<br />
differential organization of the two hemispheres is advantageous for.<br />
efficient control of their respective functions.The diffuse. organization<br />
of the right hemisphere is seen as advantageous for. spatial abili<br />
tiesbecause spatial analysis requires that different. sensations<br />
(visualauditory tactile)be integrated into a single. percept.Language<br />
functionsin contrastre main discrete individual. units in the left<br />
hemisphere.. From these basic ideas about distinct functions of the two.<br />
hemispheres has arisen the idea that the hemispheres represent two.<br />
distinct modes of cognitive processing (see Springer and Deutch).The.<br />
left hemisphere operates in a more logicalanalyticalcomputerlike.<br />
fashionanalyzing stimuli input sequentially and abstracting the. relevant<br />
details to which it attaches verbal labels.The right. hemisphere is<br />
primarily a synthesizermore concerned with the overall. stimulus<br />
configurationand organizes and processes information as. gestaltsor<br />
wholes.. Preferred cognitive mode refers to the use of one thought<br />
process in. preference to another.At one extremepeople who are.<br />
logicalanalyticaland verbal are assumed to rely more on their left. hemi<br />
spheres to solve problems n everyday lifewhereas people who are.<br />
visualin tuitiveand tend to look at the big picture are assumed to. rely<br />
more on their right hemispheres.Consider an examplealbeit a.<br />
tongueincheek one. Two professorsAlpha and Betaare both excellent.<br />
scholarsbut they work and think in totally different ways. Alpha is.<br />
meticulous and leaves no detail to chancewhen learning new ma.<br />
terialhe masters every detail and has total command of the. topic.Alpha<br />
is ver bal and easily wins debates with his quick. thinking and elegant<br />
arguments.His writing is clear and concisewith. flawless grammar and<br />
spelling.Alpha is athletic and is a nationally. ranked tennis<br />
player.Curiouslyhe is only mediocre at other sportsbut. with prolonged<br />
practice he is able to master them.Alpha s office is. neat and tidywith<br />
every item carefully placed in its correct. location. On his desk is the<br />
project on which he is currently working. and nothing else. Beta<br />
appears to be messy and disorganized compared. with Alpha and has<br />
poor recall for details.He grasps the heart of an. idea<br />
quicklyhoweverand can tie diverse concepts into a meaningful.<br />
picture.Communicating his thinking poses Beta a challengehoweverfor.<br />
he has difficulty expressing his ideas in words.Like AlphaBeta is.<br />
athleticbut Beta acquires the general motor skills of new sports.<br />
rapidlyalthough he has never been able to become a top participant in.<br />
135
any event.In contrast with Alphawho works on only one project at a.<br />
time Beta works on several projects concurrentlyleading to piles of.<br />
papers and books in his work spaceunlike Alpha s meticulous desk. In.<br />
both the cognitive and the motor skills of Alpha and Beta is a basic. dif<br />
ference that is assumed to correspond to a fundamental difference.<br />
either in brain organization or in the dominance of one hemisphere.<br />
over the other. Alpha and Beta represent extreme lefthemisphere and.<br />
righthemisphere peo plerespectively.The fundamental difference.<br />
between them is their preferred cognitive mode.Alpha is.<br />
analyticallogicalverbaland meticulouswhereas Beta is a synthesizer.<br />
more concerned with organizing concepts and visualizing meaningful.<br />
wholes. As intriguing as the Alpha and Beta analysis might bewe.<br />
caution that it is pure speculationwithout empirical basis.Factors. other<br />
than brain organiza tion probably contribute to preferred. cognitive<br />
mode.. In an examination in our undergraduate course in human neu.<br />
ropsychologywe askedIn what ways is the human brain symmetrical.<br />
Thinking it to be a trick questiona majority of the students. answeredIt<br />
isn t symmetricalit s asymmetrical.This answer is. wrongbecause many<br />
functions especially of the primary sensory and. motor areas appear to<br />
be identical on the two sides of the brain.. VARIATIONS IN<br />
CEREBRAL ASYMMETRY. People use the word sinister as a<br />
synonym for wicked or. evil.Originally a Latin word meaning lefthand<br />
sideour contemporary. English meaning implies that lefthandedness has<br />
been historically. viewed at best as strange or unusual.. Summary of<br />
handedness in performing various tasks. Left Either Right. Task () () ().<br />
Dealing cards . . .. Unscrewing jar . . .. Shoveling . . .. Sweeping . . ..<br />
Writing . . .. Striking match . . .. Throwing ball . . .. Hammering . . ..<br />
Using toothbrush . . .. Using racket . . .. Using scissors . . .. Although<br />
the belief that cognitive functions are more bilaterally. organized in<br />
lefthanders than in righthanders is widespread in the. neurological<br />
literature little evidence exists for this. generalization.. There is a larger<br />
incidence of lefthandedness among mentally. defective children and<br />
children with various neurological disorders. than is found in the<br />
general population.This finding is not. surprisingbecauseif the dominant<br />
hemisphere is injured at an early. agehandedness and dominance can<br />
move under the control of what would. normally be the nondominant<br />
hemisphere.Because there are so many more. righthanded childrenit can<br />
be expected by probability alone that. more right handed children with<br />
lefthemisphere damage would switch. righthemisphere dominance than<br />
would switch in he reverse. direction.That such switching can take<br />
136
placehowevercannot be used as. grounds for predicting cognitive<br />
deficits or differences in cerebral. organization in the general<br />
population of lefthanders.. High estrogen levels are associated with<br />
relatively depressed. spatial ability as well as enhanced articulatory and<br />
motor capability.. Kimura showed that men s spatial scores fluctuate<br />
with testosterone. levelsmen with lower testosterone levels get the<br />
highest scores.So. there appears to be an optimal level of<br />
testosteroneand increasing. the level is actually detrimental to cognitive<br />
performance.. Furthermoremen with lower average levels of<br />
testosterone do better. on both spatial tests and on mathematical<br />
reasoning tests than do. those with higher levels.A reasonable question<br />
is whether there is. also a relation be tween testosterone level and<br />
spatial ability in. women.There is.Women with higher levels do<br />
betteragain suggesting. that some optimal hormone level benefits at<br />
least some cognitive. activities.. As already mentionedthe difference in<br />
strategies used by men and. women to solve problems may be at least<br />
partly responsible for the. observed sex differ ences in<br />
behavior.Geneticmaturationaland. environmental factors may pre<br />
dispose men and women to prefer. different modes of cognitive<br />
analysis. Women solve problems primarily. by using a verbal modefor<br />
example. Because this cognitive mode is. less efficient in solving<br />
spatial problemswomen exhibit an apparent. deficiton average.By the<br />
same logicwomen should do better than men. at primarily verbal<br />
taskson average.This proposition has yet to be. thoroughly<br />
investigated.. At least six significant behavioral differences are sex.<br />
relatedverbal ability visuospatial analysismathematical.<br />
abilityperceptionmotor skillsand aggression.Although the precise.<br />
causes of cognitive sexrelated differences are unknownbiology likely.<br />
plays a part.Consider the following dataRichard Harshman and his.<br />
associatesin a very ambitious study of the interaction of sex and.<br />
handedness in cognitive abilitiesfound a significant interaction.<br />
between sex and handednessthat issexrelated differences in verbal. and<br />
visuospatial behavior vary as a function of handedness.(<strong>Re</strong>call. that<br />
Witelson found that callosal size also varies by sex and. handedness.)It<br />
is difficult to imagine how biological or environmental. factors alone<br />
could account for this result.It is thus very plausible. account for<br />
sexrelated differences partly by neurological. factors that may be<br />
modulated by the environment.. Most studies of cultural differences<br />
center on language.Asian. languages such as Japanese and Chinese<br />
might promote more. righthemisphere involvement than European<br />
137
languagesbecause the Asian. languages appear to have more prosody<br />
(or song).Those who speak two or. more languages may develop a<br />
different pattern of language. organization from that of those who speak<br />
only one. The results of. laterality studies lend some support to the idea<br />
that Asian and Native. American languages may be represented more<br />
bilaterally in the brain. thanfor exampleSpanish.. The Japanese writing<br />
system provides an unusual opportunity for. studying cerebral<br />
organization becauseunlike IndoEuropean writingit. consists of two<br />
types of symbolsphonograms (kana)and ideograms. (kanji).Phonograms<br />
are analogous to English letterseach phonogram. represents a spoken<br />
sound. In contrastthe ideogram represents a unit. of meaningwhich may<br />
corre spond to a word or words.In readingthe. brain may process these<br />
two types of characters. differentlyfurthermorethe right hemisphere<br />
might process kanji while. the left hemisphere processes kana.There is<br />
little support for ei. ther idea.For examplein a large series of<br />
patientsSugishita and his. col leagues found no clear relation between<br />
deficits in reading. either script and locus of lefthemisphere injury.In<br />
factmost of. their cases were impaired equally in both forms of<br />
reading.. In an analysis of language abilitiesMaureen Dennis and Harry.<br />
Whitaker found thatunlike righthemisphere removalsleft.<br />
hemispherectomies produce deficits in understanding spoken language.<br />
when the meaning is conveyed by complex syntactic.<br />
structureparticularly if the sentence contains an error (for. exampleThe<br />
tall guard wasnt shot by the armed robber. ).Likewiseremoving the left<br />
hemisphere leads to difficulty in. determining sentence implicationin<br />
integrating semantic and syntactic. information to replace missing<br />
pronounsand in forming judgments of. word interrelations in sentences..<br />
In an analysis of word comprehensionDennis found that both.<br />
hemispheres understand the meaning of words and both can<br />
spontaneously. produce lists of names of things.In a search for words<br />
by using. different cueshoweverthe left hemisphere has an advantage<br />
over he. right.Both hemispheres can name an object from its picture or<br />
from its. descriptionbut the left hemisphere can identify the object on<br />
the. basis of rhymes withwhereas the right hemisphere is oblivious to.<br />
this type of cue.. In an analysis of reading skillsDennis and her<br />
coworkers found that. both hemispheres had almost equal ability in<br />
higherorder reading. comprehension howeverthe left hemisphere is<br />
superior to the right in. reading and spelling unfamiliar words and in<br />
using sentence structure. achieve fluent reading. The left hemisphere<br />
also reads prose. passages with greater decoding accuracy more<br />
138
fluencyand fewer errors. that violate the semantic and syntactic struc<br />
ture of the. sentence.The superiority of the left hemisphere seems to be<br />
its. ability to manipulate and exploit language rules.Yet the right.<br />
hemisphere is not without its strengths in language.Performance is.<br />
better with the right hemisphere in a task that requires learning an.<br />
association between nonsense words and symbols.. In summarizing the<br />
results of studies on languageDennis suggests. that if written language<br />
structure is thought of as a combination of. meaning cues<br />
(morphology)sound cues (phonology)and picture cues. (logography)<br />
then the isolated left hemisphere will show superior. performance with<br />
morphology and phonology and inferior performance. with logographic<br />
cues.The isolated right hemisphere will show superior. performance<br />
with logographic cues and inferior performance with. morphological<br />
and phonological cues. Kohn and Dennis found an almost. analogous<br />
pattern of results on tests of visuospatial function.They. observed<br />
thatalthough patients with right hemispherectomies. performed<br />
normally on simple tests of visuospatial functions such as. drawingthey<br />
were significantly impaired on complex tests such as. negotiating a<br />
maze and reading a map.. To summarizeeach hemisphere can assume<br />
some of its opposite s. functions if the opposite hemisphere is removed<br />
in he course of. development but neither hemisphere is totally capable<br />
of mediating. all of the missing hemispheres functions.Thusalthough<br />
the. developing brain gives evidence of considerable plasticitythere is.<br />
convincing evidence against equipotentiality both hemispheres appear.<br />
have a processing capacity that probably has an innate structural. basis..<br />
All models of cerebral development must answer he question of how.<br />
functions become restricted to one hemisphere rather than becoming.<br />
bilateral. The interactive paralleldevelopment hypothesis answers. that<br />
question.In a series of papersMorris Moscovitch emphasized the.<br />
possibility that one hemisphere actively inhibits the otherthus.<br />
preventing the contralateral hemisphere from developing similar.<br />
functions.This active inhibition presumably develops at about age as.<br />
the corpus callosum becomes functional. as inhibitor. There is also<br />
evidence from primates that the two hemispheres may. differ in their<br />
production of facial expressions.Splitbrain monkeys. viewed video<br />
tapes of peoplemonkeysother animalsand sceneryand. the amount of<br />
time spent watching the recordings and the number of. speciestypical<br />
facial expres sions made were recorded.The number of. facial<br />
expressions elicited from the right hemisphere was greater than. the<br />
number made when using the left hemispherewhich is what one. would<br />
139
predict from studies of humans.In another studyHauser found. that the<br />
left side of he monkey s face began to display facial. expression before<br />
the rightand it was more expressive.<strong>Re</strong>call from. Chapter that a similar<br />
result was reported for humans.. The basis for handedness in humans<br />
has been the focus of much debate. and theorizingyet there is still no<br />
adequate explana tion for why. people are either rightor<br />
lefthanded.More progress has been made in. understanding the nature<br />
of sex differences.The most likely explana. tion is that gonadal<br />
hormones alter brain organization during. development and continue to<br />
influence brain activity during adulthood.. The results of studies of<br />
nonhuman species show that lateral. asymmetry is a property not<br />
unique to humans.The demonstration of. asymmetry in nonhuman<br />
brains implies that asymmetry in the human. brain is directly related<br />
neither to handedness nor o language but. rather to analysis of sensory<br />
information and control of movement.. Arithmeticomaterial drives.<br />
Arithmeticomaterial drives are firstly generated in the moment. when<br />
matter is formed according to the mathematical model of it given by.<br />
such science. One result of such objectivisation is the Standard Object.<br />
the modular component typical of globalised trade but with its roots.<br />
deep for instance in the licenses afforded the monopolistic guilds of. the<br />
Middle Ages and the history of trading generally. Everything from.<br />
ships to pizzas are quality assured subject to rigorous treaties and.<br />
processes of standardization. These are typical results of industrial.<br />
production. The second stage is when this process of standardization.<br />
becomes so abstracted it becomes amenable to massive acceleration in.<br />
production. The human work put into the production is scanned<br />
abstracted. and multiplied by means of machinic energy. Once turned<br />
into numbers. registered as a pattern the actor of the work can be<br />
discarded and the. pattern accelerated. When hooked up to processes of<br />
production we get the. discovery that according to Walter Benjamin<br />
...the speed of traffic and. the ability of machines to duplicate words<br />
and writing outstrips human. needs. The energies that technology<br />
develops beyond this threshold are. destructive. First of all they<br />
advance the technology of war and its. propagandistic preparation.<br />
Overproduction the massive churning of. ordered matter and of markets<br />
one might also say that any development. beyond this threshold might<br />
be captured by forces other than war for. redistribution for the<br />
reshaping of work for burning. One of the aims. of art is to capture this<br />
excess away from the apparatus of war.. matthew fuller freaks of<br />
number nettime. con kunstneren bare etterligner betingelsene og ser om<br />
140
esultatene kommer. likevel i tilfelle er et con opplegg avslørt.<br />
etterlignerne kan sammenlignes. med reproduserbarheten i<br />
vitenskapsteori men der kunsten hevder å ikke være. reproduserbar er det<br />
reproduserbart er det ikke kunst så det er et omvendt. forhold.. finn<br />
kunsten. en utstilling som går ut på å skille kunsten fra ikkekunsten som er<br />
utstilt.. fasit fåes ved utgangen kan kjøpes eller leve i evig uvisse om hva<br />
som var. kunst og ikke. tilbakemeldingskjemaer kanskje støttet av<br />
forskningsrådet. ref.. 'lag kunsten' prosjektet i andre enden av linja.. lag<br />
kunsten. her skal kunstnere stille ut ikkekunst de har lagd sammen med<br />
kunst som. ikkekunstnere har lagd og kunst som ikke er lagd (men<br />
generert uttenkt. utenkt etc). ref. 'finn kunsten'.. N'stats the boodhi<br />
lard. N'stats. Day Month. Hits Files Pages Visits Sites KB Visits Pages<br />
Files Hits. Nov. Oct. lard. art has disappeared as a symbolic pact<br />
remaining prolification of signs ad. infinitum as 'culture' auto.noemata<br />
automatic art. the situation resembles. that of a currency which may not<br />
be exchanged it can only float its only. reference itself impossible to<br />
convert into real value or wealth noema. kroner the impossible of<br />
noemata projects their floating like quixote. phantasies manusfilms and<br />
inconceptual art.. art no longer has that secret collusiveness which is the<br />
strength of a culture.. free sperm donor. general indifference please<br />
remove me as only emotional response. profound indifference<br />
everybody is an art is true. the system runs less on the surplusvalue of<br />
the commodity than on the. aesthetic. surplusvalue of the sign no matter<br />
how marginal banal or obscene everything. is subject to aesth. cult.<br />
museum.zation.skrevet i stein. mime its own disappearance abandoning<br />
its field completely to advertising. maybe not. like the prax of baroq we<br />
too are irrepressible creators of images but. secretly iconoclasts we<br />
manufacture a profusion of images in which there is. nothing to see<br />
leave no trace cast no shadow and have no consequences.. anyhr.<br />
fascination of the erasure rewrite full compression code cipher. our<br />
images are like icons miraculous they allow us to go on believing in art.<br />
while eluding the question of its existence.iconicity dragon body<br />
laburint. beyond the indifference art as uglierthan.ugly bad worse raised<br />
to the. second. power because it is liberated of its relation with its<br />
opposite bemyghost. transaesthetic blasts. the promotional ignition of<br />
art is directly linked to the impossibility of all. aesthetic evaluation. art<br />
market a space opera in the hyperspace of. value.robot. opera. tourism<br />
people who no longer undertake voyages but simply go round and<br />
round. in circles tracerouteping travel agency. television is an image<br />
who no longer dreams or imagines. Every aspect of human beings their<br />
141
odies in their biological mental. muscular or cerebral manifestations<br />
now floats free in the shape of mechanical. or computeraided<br />
replacement parts. man is the satelite.passive tense. endnodes terminals.<br />
whatever fails to achieve orbital power is left in a state of<br />
abandonment.. demonic pregnancy. so many messages and signals are<br />
produced that they can never possibly all be. read.. so many reports<br />
archives documents and not a single idea generated.. we are witnessing<br />
the rise of terrorism as transpolitical form cancer aids. trans. These<br />
forms alone fascinates us today. Nobody is the slightest. interested in<br />
liberation political discussion c. These forms are excesses and.<br />
collapses of code viral fascinating indiscriminate and reinforced by<br />
viral. media our culture also produces the most murderous viruses.<br />
catastrophe. culture. we all enjoy these things. nothing code stagings.<br />
operational whitewash overexposed defenceless without any way of<br />
refracting. light info doomed in consequence to a whitewash of all<br />
activity codedecode. IO labora trashmaps maze digital technique.<br />
relinquish identity to survive endnodes net computer. operations not<br />
actions regulated machinery nothing takes place. better to produce<br />
nothing in order to have things produced artists better to. have nothing<br />
to say if one seeks to communicate socials as everyone knows. if. you<br />
want to make people laugh it is better not to be funny powers. in order<br />
for content to be conveyed as well and quickly as possible that. content<br />
should come as close as possible to transparency and insignificance.<br />
empty intimate. good communication implies the annihilation of its<br />
own content. avoid. everything. jogging joke The body of the jogger is<br />
like one of Tinguely's machines. ascesis. and ecstasis of the<br />
performance principle. Making the body run soon gives way. moreover<br />
to letting the body run the body is hypnotized by its own. performance.<br />
and goes on running on its own in the abscence of a subject like a.<br />
somnambulistic and celibate machine. jogging and working at a<br />
computer may be. looked upon like drugs get us to take pleasure to<br />
dream to feel.. note that even the term society has lost its meaning.. j<br />
baudrillard. bestill papirutgaven. bestill papirutgaven for . kr.<br />
forfatteren håndskriver boken beregnet. arbeidstid uker.. TVaksjonen.<br />
TVaksjonen. ( (. ) ( ( ( (. Børsebærere kommer på døren Skru av eller så<br />
skyter vi TV'en sund. Kom igjen. kjappa på. Eller slik som NRK's<br />
lisensinnkrevere ringer på døra til alle som ikke har TV. så kan aksjonister<br />
ringe på til de som har Vi tror du har TV kan du være. vennlig å skru av vi<br />
har en aksjon gående og TV'en din interfererer med våre. sanseapparater<br />
vi tror de går på samme frekvens vi har sagt fra til NRK og. bedt dem<br />
142
skru av TV men de vil heller fortsette å sende hvorfor Vi lurer på. om det<br />
er spæm vi hadde dette apparatet men så kom det bare søppel inn uten at.<br />
noen hadde bedt om det og skal vi betale for å laste det ned på skjermen<br />
Det. ser ut som søppel alle slags hexfarger i innpakning og flash Hallo sjå<br />
hersgfla sdkjxd da logger vi av. Takk for bidraget. Logg av TV er<br />
kanskje bedre.. Nei jeg sitter og ser på monitoren hvor er musepekeren<br />
forresten har. programmet hengt seg Dette tastaturet var snålt infrarødt<br />
Jøss der kom jeg. inn i DOS hvor er markøren Velkommen til TekstTV<br />
norsk lynx versjon Her. virker tastaturet igjen men ikke hyperlenker<br />
dette var jo tungvint. TV hva. skal det forestille skal det erstatte PC<br />
dette tar aldri av her har. produsentene virkelig kjørt i grøfta. Televisjon<br />
det høres så fint ut se. fjerne steder et øye i verden men jeg tror søpla er<br />
mer interessant der er. emballasjen til grillpølsene hvor er de hvem<br />
skulle trodd at de skulle få. noe. mer oppmerksomhet nå de trodde tid i<br />
lompelyset var forbi la oss nu i fred. være Tror T.V. at jeg trykker på all<br />
den spammen for alt jeg vet er det virus. i meldingene fra Linda Carlyle<br />
og <strong>Re</strong>daksjon EN bare tull hvem har. ansvaret. for at dette slipper<br />
gjennom. format. hva er format tekst ascii abstrakt lag format medium<br />
teksten har et. format og formatet har et medium uansett reformatering<br />
nærhet til. innholdet en elefant til havs er ikke bedre stilt enn en mus alle<br />
ting har. såre punkter i den grad de finnes det som ikke finnes er<br />
ekstremt. uangripelig. en elefant i ingenting er ikke bedre stilt noe er<br />
alltids noe og hvis ikke så. er det alltids noe annet hvordan skal den<br />
elefanten greie seg eplet ønsker å. vokse videre på bakken treet var ikke<br />
noe for meg jeg er frukt mens treet. bare. er tre hadetbra jeg stikker til<br />
havs tar med meg elefanten sammen er vi. uangripelige.. i en frosset<br />
fotballtakling. rart å lese det man akkurat har skrevet sekunder etterpå<br />
ikke mens man. skriver men like etterpå det er helt annerledes. det er<br />
ikke lenger del av. deg. selv men selvstendig tekst du møter deg du er<br />
den som er helt forskjellig.. på to sider trenger alle ting to sider jeg vil<br />
ikke alltid møte meg. møte. bli. møtt. ikke alt er ment å ha ytterside. har<br />
alt ytterside er alle tekster. ytterside er det jeg tenker yttersider utenpå i<br />
flere lag blotting det å. ikke ha ytterside innside er ytterside. det er sårt.<br />
tekst er sårt. innsiden. virker levende utsiden latterlig men det er like<br />
etterpå så de er det samme. innsiden er latterlig og utsiden levende. jeg er<br />
latterlig. teksten lever.. latterlig. teksten lever ikke. er jeg latterlig<br />
bilder. tekst som bilder.. film.. tjat. bilde for bilde lyver filmen nei men<br />
som grimasene i en frosset. fotballtakling og du ser ikke bildet så du vet<br />
ikke.. minnetjeneste vs nyhetstjeneste. minnetjeneste vs nyhetstjeneste.<br />
.agnes i bunad ..digi.no. .her er familien samla (bursdag) ..hegnar<br />
143
online. .klassebilde av bestefar på barneskula ..computerworld. .ingebjørg<br />
på jordet i stakk ..hegnar online. .einar ved peisen ..hegnar online. .eli<br />
bodil og viggo på geilo ..computerworld. bps magh. magh bps vbr<br />
stillhet hvordan komprimeres ascii og mp fjerne. sparsomme lyder som<br />
radiostøy hvor får vi få tegn tilbake (de blir. betydningsfulle) når blir de<br />
poetiske mail signaler i lufta samme. som funnet gjenstand (mistet<br />
gjenstand).. in fact an argument could be made that music distributed<br />
free or at cost. on cassette via mail is less alienated than live music.<br />
rendered into trash like all other trash. folkultur. bevis at bla.<br />
induksjonsbevis for humaniora. du lurer på hvordan dette kan gå an det<br />
ser merkelig og umulig ut.. men ) det har ingenting med n å gjøre ) det er<br />
relativt. (induksjonsdelen). hvis noe er x så må det finnes noe som er<br />
ikkex som. det forstås på bakgrunn av og denne xikkexformen kan<br />
plasseres over. hvasomhelst via stegvis induksjon hvis xikkex. gjelder<br />
kan det bevises ved at de er relative posisjoner på en uendelig. linje. hvis<br />
du hevder x og aksepterer xikkex så er x ikkex og ikkex. x.. bevis at hvis<br />
noe er bla og bla så er alt bla og bla.. bevis at hvis er et lite tall så er et lite<br />
tall.. bevis at hvis noe er dødt så er alt dødt. hvis noe er x så er alt x.. hij.<br />
hij.klm.no hijack fly server floulypo. treskalle. hvem er talsmann for de<br />
dumme treskalletriplenone file permission. numeric value this nut can't<br />
be broke open here's three coins for. you. .. telepor.no. telenor tormod<br />
kommer forresten (og sikkert andre pamper) så et. alternativ er.<br />
gjentrykk nydesign av telenor spoofs m.m.. er telepor.no brukt før ja<br />
domenet er ledig men p er langt unna n flere. fingre unna men det kan<br />
være logo. men altså norges største leverandør. av. porno hvor mange titalls<br />
prosent av trafikken så det er klart at. telenor. har interesse i porno. stort<br />
bilde av sprikende ben som tar imot all. trafikk.. eller en mer vulgær<br />
variant menn er alltid så vulgære. viste tissen på fly. dro frem tissen fly<br />
måtte lande. tissterrorisme hvis effekten er så stor så kan blotting være en<br />
enkel. jamming. flytte blotting over til kultur altfor lenge har den vært en<br />
last hos. psykologene og levd en beskyttet tilværelse hos de perverse. dro<br />
fram. tissen. valgerd måtte gå.. nakne menn er kanskje dårlig reklame for<br />
porno så telepor.no kan bruke. det med. hell vi kan anta at telenor drar<br />
fordel av pornoreklame slik menn 'drar. fordel' av telenor så bilde av<br />
masturberende mann er kanskje bedre og. ikke så. kult. vanlig porno er<br />
vel altfor kult. heh jeg er så gammel at jeg husker en spoof av... nei jeg<br />
husker ikke. det var. på åttitallet veldydighet for afrika bob geldof satte<br />
igang noe og. norge fikk. sin variant anført av rockeren helge gaarder<br />
hvor det ble gitt ut plate. til. inntekt for afrika. uansett hykleriet gikk<br />
over alle støvleskaft og. gaarder. satt igjen med en vond smak i munnen.<br />
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det dukket opp en fin spoof porno. for. afrika arrangert av pornokonge<br />
leif hagen el. med bilde av ei. sprikende dame. som brukte afrika til å<br />
masturbere med.. skogg. hvis det ligner en skog oppned er personen<br />
begravd. by gryn yr ri ynk. eq roi. ny nn. (ord i pgpnøkkelen). å gjøre noe<br />
som ingen kommer til å gjøre etter deg. gå deg i sømmene. nihilverk for<br />
eksempel håndskrive pgpnøkkelen. hva er egenskapene i sånt. vi har små<br />
bokstaver kan vi ikke ha små tall også hvorfor har vi. (fortsetter) store og<br />
små bokstaver det er jo bare mas. mas.. det er svært få ord i en tilfeldig<br />
pgpsekvens dvs ord og setninger er. svært sjeldne dvs mye struktur. en<br />
tilfeldig setning er på bånn i. universet bare data ikke struktur hva nå det<br />
betyr forskjellen. noen prosjekter du utfører først når du har glemt hva de<br />
går ut på.. (på stedet). char v. char v. døden er latterlig de stive dumme<br />
kroppene tingligheten innbyr. umiddelbart til overskridelse hvorfor den<br />
trenger stram regi og. forstavelser. døden er kun denne forstavelsen det<br />
motsatte av en. forsnakkelse. noemata lanserer en chattjeneste for bare<br />
forstavelser. char som en motvekt til webbens forsnakkelser og utidige.<br />
latterliggjøring. bare enkle bokstaver og predefinerte prefixer blir.<br />
besørget. hvor nær ligger char opp til en spamestetikk as beslgjsl.<br />
presljsdgslh w døden omgir seg med spam det er i grunn spam hele<br />
veien. ikke ulikt de fortalene som medfølger viagra upon approval esth<br />
z. vhnkfqkeuekipo u. filteret går begge veier du ønsker ikke spam men<br />
du. ønsker heller ikke vite hva død er. 'er' er en forstavelse en utsettelse.<br />
av væren ikke konstitusjon av eksistens eller identitet. er blir fanget. opp<br />
av eprime spamfilter samt pronomet 'i' evt som preposisjon dvs. som<br />
allerede konstituert.. ref. krkaen oulibot.. trollmann tror saddam vil bli<br />
funnet død ..vg utenriks. svamp. svamp v.. hva med en<br />
metaforsøkemotor dikteren har låst seg i svamp og trenger. en metafor<br />
for å ro det i land. i en enkel pakning som googlism svamp. er og en<br />
similemotor for svamp er som (det gir resultater som begge. er svamp<br />
er som regel (regel er som en mektig simile)). i en komplisert. versjon<br />
kan dikteren taste inn to ord han har gått i stå på svamp og. klokke og få<br />
korteste metaforiske vei mellom dem. svampkløesignaltidsstyrtklokke.<br />
ref. metaforhalvtimen.. antimeme. antimeme. du burde faktisk<br />
programmere en memeviruskontroll. riktignok finnes det. spamfilter<br />
men jeg tenker her et verktøy som fanger opp et bredere. register av<br />
tidstøvete fraser. den sjekker både mail og websider før du. laster dem inn<br />
og advarer om hype plattheter klisjeer spinfraser søkt. retorikk og andre<br />
smittsomme tegn i tiden. ting vi behøver å lese vil. reduseres med<br />
garantert.. nil. vanndråpe. vanndråpe. ser du for deg en vanndråpe. hva<br />
med vanndråper mange. hva med r noe som er mye. jeg foreslår at ordet<br />
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'r' betyr plural. når er vi interessert i kvantitet uten kvalitet. r gryn<br />
hvorfor har ikke nøytrum r i plural. er det fordi vi animerer kjønnene.<br />
nøytrum representerer ting uansett mengde. hus er hus en underklasse<br />
uten kjønn. sterilisert som åndsforlatt. hva er gult og sover alene nøytrum.<br />
k galleri oppblåse k bilder width height. blotterror. viste tissen på fly. dro<br />
frem tissen fly måtte lande. tissterrorisme hvis effekten er så stor så kan<br />
blotting være en enkel. jamming flytte blotting over til kultur altfor lenge<br />
har den vært en. last hos psykologene og levd en beskyttet tilværelse hos<br />
de perverse.. transcendental argument. transcendental argument a<br />
special form of philosophical argument invented. by kant intended to<br />
defeat scepticism. transcendental arguments seek to. derive<br />
metaphysical conclusions about how the world must be by considering.<br />
what is necessary for a certain kind of thought or experience. the.<br />
following is an important example from kant if a thinker is to be able<br />
to. consider himself as a separate entity and use the pronoun 'i' then<br />
the. thinker must presuppose the existence of an external world without<br />
such a. presupposition there can be no consciousness of oneself as a<br />
thinker. if. successful the argument shows that scepticism about the<br />
existence of an. external world is selfdefeating.. og 'den eksterne<br />
verden' må ha en forutsetning og den igjen... argumentet. er en uendelig<br />
regress som gjør at ingenting kommer igang det kan dermed. ikke finnes<br />
noen tenker eller noe argument argumentet er ikke engang. absurd det<br />
kan ikke finnes at det påstår at det finnes og er gyldig. tilsvarer å hevde jeg<br />
eksisterer ikke derfor må jeg eksistere (hvordan. kan jeg ellers hevde<br />
dette) som er en tungvinn måte å si hei på. eller leke gjemsel.<br />
transcendentale argumenter er en form for hilsen eller. barnelek. i<br />
motsetning til dentale argumenter som er å bite fra seg.. dental argument<br />
a special form of philosophical argument invented by me. intended to<br />
defeat transcendentalism. dental arguments seek to derive. absurd<br />
conclusions about how the world cannot be by considering.<br />
transcendental arguments.. alfabet transformasjon. alfabetet og nummer<br />
transformasjonkryptering. abcdefghijklmnopqrstuvwxyz.<br />
vedcbyqhiptwnojgskamxfzurl. det var en gang et eventyr i. u i fknbab<br />
kb qnvq nb va kbc. speil. pulskt. millioner kr nei år tid er penger vi har<br />
en valuta med tidsenhet. sekund er krone nei minutt. tiden er lik for alle<br />
og dermed. rettferdig. eiendomsrett er over rom over (muligens<br />
ubegrenset) tid hva. med heller å eie en tidsperiode over (ubegrenset)<br />
rom når vi. synkroniserer tid er den som et fellesareal offentlig rom åpent.<br />
uunngåelig åpent. en gruppe mennesker bestemmer seg å leve utenfor det.<br />
offentlige tidsrom. en radikal undergruppe som hevder å drive med<br />
146
kunst. krever å leve kun i mediert tid og har løsrevet seg fra alle direkte.<br />
inntrykk og uttrykk. slik som anarkistene avviser eiendomsrett avviser.<br />
disse øyeblikkets makt over tiden. de bekjenner seg til en.<br />
parmenidesmonisme og hevder med zenon at bevegelse ikke finnes. det<br />
er. dermed mulig for dem å innføre tid som valuta som mediert som.<br />
universalmedium på samme måte som vår pengevaluta er uttrykk for at.<br />
virkelige verdier ikke finnes. verdienes tilbud og etterspørsel. forestilles<br />
tilsvarende bevegelsenes henholdsvise fortid og framtid.. gruppen kaller<br />
seg pulsktpulsct som skulpturering og permutasjon av tid. som skapt<br />
puls.. fly news. for when desire has attained its object the greatest<br />
pleasure is to fly. the scene of pleasure.. ny forskning fra israel og<br />
nederland viser at det er mulig å holde. eggestokker fra aborterte fostre<br />
levende i laboratoriene i ukevis.. he died for your sins make it<br />
worthwhile.. et minimini galleri k galleri. alt er tilgjengelig så det er bare<br />
et spørsmål om. au er ndf den dau isu kameraøye førebu dåd de ikke knarre<br />
friv bale disko. lose. nederland idiotisk sm eina innsjø eli trafikkkork. di<br />
menneskelige. habitat homitat homitus. beveren likør sjøsjuk åte husmøne<br />
peau randi. instruktørpersonale.. hine aursunden sone tøy innbrudd. fag<br />
heine først eime sprekk lee striesekk høl. hugset åpent.. bush frykter terror<br />
mens vi frykter bush. etterretningen omkring bush må. styrkes hvem er<br />
han hva driver han med. strings. ascii string. mnhquady.. gullmund han<br />
gjænge seg i gjestebostoga inn. aa ræven drive gjæsanne i hielofte inn.. fyst åt<br />
'en upp dei alle fy utta den grå.. mail er allerede kjedebrev hver server<br />
legger til sitt eget navn og sender. videre.. chance and automation. kan<br />
jaske brekk mumie vegativitet sønn sivsgsgbtede lø den besto skåne.<br />
fortærende (hva er da sinn ikke er fffgsrende). antiart asciiart. chance and<br />
automation. helleristerne. helleristerne ble ikke respektert før titusener<br />
av år senere. i sin samtid. ble de sett ned på som unyttige som oppfinnere<br />
av noe spektakulært. ble de sett ned på som unyttige som oppfinnere av<br />
noe spektakulært<br />
147
195<br />
meningsløst elger som ikke kan spises og kanskje regnet som skadelige..<br />
ikonoklastene vs ikonoklanene som noe radikalt nytt medførte.<br />
helleristning sikkert hærverk drap og feider. var risterne de beste. jegerne<br />
eller kanskje de som bare drømte om å bli det. jeg. jeg blir den jeg<br />
framstiller mens jeg derimot tror jeg uttrykker hvem jeg. er og her<br />
ligger en fatal feil jeg prøver å representere meg. hvordan. kan jeg unngå<br />
det og gi det opp jeg tenker på b ved ål og hennes ekte. komiske og<br />
avvæpnende spontanitet eller barnas og dyrenes. men den. virker<br />
sementerende på representasjonene som trekker seg tilbake og. stivner..<br />
er identiteten min eiendom betyr det at jeg f.eks. kan selge eller leie.<br />
den ut. Mar. kapitalismens binding til fattigdom hva skjer om vi<br />
behandler fattigdom. som kapital og kapital som fattigdom dvs et<br />
markedsstyrt hensynsløst. likegyldig forhold til fattigdom og et<br />
sentimentalt moralsk forhold til. kapital eksemplifisert i<br />
holdningskampanjer.. Mar. oppføre teaterstykker for satelittkameraer..<br />
pengeblotteriet. utsalg av ditt lodd i livet. fido. fido blir med på itbølgen..<br />
fins det en naturlig utforkjører som finner den raskeste veien mellom a.<br />
og b. lars hertervig manglet papir. en eske kopipapir adressert til lh..<br />
hwo ot tpye reely fsat dvae monre terracnce flahraarty. på en mailingliste<br />
ble noen bøker nevnt som avsenderen var i ferd med. hwo ot tpye reely<br />
fsat dvae monre terracnce flahraarty. hva med å være føer vra og få katten<br />
din til å oversette boken tili. nrosk. vi trenger vel helst en oeverseter som<br />
ikke kan tuch.. nil. hollywood wind travesty. det har vært mye vind idag<br />
fint å se på alle kompliserte bevegelser den. lager. automatisk sett at løvet<br />
beveget seg selv se bort fra vinden og. med en gang kan vi lese inn<br />
gruppedynamikk ol. i det som skjer. det som. virker merkelig er hvor<br />
lett det kan oversettes fra ytre vind til indre. beveggrunn og er det ikke<br />
sånn med oss også du tror du gjør noe ut fra. deg selv mens en enklere<br />
forklaring er ytre og fysisk som å følge en. strømning og struktur i<br />
kulturen. mennesket har i større grad enn noe. annet en egenbevegelse<br />
men altså bare ved å se på vinden i løvet er det. lett å innse at en andel av det<br />
vi ønsker å forstå som egenaktivitet er. lettere å forstå som en passivitet i et<br />
aktivt medium (gruppe samfunn. kultur tankeform). f.eks. virker det<br />
148
som løvbladene følger etter. hverandre opptrer som gruppe med en<br />
selvbevissthet (vinden lager loop. spiral øye som en indre struktur) en<br />
løvgruppe interagerer med andre. grupper på dramatiske måter ingen kan<br />
unngå å reagere på at en bil kjører. forbi det virker som de følger etter bilen<br />
av fri vilje idag snakker. alle om irakkrigen overalt av fri vilje jeg tror<br />
det hadde gått an å. regissere en hollywoodfilm bestående bare av løv og<br />
vind. sett i forhold. til kaosteori ol. forandrer det ikke rollen til<br />
kunstneren når tingene. lager seg selv eller allerede er lagd blir det som<br />
en dikter kanskje som. setter sammen metaforer og kontekster eller som<br />
en. translatørtranskribent mellom verdener og modeller metafysisk<br />
prest. sjaman den sinnssyke kunstneren som formidler mellom verdener<br />
idag. sekulært som en formidler mellom modellerforståelsesmåter vi har<br />
bare. en verden men til gjengjeld k ting og referansesystemer<br />
kunstneren. blir kanskje en formidler mellom disse og beveger seg<br />
samtidig friere. mellom dem. folk flest lever i dem vitenskapen<br />
definerer dem kunstneren. traverserer dem (traverspå tvers (samme<br />
ord)).. not born. emnekart emne som i emning kart som eplekart..<br />
kartografi informasjonsmodellering hva robotwisdom kaller ai ontologi.<br />
hvordan strukturere ting.. undigested unborn. pre. abject. henry<br />
emnekart not born henry se under. livmorkos med nalle. brukthandel<br />
mailarkiv elektron dok.. brukt privat shabby selger støy i dokument<br />
skrive i mail margen. stempel merke dymoprosjektet dymodomus<br />
dynamisk modulært hjem. bokhandel som hjem 'offentlig rom' reclaim<br />
snarvei kjøpekultur. klesskap rekonstruere hjemmet i det offentlige rom.<br />
desentralisering. simulering av transaksjonen. akton plutus bibliotek.. et<br />
elektronisk bibliotek akton plutus hvor man kan låne ebøker (laste. ned)<br />
og må levere dem tilbake etter mnd eller forlenge lånetiden på. vanlig måte..<br />
i samarbeid med e book a day.. implementasjon selvadministrert php.<br />
eller enda enklere. krever noen. titalls mega plass. kan brukere gi gaver<br />
til biblioteket (last opp bøker). juridisk biblioteket låner ut tekstwarez..<br />
tilknyttes nbbiblioteknorge hvordan opptrette et bibliotek et.<br />
automatisert digitalt nettbibliotek. evt. et illegalt bibliotek.. finansiering<br />
noemata evt. egen prosjektstøtte.. prosjektet ønsker kontakt med<br />
personer interessert i ebøker opphavsrett. programmeringdesign hacking<br />
for mulig engasjement.. kontakt noematachello.no. happyend terapi nlp.<br />
mail artndr loope postkont. random. alle vet hva som er inn og hva som<br />
er ut... nei det må være en usikkerhet. om hva som er hva ellers så ...<br />
støyelementet rist løs plukk opp. eplene hvem innkasserer. not born<br />
henryprosjektet. vil ha penger for å bli født pulskt søker støtte så mora kan<br />
gå på. stevnemøte og finne hans far. nn søker person med autorisasjon på.<br />
149
folkeregisterets datasystem.. .. internasjonalt prosjekt å skape personer i<br />
respektive lands. folkeregistra og tilby dem til ..trengende. creative<br />
commons crimes. dhc.. disse åpne identitetene skaper nye korridorer<br />
transit i land og mellom. i. en forstand kan mengden av og<br />
operasjonene til identitetene betraktes som. et nytt cyberland som ligger<br />
i en informasjonsdimensjon over de. geografiske et land som kan ha sitt<br />
eget metafolkeregister som vil være. som et vanlig folkeregister men med<br />
noen ekstra felter i hvert oppslag. refererende til nasjonale<br />
folkeregistra.. ref. monty cantsin karen eliot neonism. mer spesifikt kan<br />
prosjektet gå. ut på å få personen monty cantsin karen eliot eller<br />
anagrammer av. disse registrert i flest mulige lands folkeregistra og<br />
etterhvert bygge. opp disse som (multinasjonale) juridiske plurale<br />
personerpersonaer med. vanlige borgelige rettigheter. jfr. noemata.net<br />
som et 'tenkt. nettverksland' noemata som monastisknomadisk hvor<br />
disse oppbygde. personaene er skall som 'munkernonner' bruker for å<br />
bevege seg i et. noematisk land (n. i flere betydninger som et obskurt<br />
land there is a. real external relation between the actual land and the<br />
actual person but. the noesis and noema are not real and moreover their<br />
relation is not. external but the noema is internal to the noesis. et<br />
immanent land.) (i. en generell kontekst er dette en utforskning av<br />
noemata fenomenologisk. og forstått som kontekstkunst og operasjoner<br />
ikke nødvendigvis direkte på. objekter men på de strukturer som danner<br />
oppfattelsen av objektene gjennom. simulering manipulering kanskje en<br />
form for kunstig intelligens. (kunstig gjenskapning og kødding med de<br />
kognitive prosessene som ligger. til grunn for objektene som objekter).<br />
i denne sammenhengen kunstige. modeller av 'identitet' 'land'<br />
interagerende med de fysiske variantene. det 'kunstige' er noe som<br />
kommer i tillegg og som øker det operasjonelle. rommet softwareland<br />
som installeres over hardwareland. norge v.. eg.. noemata.net v. et open<br />
source softwareland for netizens.. drikke kaffi fra skåla sukkerbiten<br />
sluttet med kaffitrakteren.. when new graduate students ask me for<br />
advice i tell them to start by. pretending that they are the lab director for<br />
computer science at a. brandnew research university and to come up<br />
with a plan for how they'd. populate their lab with projects.. reed uses<br />
the example of a pinhole camera or camera obscura if a room is. sealed<br />
against light except for one pinhole an image of the outside will. be<br />
projected against the opposite wall.. mama daddy meg degdet.<br />
dødsralling som opera. death rattle roll. bogus reklamebyrå. pissing i<br />
offentlige rom. pissspam i cyberspace. pissing territorium sengevæter der<br />
furer. looppack. maldonor. virtuell berøring universell erotikk. oulipo i<br />
150
filsystem. iamnotoneofyour..files. hierarkisk mappefil fila tverrgående<br />
dimensjon. online. tidsbegrenset online forestilling med musikkstream<br />
rapoon i ex idahyl og. div elementer som en forestilling som annonseres<br />
over web og simulerer en. forestilling i den virkelige verden som noe<br />
som foregår avgrenset i tid. en avgrensning som virker kunstig på nett<br />
men som forholder seg til. publikums defacto oppfatning om<br />
forestilling og kommodifiserbare uttrykk. nettopp som 'publikum'..<br />
smerteterskel. er fysisk smerteterskel et fundamentalt mål på<br />
...personlighet. representerende ...utstrekning og form til et mentalt rom<br />
tilsvarende. vegger størrelser styrke retninger i et indre landskap. måten<br />
vi. prosesserer og forholder oss til smerte bestemmer hvem vi blir som.<br />
landskap. hvordan motstand er utviklende eller destruktiv en terskel<br />
alle. kjenner på og som varierer og kan manipuleres med. trussel<br />
usikkerhet. intensjon intens spenning smerten krymper rommet eller når.<br />
gassbeholderen krympes så øker trykk og temperatur er jeg et sånt. indre<br />
rom eller er jeg noe i et sånt rom men stoffet former rommet c..<br />
smerteterskel som interaksjonen stoffrom rommet bestemmer hvordan.<br />
stoffet beveger seg og stoffet bestemmer formen på rommet. mer<br />
struktur. mer smerte passio lidelse passivitet gravitasjon tyngde smerten<br />
gjør. deg bevisst rommet stoffirom eller tydeliggjør grensesnittet når. sans<br />
blir smerte aktivitet blir passivitet stoffbestemmerform blir. til<br />
rombestemmerbevegelse som er en forskjell i anskuelse hvordan.<br />
smerten betrakter seg selv som er terskelen terskel som grensene i egen.<br />
avbildning du avfotograferer deg i smerten som person. as soon as the.<br />
pain is not hurting sherrie wiles. kan vi se på sinnkropp på samme. måten<br />
descartes' sinn som ikkematerielt og uten romlig utstrekning. som selve<br />
rommet og som bestemmer bevegelsene til maskinstoffkropp.<br />
sinnkropp interagerende som romstoff som i det klassiske.<br />
dualismeproblemet hvordan noe kan immaterielt interagere med noe.<br />
materielt. ... jeg erfarer ting stoffet beveges i rommet og gjør dem. til<br />
indre som at stoffet igjen bestemmer rommet.. Mar voy voy. a nation of<br />
voyeurs. it's the collapse of inconvenience says siva vaidhyanathan<br />
assistant. professor of culture. and communication at new york<br />
university. it turns out inconvenience was. a really important. part of<br />
our lives and we didn't realize it.. et prosjekt som besto av upassende<br />
ting hele veien.. telepresens dot. telepresens. webcam hvor er jeg er jeg<br />
'der' en halvtime forsinket der. øyeblikket og. nærvær hvordan er<br />
eksistensen min her forskjellig fra der jeg er. dessuten alltd et annet sted<br />
'så fjern'. er denne teksten et sted. sansning persepsjon de prosesser som<br />
holder deg herder 'holder' av. varighet subsistens vedvarende tekstreise<br />
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stedet har egenskaper en. bevegelse er aktivitet årsakvirkning som igjen<br />
er det som kalles. egenskaper er virkninger fra forrige og aktivitet blir<br />
nestes årsak ..... referanse bakrom virkelighet splittes i distinkte<br />
egenskaper sansning. funksjon handling i aktivpassiv dimensjon så vi<br />
lager en slik og slik. realitet realitetsted virkninger sett at all<br />
kunnskapen vi. samler viser seg å være meningsløs sluttpunktet avgjør<br />
endelig. verdi ting kan vise seg å være verdiløse om det lever videre. men<br />
det lukker seg forståelsen av noe gjør det samtidig. meningsløst (jfr<br />
uttrykk og død) mening er i forhold til det mindre. egenskap og indre<br />
om vi kan tenke oss en ytterste mening så. kan den ikke selv ha en<br />
mening mening er uttrykk for struktur. og sammenheng om vi har en<br />
graf kanskje sirkulær av noder og. kanter som danner forskjellige verdier<br />
og meninger i forskjellige. traverseringer av grafengrafen i seg selv har<br />
ingen meningom den ikke. samhandler med andre graferhva med<br />
forholdet mellom grafen som helhet og. en delgraf har den mening eller<br />
grafens forhold til seg selv. når noe betraktes som en helhet så har det<br />
ikke lenger noen. verdi enheter punkter mening lages av transaksjoner<br />
mellom punkter. vekting. kongressen. kongressen et prosjekt uten<br />
avgrensning eller som utvider seg og har. dette som en egenskap<br />
inflatorisk egenskapen at det overskrider seg selv. gjør det vanskelig å<br />
formulere en beskrivelse eller implementasjon slik. at forholdet mellom<br />
tanke og form abstraheres til et forhold mellom tanke. og tankeform<br />
konseptkunst og episteme teori som praksis. automatiske drap.<br />
automatiske drap 'få noe til å se ut som en ulykke' men mer enn det. eller<br />
mindre maskiner og ansvar hvor uskyldig kan du være hvor. uskyldig er<br />
ikke jeg i krigslidelsene akkurat nå hvor langt går mitt. ansvar og måter å<br />
undergrave ansvar maskin.. rasjonalitet..logikk. pulskt. kunst pulskt<br />
fram og tilbake i tid ting som ennå ikke har skjedd en. utstilling som<br />
ikker ennå... eller som allerede er ferdig. en helt selvrefleksiv utstilling<br />
der det som utstilles er dens. tilblivelse. samme med musikk andre<br />
kunstarter. eller fra andre kanten. dens nedmontering avslutning som<br />
gjør deg selv uaktuell en intim. smerte å være utenfor tiden eller bare i<br />
kjølevannet. å glemme seg selv. å gjenglemme seg erfaringen av<br />
'aktualitet' dejavu. plasma. plasma. gass og væsketilstander som<br />
noemata.netkunst. argument .. forbedring. er det forskjell før og nå på<br />
forbedringsperspektivet den enkelte har på. seg selv vi oppdras i troen på<br />
selvforandring og tilpassing men erfarer. etterhvert at mange ting ikke<br />
kan forandres likevel så det hele virker. bortkastet og som bedrag. men<br />
sett på en annen måte er det det samme. f.eks. vitenskap driver med av<br />
åpne muligheter og doble negasjoner som i. ettertid virker full av<br />
152
ortkastet og overflødig teori og arbeid.. id panoptikon. identitet<br />
forholde seg til andre som om man var alene hvordan opptre. sammen<br />
med andre uten å forstille seganta en identitet en utstilling. galleri rom<br />
tilskuere er deltagere og får... bind for øynene og blir. ført inn i et rom han<br />
vet ikke om han er alene eller det er andre i. rommet etc. annen<br />
sansedeprivasjon ørepropper etc. og obfuskering av. sanser lyder i<br />
rommet kan være kringkastet og ikke reelle om man har et. halvt<br />
gjennomsiktig øyebind kan skikkelser i rommet være projeksjoner av.<br />
bilder istedenfor mennesker etc. det kan være en vitenskaplig dimensjon.<br />
til det hvor forskerne registerer førimensetter tilstander punktvis..<br />
blander kunst og vitenskap litt. hente ressurser dels fra akademia og.<br />
kunst kulturrådforskningsråd. det ligger en opplevelsesdimensjon i det. og<br />
dokumentasjonen kan brukes i forskningssammenheng (opplegget og.<br />
resultatet dokumenteres så kan andre dra konklusjoner som de vil)..<br />
eegbroderi. broderi. eeg bilder. eeg broderi broder din egen tilstand som<br />
en graf over tid og. hjernefrekvens. årvåken våken avslappet søvnig etc.<br />
per. per. formance . knytte til et sanselig her og nå tid rom konseptuelt<br />
ikke. sanselig.. distribuerte hendelser distributed events utvikling av<br />
begrepet. hva er. distribuert hendelse akt noemata meningsobjekt..<br />
fulkus. fulksus. hot water pleasure and pain border draw som confusion<br />
of this.. kultur tidsfunksjon av mennesker f(x)y ftid xmennesker<br />
ykultur. så sant det er mennesker vil det over tid dannes kultur.<br />
sammenheng mellom tillit og kunst. det institusjonelle ved tømmingen.<br />
bedrag og kunst blir da baksiden. context art. con art.. i den<br />
konseptuelle enden av produksjonen en organisering. formløsheten er<br />
direkte resultat av formmessigheten. i hermetegn. akt noema(ta)<br />
gjenstand. navn mening referanse. aquinas. mulighet potentia.<br />
virkelighet actus. formstoff. hva tingen ervesen at den erværen.<br />
hierarkisk prima materia . uformelig uerkjennelig actus purus ren.<br />
akterkjennelse væren. n. akt kontekstkunst. kant ikke så mye gjenstander<br />
som den måte vi erkjenner gjenstander på. (apriorisk mulig)<br />
transcendental filosofi. transcen.dental what your teeth is biting. beyond<br />
concepts beyond objects. hairgrowth behind your teeth garanteed..<br />
spørsmålet. Å stille spørsmålet lager problemet før spørsmålet ble stilt var det<br />
ikke noe. problem folk bruker spørsmålet til å posisjonere seg mobilisere<br />
seg som om. språket var et angrepsvåpen en spydspiss. Språket fikserer<br />
noe som både før og. etter var flytende og uproblematisk kanskje det er<br />
som å kalle på hunden. eller. telefonintervjuere som spør hvilken<br />
radiokanal jeg liker best og det er mulig. jeg svarer et eller annet selv<br />
om jeg aldri hører på radio noe er best. uansett så lager de et sammendrag<br />
153
etterpå hvor det står at mill. nordmenn. liker kanalA best som om den<br />
hadde så mange lyttere. Det er som. webstatistikken. hvor det er unike<br />
besøkere per måned som er et kollossalt tall tenk om. et galleri hadde<br />
besøkende pr mnd Tallet må jo stemme men halvparten. eller mer enn det<br />
er roboter en hel gresshoppesverm som tygger på data om et. galleri<br />
spadde inn en maurtue for å få opp besøkstallet opplagstallet det er. i<br />
opplag hver dag til og med de rare dikta mine har tusenvis av lesere.<br />
hva de nå gjør med dem spiser dem eller tapetserer veggene men det går.<br />
iallfall unna web dikt men sin ymse kvalitet kan skilte med de høyeste.<br />
opplagstallene likevel vil alle ut på papiret som har sitt domene og.<br />
kvalitetssikring som at det finnes ekslusive klubber med dørvakt og<br />
ekle. bokklubber som spammer hjemmene ned med månedens glemte<br />
avbestillinger til. kr stykk det er TV og så er det bokklubb for bøker<br />
underholdning og kultur. som skal leses når du får tid som pensjonist men<br />
da er bøkene litt gamle og. ikke. får du solgt dem igjen nei det er en slags<br />
svindel men folk synes de kan. koste. på seg litt ekslusivitet med å<br />
glemme disse avbestillingene ja men den skal. visst være veldig god nabo<br />
A likte den og ikke kan du vel låne boka av A nei. kjøpe kjøpe kultur slik<br />
alle har eget TVapparat har alle sine eksemplar av. bøkene. Folk<br />
klamrer seg til TV bokklubben og avisene det er vel bare det. at. de vil<br />
følge med på hva som skjer se det som blir sett lese det som blir. lest. om<br />
finnegans wake var månedens bok hadde folk synes det var interessant<br />
vel. nei kanskje ikke det relaterer ikke men de hadde glemt å avbestille<br />
den. Om. bokklubbene var litt lure kunne de lurt inn mye slikt i det<br />
selvgående. systemet. nei det var penger ja og andre ting stamme navn<br />
samtid spydspissene det. umiddelbare sanntids nyheter alltidnyheter<br />
denne boka av forfatteren som er. så samtidig at den skrives mens du<br />
leser den leserne kan logge inn på. nettstedet og lese bokstav for bokstav<br />
idet boken skrives først da er vi. tilbake i den orale kulturen av<br />
umiddelbar formidling. Folk tror de får tilgang. til noe at TV eller<br />
bokklubbbøkene formidler noe annet at de er symboler på. noe annet på<br />
tiden samtiden på vår kultur og føler ansvaret forplikter dem. til å se på tV<br />
og lese de bestemte bøkene. Fins statens bokklubb Og ukas. lottotall<br />
som kan bestilles fra staten dine egne som er din personlige. frihet dine<br />
fødselsdager hvorfor tallene sannsynligvis lønner seg å. tippe på størst<br />
premie hvis de går inn. Lottotallene er kultur var kultur. i forrige uke det<br />
er samtidskultur nye tall hver uke nye bøker hver måned. nye nyheter<br />
hver dag nye sekunder hvert minutt jeg satt og ventet på og. så vente til<br />
neste runde pling kommer i nye utgaver hvert minutt. i. store<br />
opplagstall kunne ikke staten hatt et program men det var. informasjon<br />
154
da som om informasjon hallo kilo terra giga bozo bytes. informasjon<br />
blir produsert hvert minutt ja og dermed er det så koslig med. lottotallene<br />
som er enslige majestetisk folkelig enkle bytes som hver uke. skal<br />
parres med dine tall ekte interaktivitet slik aldri VR var her er.<br />
noematas VR prosjekt lottokuponger. tenk hvis... END.<br />
(noematadegenerative. entropic arts) denne lottomaskina er jo en veldig<br />
fin installasjon da. hva med. mishandling av tall her blir de jo kastet<br />
veggimellom er det slik som rev i. bur de går på veggene kunne vi hatt<br />
mus på tredemøller som bestemte. lottotallene og selvfølgelig skrødingers<br />
katt lottotallene kunne vært inne. hos katten så var alle vinnere før noe<br />
gadd å sjekke (det. kunne blitt stadig utsatt slik som dommedag eller<br />
inkassokravet) det er. sjeldent at tallene har blitt utsatt vi må dessverre<br />
utsette trekningen i. dag. noen av tallene har vært svært umedgjørlige noe<br />
frafall i rekken vi tror. det er omgangssyke lå ute hele forrige uka og har<br />
kanskje pådradd seg noe. forkjølelse og så var det all oppmerksomheten<br />
det fikk kan ikke stille. hvert tall kan ha en standin slik som travhestene<br />
eller hvordan det er. norsk. tipping burde innføre i rekken blir tallet går<br />
alle pengene til staten ja. ikke så lurt. Denne teksten ble ganske dum noe<br />
digresjoner her og der som jeg. tar avstand fra hensikten var god jeg<br />
hadde tenkt å skrive om hvordan språket. fanger seg selv og det var det<br />
det gjorde. Dermed endte dette eventyret bra. Og. snipp snapp snute så er<br />
den orale hypnosekulturen ute.. ode. teksten er forskjellige ting. som en<br />
flate uten tid tegning tekstur tekstil. som kode handling i tid. ref artaud.<br />
hva med tekst som frigjør tekst teksten er ikke lenger tekst dvs tekst er.<br />
tekst (ikke tekst) slik som teater er teater og ikke tekst. tekst forstått.<br />
som. logos. har ikke tekst logos en voldsom makt og kan ikke tekstens<br />
frigjøring. fra. teksten være like voldsom bryter du med teksten bryter du<br />
med alle regler. (siden alle regler er tekster). så artauds teaterets<br />
frigjøring fra teksten. blir. til tekstens teatrisering. hvordan er dette<br />
forskjellig fra litterær tekst. selvsagt fordi litterær tekst er 'litterær' tekst<br />
mens tekst er tekst det. litterære er som teksten i teateret tekst som tekst<br />
er noe annet. og 'noe. annet' er noe annet noe annet slik som teksten<br />
fortsetter mellom bokstavene. reelle tall reell tekst irrasjonell tekst det<br />
rasjonelle som delmengde av. det irrasjonelle litterær tekst er delmengde<br />
av tekst. men det er å leke med. logos ilden fornuften det bryter med alt.<br />
hva med struktur maskin nonsens. jfr artauds bali teater tekstens<br />
autonomi automata. tekst logos kode data. det ligger i bunnen på alt<br />
materialiteten som teaterets fysikalitet. sanselighet men siden all info er<br />
tekst er konteksten sprengt teksten blir. virus pest siden logos er så stor<br />
ilden så fortærende i nettverkene. teksten. som elektronisk kunst det eldste<br />
155
og det nye klart det bør bli et stort. fundamentalt smell torden torden lyn<br />
og torden elektronisk utladning i. kontekster når vitenskapen allerede har<br />
hatt atombomben siden artauds tid. et. voldsomt teater uten tekst<br />
foranledning til butoh selvfølgelig tekst som. tekst og kode er potensielt<br />
som atomreaksjonene siden vi lever i en. tekstverden. alt er disse<br />
partiklene. sluttsetning poenget mitt var bare at når teateret. vil. være<br />
teater for å bli mektig levende etc hvor mye mer har da ikke teksten.<br />
potensial til å bli ikke bare som morsomme memer word virus eller<br />
litteratur. som på en måte er som dukketeater men at teksten som tekst<br />
kan berøre. virkeligheten (beklager uttrykket) jeg mener logos leke med<br />
ilden (beklager. uttrykket).. pepole. pepole are doing karate. want to be<br />
strong. strong will. strong what. he was into insurance. or whatever.<br />
strong whatever. his granparence are ded. karate'd have helped.<br />
deathbombers karatekid. strong like deadh. ill or elfes to prove. new<br />
media. no media school. all is media is tantamount to saying nothing is<br />
media. tao zen no tradition. no media. autonomedia. code and its double<br />
cont'd. code and its double cont'd. notes on text and code in relation to<br />
artaud's theater and sondheim's. codework. the double you'd have the<br />
release of text from text text is no longer text. text is text (not text)<br />
textual helix code like the theater is theater and. not scripted (not text)..<br />
power in the sense that text is logos it has that immense power being at<br />
the. locus. text as theater as code would have the potential of releasing<br />
all the. logos power like the theater's release from text.. matter since all<br />
is mattered texted coded you'd have all those monstruous. things going<br />
on ruptures and violence beauty and intelligence emerging from. its<br />
release.. code as theater artaud's theater's release from text is similar to<br />
the. theatrificating of text as code.. code and literature literature is in the<br />
gravitational field of text while. code is weightfree or antigravitating of<br />
the void towards the periphery.. universal code autonomy automata text<br />
logos code instruction data. physicality matter sense surface since all is<br />
mattered there is no. context. it's blown to pieces all you have is virii<br />
dispersal of meaning logos as. fire. and electrical charge in the<br />
networks of distributed contexts.. code as art codework artwork since<br />
everything is code codework is at the. center of artwork which is<br />
created by codework's plundering of contexts art. derives from the<br />
workings of code code derives from its doubling.. bombs and<br />
intelligence the atomic bomb from the time of artaud a violent. theater<br />
without text virii intelligence terror theathrical artifice of the. code the<br />
bomb is the blowing up of text logos the sun as bomb terror of. code<br />
information the intelligence as monster.. reality like artaud's theatricity<br />
156
and code's virtuality from their release. text the doubling towards the<br />
real logos as fire.. I think I understand your points. In general I'd agree<br />
and in it's generality. inclusiveness so much is code today and why not<br />
embrace as much as possible. and get synergy and chaos effects it<br />
would be codework in itself they way the. field could construct itself<br />
from all the surrounding contexts and use. whatever. think nothing as<br />
the codework of codework.. I've had two ideas how to approach code )<br />
Code and its double ) Code as. nothing.. ) Code and its double refers to<br />
Antonin Artaud's 'Theater and its Double' and. how that theory of<br />
'theater' would fit onto a theory of 'code'. There's some. obvious<br />
similarities like the doubling or twofold which can be expressed in. the<br />
staging of itself as artifice the intermingling of appearance and source.<br />
and their inseperability. There's no transparency in this more light<br />
render. more shadow more structure there's no end to it it cracks up and<br />
enter all. cracks in a wild search for itself and for its decoding which is<br />
ultimately. impossible and also would eventually kill it. This refers to<br />
the impossibility. of decoding.. ) Code as nothing is from the other end<br />
it's already decoded. So here the. staging of the code is its failure its<br />
impossibility. It will succeed by. killing itself. The residue is the<br />
staging from nothing to nothing. This refers. the impossibility of<br />
selfreference.. Other takes on the themes would be helpful.. <strong>Re</strong> sex<br />
Though they see it. So there's numbers after the country code in this<br />
example okay now I. know.. Say a great implementation of this idea<br />
would be to create a totally. virtual book with no content whatsoever. If<br />
there were some way Iyouwe. could get such a thing onto Amazon.com<br />
and elsewhere have it put up for. sale and review it would be a real<br />
coup Maybe Iyw could stoke the fire. by writing phony reviews of the<br />
book and post them in other book review. links saying something like<br />
Tom Clancy's latest bestseller is very much. like that Norwegian<br />
writer's book that just came out Alpha X or whatever. it's called. I<br />
guess the only things needed to bring this ruse for art's. and. possibly<br />
the of pages. Other than that the book could exist entirely in. the desires<br />
of its eager readers and marketers. I wonder how long such a. trick<br />
could be sustained before it was exposed It might be worth a try. just to<br />
find out.. hm yes let's do that also some books entirely virtual not in<br />
stock very. obscure maybe like borges' imaginary books. keep this in<br />
mind as other. kinds of net.books...... weeks.. artnot. art is when you<br />
have nothing to do but still do it. i mean there's no reason. it's just<br />
creativity experimentation freedom. those nothings. mfh. alleride.<br />
alleride. ny id problem hvordan skape ny id hvordan gjøre den offentlig<br />
157
folkeregister. etc. omvendt utvikling ideell snarvei allerede den nye id<br />
er så fin at den ikke. engang er i registra som om den både er lagd og<br />
skjult for registra mens den. sett fra en annen vinkel bare er funnet på<br />
den totrinns du er ute etter er. framogtilbake og bare ideen er egentlig<br />
like bra omvendt utvikling.. kunstautomat. g gjør noemata om til<br />
kunstautomat. noemata er for knyttet til meg person distribueringen<br />
funker ikke enten. legger jeg det ned eller gjør stedet om til<br />
helautomatisk kunst.. arspublica om til pengeautomat. salg av kunst<br />
hallo. telemata om til åndsautomat. det telematiske menneske som<br />
åndsautomat munk theleme. kunst kapital ånd treenigheten. virus bok.<br />
how to make a virus book. a viral book. koob lariva. larvae Rom. Antiq.<br />
malignant ghosts as lemures.. NL special use of L larva a ghost specter<br />
mask skeleton akin. to. LARES. koobi fora. promiscuous machinic<br />
monstruous fractal viral indifferent nihilogies. nilogues.. bookvalue<br />
stages (channeling baudrillard) natural books commodity books.<br />
structural books (hypertext) fractal books (viral radiant). fractal books.<br />
radiating in all directions without reference to anything whatsoever by.<br />
virtue. of pure contiguity. fractal books (hyperbooks cypherbooks) no<br />
longer has any. equivalence an epidemic of book metastasis of text<br />
haphazard proliferation. and dispersal of book. we should no longer<br />
speak of 'book' at all for this. kind. of propagation or chain reaction<br />
makes all books impossible. yet things. continue. function long after<br />
their idea have disappeared and in total indifference to. their own<br />
content the paradoxical fact is that they function even better under.<br />
these circumstances. the book is no longer a metaphor for logos etc or<br />
anything. at all merely the locus of metastasis of the machinelike<br />
connections between. all its processes of an endless programming<br />
devoid of any symbolic. organization. or overarching purpose the book<br />
is thus given over to the pure promiscuity of. characterizes networks..<br />
alt er åpne bøker open content slik noemata også er open content art. hva<br />
er da permene bøkene er sine kontekster ethvert dokument med. er del<br />
av boken dermed tar den opp i seg sine kontekster sluker seg selv. hele.<br />
tiden forandrer seg.. rettighetsmessig må tenke på det. hva avgjør eierskap<br />
det er ekstremt å. inkludere benevnelser som innhold ingen forskjell på<br />
data og instruksjon. turings universalmaskin er boka denne uendelige<br />
teipen mens leseren er. (productinfo.php) shame. (productinfo.php).<br />
Shame on It All. by Zane. .. (productinfo.php). Letting Go of Shame. by<br />
Patricia PotterEfron Ronald T. PotterEfron Patrica PotterEfron. .. skam<br />
er selvfølgelig god butikk nesten som avlatsbrev .. why doesn't watches<br />
show daynight like the second run is dark anti time.. am i inside how<br />
158
does sense differ from cognition berkeley. unix mbox format OK. logge<br />
og lagre filer i unix mbox format. ndex.php parser mboxfiler.<br />
etcmboxtxt.php script som stripper mailheadere. naturkatastrofe. hva<br />
om jeg var en naturkatastrofe. hvordan straffer du et vulkanutbrudd<br />
krigen mot natur krigen mot galaksen. sorte hull gjemmer seg i fjellene<br />
we'll smoke them out galaxies housing black. holes are to be<br />
considered black holes universes housing mad dogs are to be. treated as<br />
mad dog universes.. fartsrekord. fartsrekord på nettet. Tenk deg at det tar<br />
ett sekund å laste ned alt innholdet på en CDplate fra den. andre siden av<br />
Atlanteren. Nylig satte to forskerteam fartsrekord på internett.. Den nye<br />
topphastigheten er dobbelt av den forrige og får selv det bredeste.<br />
bredbånd til å fremstå som gammeldagse landpostbud. Med en hastighet<br />
av. Gigabit i sekundet flyttet forskerne Terabyte med data.. hva skal vi<br />
med data flytte et bibliotek på sekunder. produksjon. et livsverk. kan<br />
distribueres på under et sekund altså kan ikke mye eller lite bety noe..<br />
men. hva kvalitet hva pøse på vrenge innut bli data de overlever meg. et.<br />
livsverk ett sekund. burde ikke kultur oppmuntre folk til å skrive gjøre.<br />
ting. digitalt som et gode i seg selv så lett å ta vare på overføre. hva får.<br />
verdi differens mangfold. nasjonalbiblioteket hva tar de vare på en.<br />
mulighet. til å sluke hele kulturer i noen jafs.. i haves one article with her<br />
stream achieve. this is an invitation to write into books. and maybe post<br />
it somewhere to someone in any degree privatepublic. so we have dark<br />
matter also and obscurity. things get lost and forgotten. we get lost. so<br />
you can pour into and some things remain. words may survive you<br />
maybe not. all the same why not directly into publishing. explore the<br />
illusion of substance you book. we try the immediacy be as it is. tagged<br />
identity. ragged substance suits. own activity to find read assemble.<br />
ondemand like my birth was on demand no. these things are nothing<br />
else than you. you is your. but your is not you. netbooks cypherbooks<br />
chyper. scatter scantologies. copyleft. anyhow monitor. monotire no id<br />
minimal. like it's inside out. like from a plane things look inside out.<br />
like hyper looks interior not extraexterior. sides of the skin only one.<br />
interface akin to facere to make. like making is looking. reading is<br />
making. book is interface. book is making of book. like to book make a<br />
reading. paging. kunstreferanse. hva er det som gjør at dette rettfram<br />
foto av virkeligheten er mer. interessant enn virkeligheten bildet gjør<br />
meg mer aktiv virkeligheten er. nok i seg selv er det en kunstsykdom<br />
jeg er fri i forhold til bildet. men fanget i virkeligheten bildet gir<br />
kontroll. vil jeg kontrollere vil. ikke miste meg spørs hvor stor du er.<br />
fryst fast. en levende bevegelig. virkelighet den er ikke skremmende<br />
159
men overflødig som om det. overflødige frastøter altfor mye sløsing og<br />
frustrasjonen over at. ingenting blir bevart to kråker flyr over enga de ble<br />
bare bevart i. denne teksten på alle andre måter er to kråker over enga ikke<br />
bevart. lenger. en sånn virkelighet kan ikke formidles eller er det det jeg<br />
gjør. nå peke på det. er det kunst er fotografiet kunst jeg ser andre ting i.<br />
fotografiet enn i virkeligheten lettere å analysere å skifte. dermed er. det<br />
merkelig og simpelt at virkeligheten oppfattes som en ekspansjonen. går<br />
jo andre veien og kunsten kan hjelpe med å utvide den. men.<br />
virkeligheten fanger raskt inn igjen har sine egne harde fysiske lover.<br />
bryr seg ikke om kunst. to kråker bryr seg ikke om kunst de ville bare.<br />
sett rart på meg og flakset videre. sånn er det å være kunstner ingen. forstår<br />
hva du driver med. kunst du maler bilder og slikt best å svare. ja. hva<br />
driver forresten en prest med hva svarer han eller en leder. eller forsker<br />
eller forfatter en leder leder en forfatter forfatter en. forsker forsker en<br />
kunstner kunstner. å kunstne noe hva er det å vise. det peke den enkleste<br />
form for kunst er kanskje å peke. kan dyr peke. hvis vi ikke kan peke<br />
direkte må vi selv lage det som skal pekes på. å. kunstne å peke for å peke på<br />
noe må du gjøre det objektivt gjøre det. pekbart lage avstand utskille noe.<br />
se to kråker.. men er det ikke for enkelt peking er mye rart. at kunst er<br />
peking betyr ikke at peking er kunst logikk at mennesker er. atomer<br />
betyr ikke at atomer er mennesker. er peking referanse kanskje. point.<br />
to direct (the finger a weapon the attention etc.) at to or upon.<br />
something.. . to indicate the presence or position of (usually fol. by out)<br />
to. point out an object in the sky.. . to direct attention to (usually fol. by<br />
out) to point out the. advantages of a proposal.. . sculpture. to transfer<br />
measurements of depth from a clay wax or. plaster model to (a block of<br />
stone) by means of an apparatus that drills. holes to the required depth<br />
prior to carving.. . to punctuate as writing.. . hunting. (of a hunting dog)<br />
to indicate the presence and location of. (game) by standing rigid and<br />
facing toward the game.. . masonry. to fill the joints of (brickwork<br />
stonework etc.) with. mortar or cement treated in various ways with<br />
tools after application.to. dress the surface of (a stone) with a pointed<br />
tool.. . to dress (a stone) with a point.. v.i.. . to indicate position or<br />
direction as with the finger.. . to direct the mind or thought in some<br />
direction call attention to. everything points to his guilt.. . to aim.. . to<br />
have a tendency toward something economic conditions point to.<br />
further inflation.. . to have a specified direction the sign pointed west.. .<br />
to face in a particular direction as a building.. . hunting. (of a hunting<br />
dog) to point game.. . naut. to sail close to the wind.. . (of an abscess) to<br />
come to a head.. (n.) me point(e) partly of point dot mark place<br />
160
moment. l pnctum n. use of neut. ptp. of pungere to prick stab (cf.<br />
pungent). partly of pointe sharp end ml pncta n. use of l fem. of ptp. of.<br />
pungere (v.) me pointen partly deriv. of the n. partly mf pointer. deriv.<br />
of pointe (n.). refer. refer (ri fræ) v. ferred ferring.. v.t.. . to direct for<br />
information or anything required he referred me to. books on astrology..<br />
. to direct the attention or thoughts of the asterisk refers the reader. a<br />
footnote.. . to hand over or submit for information consideration<br />
decision etc.. refer the argument to arbitration.. . to assign to a class<br />
period etc. regard as belonging or related.. . to have relation relate<br />
apply.. v.i.. . to direct attention as a reference mark does.. . to have<br />
recourse or resort turn as for aid or information to refer. one's notes.. .<br />
to make reference or allusion the author referred to his teachers. twice<br />
in his article.. me referren l referre to bring back equiv. to re re ferre.<br />
bring bear. referable referrable referrible (refær bl ri fræ). referable<br />
referrable referrible (refær bl ri fræ)<br />
161
196<br />
adj.. referærer n.. syn. . attribute ascribe impute. . pertain belong. . advert.<br />
allude.. reference. reference (refær ns refærns) n. v. enced encing.. n.. . an<br />
act or instance of referring.. . a mention allusion.. . something for which<br />
a name or designation stands denotation.. . a direction in a book or<br />
writing to some other book passage etc.. . a book passage etc. to which<br />
one is directed.. . see reference mark (def. ).. . material contained in a<br />
footnote or bibliography or referred to by a. reference mark.. . use or<br />
recourse for purposes of information a library for public. reference.. . a<br />
person to whom one refers for testimony as to one's character. abilities<br />
etc.. . a statement usually written as to a person's character abilities.<br />
etc.. . relation regard or respect all persons without reference to age..<br />
v.t.. . to furnish (a book dissertation etc.) with references each new.<br />
volume is thoroughly referenced.. . to arrange (notes data etc.) for easy<br />
reference statistical data is. referenced in the glossary.. . to refer to to<br />
reference a file.. refer ence. syn. . note citation. . endorsement. .<br />
consideration concern.. noemata. noematagrk topic what it is about<br />
thesis text business affair. matter in hand argument motion resolution<br />
head chapter case point. proposition theorem field of inquiry moot point<br />
problem c. (question). noema nim em n. pl. noemata nimt . e. gk noema<br />
a thought.. philos. an object of perception or thought as opp. to a<br />
process or aspect. of perceiving or thinking. cf. noesis .. umuligheten av<br />
å dokumentere ting formidle og hvorfor skal vi. ting er naturlig<br />
utilgjengelige umedierbare ingen vits å frastå eller. holde skjult.<br />
negativitet er en representasjon av det utilgjengelige demonstrerende.<br />
noen spør hva skal du svare. uttrykke blir negativt verdiløst uttrykker<br />
verdiløshet. kunsten kan øve opp ikkeuttrykk. hvis kulturen er medial<br />
kan kunsten være det umediale rollebytte. kan den være sitt ikke et hull<br />
vaginalt marginalt penisavantgarden. hvorfor bryr jeg meg med dette<br />
kunst. det har å gjøre med livet hva slags liv hva skal vi gjøre lykke<br />
behag. trykk ok. en plante liker å stå der og vokse eller hva den driver<br />
med driver den å. overlever. hvem bryr seg om å overleve kanskje å<br />
overlevere overlevere hva. hvis det ytterste er noe er vel det indre det<br />
samme. en atomkrig har betydning for maur. smerte hvorfor ikke.<br />
162
smerte. knirkefritt. hvorfor bryr vi oss hva lenker oss sammen oss likhet<br />
du er meg. hvordan vi vil ha det hvordan kan vi ha det slik vi ikke vil<br />
ha det. hva står i veien hva er en uønsket situasjon hva er ønsket. ønsket<br />
kompletterer ikke uønsket ingenting kommer etter frigjørelsen. hva skal<br />
vi ønske kunst hva er uønsket slaveri å ikke være suverent. er det en<br />
kobling mellom aksjonisme og kunst siden kunsten er fri. ikke høy<br />
kunst lav kunst kort mat lang mat. kunsten som frigjørende gjørende fri<br />
fri gjørende. hva er fri forskning vitenskapen eksperimenterer kunst.<br />
teser påstander er de holdbare. hva er meningen med dette gir det noe<br />
hva uttrykker det. ikke. ikke. et prosjekt som går ut på å snakke retorisk<br />
malplassert i forskjellige. protokoller og kontekster 'snakke med' et<br />
grensesnitt 'parse' en. kommunikasjon formelt uformelt<br />
menneskemaskingrensesnitt i utvidet. forstand 'maskin' og 'menneske'<br />
kunst og (hva da)..konvensjon (kunsten. er ny slik som nyheter eller<br />
som vitenskaplige oppdagelseroppfinnelser. (uansett kunst som grensen<br />
for kultur) når slutter kunst å være kunst. hva blir den etterpå håndverk kultur<br />
forskjellige bevegelser kneledd. innlegg kunstkroppen kanskje kunsten<br />
må være direkte umediert og. dermed i opposisjon til ethvert medium<br />
(som organer i kroppen)).. konseerverende. vi ønsker å ta vare på ting. et<br />
prosjekt som tar var på alle deler av seg. selv viser dem mister aldri noe<br />
går det an absolutt konserverende. kan. noe slippe ut. open source crime.<br />
kan vi ikke heller rane en bank i open source crime er det fortsatt.<br />
kriminalitet om det annonseres på forhånd. øhdiy. øh diy. kan noemata være<br />
et andelslag. distedenfor å søke støtte så kan interessenter kjøpe andel i<br />
prosjektet. dfvs de eier av noemata materialet. evt. en gateway som<br />
omvandler. eksisterende støtte til andel slik at en søknad om støtte et.<br />
andelsprospekt vil du ha del i dette. tanken bak var diy (død kunstner)<br />
om kunstnerens produksjon verdiboostes. pofst mortem. nop. jedg vil<br />
ha det med en gang. med en klausul om at alt. material tilfaller<br />
anddelseierne. øhh. tjat alt må tømmes for innhold først da... vel så ta for<br />
medium og tømtømtøm fyllfy med det andre logisk. maske. flaskeposten<br />
kunne også vært digital. må sjekke litt mer om hvordan det. kangjøres. i en<br />
versjon. hva med en type lavnivå datapakker sendt ut på nett en slags<br />
flaskepost. forinternet. innholdet kan være hva som helst gjerne personlig<br />
såvidt. kapslet inn. i et format hvor hensikten er at de skal gjenfinnes i en<br />
kontekst hentes. oppav vannet med noen mulige tegn hva var nå dette.<br />
kaste i havet.. utfordring blir kanskje å få dem til å sirkulere lengst mulig<br />
flaska må. flytefylles med luft.. primat. primat v.. en form for bot med<br />
menneskeaktige som fotspor lagd av som et ganske. stort dyr som<br />
maskin. ref. krkaen v... gnh. digitalt. serieverk. digitaltikkedigitalt<br />
163
(enten enten eller eller). mainnsjit. digitus.facticius. automata.<br />
automata. bruke php til å publisere ting news mailinglister på bakgrunn av<br />
klikk på. sider eksekveres i bakgrunnen med en viss sannsynlighet (sider<br />
har. include en generisk fil som bruker referer).. på den måten bidrar det<br />
til at noemata server blir en selvpubliserende. automatisk nettkunstner.<br />
en crawlfunksjon eller noe som gjør. innholdsdelen dynamisk en<br />
intelligent kanalisering. hm dermed er det. publikum som genererer nytt<br />
innhold gjennom besøk og blir en. selvforsterkende greie (evt.<br />
selvsvekkende) men som må ha et. metningspunkt slik vi har et<br />
nullpunkt som fyrer av kvanta tilfeldig. iblant (basert på hva). loopback<br />
skal generert material blir en del av. serveren. harang til unge. harang til<br />
unge. hjemmeoppgaver. klas oldan. a) forbigående identitet en bil har et<br />
stort klistremerke øverst. over frontruta mazda . l etc. hva er vitsen bilen<br />
har et. stort merke der det står hva den er jeg er mazda ahura mazda. går<br />
sjåføren rundt med navnet sitt på capsen kanskje det men. hvorfor gjør<br />
bilen det. b) christian må være kristen det sier seg selv.. c) et globalt<br />
forskningsprosjekt som trekker ressurser fra alle. siviliserte land om å<br />
finne verdens eldste vannmolekyl. prosjektet. utvider seg stadig. vi<br />
antar at de eldste vannpartiklene er å finne. nede i de store havdypene<br />
men vi må måle alderen til absolutt alle. inkludert de mer ubestandige<br />
våtromspartikler fra badet ditt. siden. alle organismer består av store<br />
mengder vann må alt og hvert enkelt. liv under mikroskopet. hva skal vi<br />
med verdens eldste vannmolekyl. d) en sekt arkeologer graver fram<br />
oldtidsgjenstander for å utslette. dem.. e) abortert foster kan bli eggdonor<br />
dette svært kontroversielle. forslaget blir presentert på grunn av den prekære<br />
mangelen på. kvinner som er villige til å donere sine egg til barnløse<br />
medsøstre. i motsetning til sæddonorer som det finnes nok av. forslaget<br />
rykket. litt nærmere virkeligheten tirsdag da ny forskning fra israel og.<br />
nederland viser at det er mulig å holde eggestokker fra aborterte. fostre<br />
levende i laboratoriene i ukevis.. f) forskere utviklet tvekjønnet foster<br />
forskere i usa har utviklet. et hybridembryo med både mannlige og<br />
kvinnelige celler noe som har. skapt fordømmelse både på legehold og<br />
blant abortmotstandere.. g) vinden er en mekanisk prosess jeg tror ikke<br />
jeg forsto det før. nå den har ingen bevissthet ingen intensjon om å blåse<br />
rundt. hva. er mekanisk hvis du ser nærmere på din fødsel forhør dine.<br />
foreldre så går det fram at den er tilfeldig og automatisk. det er. mye å<br />
hente gjennom å se på seg selv som en maskin du tror ikke på. det nei du<br />
trenger ikke tro hva tror du vinden tror på når den. blåser rundt det kommer<br />
poesi inn i vinden når vi ser på den som. mekanisk den blir en metafor for<br />
en metafor. vi kan nærme oss det. kunstneriske ved å se på noe som kaotisk<br />
164
det kaotiske er. uforutsigbart men fortsatt mekanisk eller forutsigbart<br />
men ikke. mekanisk forutsigelser har parametre som ikke kan fikseres.<br />
samtidig litt av alt eller alt av litt. skolen lærer bort å være. konstruktiv og<br />
positiv men også kritisk men innenfor rammene som. når det er lov til å le<br />
av en vits sånn nå kan du le. livet tar. vare på seg selv det er ikke noe du<br />
trenger å lære eller være obs. på alt er mekanisk du fikk tilfeldigvis et liv<br />
hvorfor skal du. bry deg hva angår det deg se på deg som en maskin som<br />
den vinden. som blåser mekanisk rundt uten mål og mening så har du<br />
allerede. oppnådd endel innsikt et steg nærmere mazda. kvitt deg med.<br />
forestillinger om hva du har godt av eller hva du bør unngå hva som. er<br />
livskraftig hva som er destruktivt hva som er sterkt og svakt. smart og<br />
dumt pent og stygt hva som lønner seg. se på den. idiotiske vinden den<br />
greier seg fint nok eller hvorfor skulle den. bry seg om den greier seg<br />
det gjør den jo likevel ikke og det vet. den uten engang å vite det. om jeg<br />
skal gi dere et råd må det være å. ikke bry dere. la dere drive ikke la noen<br />
ideer om hva som er til. ditt eget beste eller til noe annets beste få tak.<br />
bare la deg. drive du er en maskin slik som tingene rundt deg tilfeldig<br />
og. mekanisk lever du slik vil få et perfekt liv til og med uten å. ville det.<br />
perfeksjonen ligger i å gi blaffen fullstendig og å gi. blaffen i å gi blaffen<br />
etc. hadde det ikke vært fint å aldri være. seg selv fremfor alt forsøk aldri å bli<br />
noen å bli noe da mister. du livet umiddelbart ingen nåde der. vær<br />
likegyldig og uberørt så. går ting av seg selv. la ting skure så kommer livet<br />
deg i møte. ikke. ha tro på noe på deg selv på livet på en framtid av noe slag<br />
du. er allerede død mer eller mindre vær endelig klart over det men.<br />
dermed er du straks mer levende. du tror du må finne din plass. finne en<br />
identitet hvem du er jeg oppfordrer deg til å glemme det. hele det er bare<br />
noe som konstrueres for å få tilgang på. konstruerte goder som stadig<br />
legges lenger fram i tid. en mekanisk. prosess en maskin hva skal du<br />
med identitet pass på så du aldri. blir noen med navn på capsen eller<br />
frontruta. maskiner er ingen.. vinden i gresset og havet blåser metaforisk<br />
like godt uten å vite om. seg selv så hvorfor skulle du bry deg med å vite<br />
hvem du er om. vinden visste hva den var ville den ikke blåst og i den<br />
grad du vet. hvem og hva livet ditt er så etterligner du en livsprosess.<br />
simulerer og finner på deg selv som programvare uten å skjønne at. du også<br />
er maskinen som kjører programmet. vær heller maskinen tom. og<br />
likegyldig. du lever allerede så hvorfor skal du bry deg med. livet hvis<br />
du vil tjene livet så er det beste du kan gjøre å gi opp. hele greia. når du gir<br />
opp vil livet flomme inn over deg så mye du. vil ha som om det angriper<br />
deg for å ha blitt avvist så. ettertrykkelig sånn er det med alle ting spark det<br />
i ræva og det. kommer tilbake og vil ha mer. i skoleverket skal ting gjøres<br />
165
på. bestemte måter som pedagogisk og konstruktivt hvis dere snur det. på<br />
hodet gjør det bakvendt eller annerledes så har det kanskje like. stor<br />
effekt. ting går av seg selv de bryr seg ikke om hvordan dere. går fram om<br />
det er på riktig måte eller på en motsatt skrudd måte.. dere er som elever<br />
allerede en slags maskiner produsert av. skoleverket. ideene som<br />
allerede ligger der omkring. kunnskapsmaskiner kan trekkes videre<br />
hvem bestemmer grensesnittet. på maskinmennesket og hvem tjener på<br />
det samfunnet tjener på å. prosessere dere som maskiner men er antagelig<br />
ikke tjent med at. dere behandler dere selv som maskiner og her ligger<br />
det en. motsigelse den enkelte elev er både en maskin og et menneske<br />
en. partikkel og en helhet objekt og subjekt men i et ferdig. grensesnitt<br />
som legges av skole stat samfunn. men dette er et. grensesnitt som kan<br />
forandres vris og vrenges på. hvorfor skulle du. ikke gjøre motsatt la<br />
skole og samfunn behandle deg som et. menneske og behandle deg selv<br />
som en maskin vi har allerede. kunnskap nok om oss selv til å betrakte<br />
oss som maskiner og. utviklingen fortsetter i samme retning. men<br />
poenget med samfunnet. bør derimot og dermed være å betrakte oss som<br />
mennesker og. udelbare enheter likevel. dette som et eksempel på at man<br />
likegodt. kan argumentere for det motsatte grensesnittet<br />
menneskemaskin. slik. grensesnittet er nå så brukes og misbrukes vi som<br />
maskiner samtidig. som vi holdes i sjakk (av oss selv) som mennesker<br />
med identitet. historie liv. samfunnet stabiliseres i stor grad av at<br />
mennesker. ser på seg selv som stabile identiteter med essens og indre og<br />
ikke. som tomme maskiner. men så kan vi spørre er det ikke nettopp<br />
fordi. vi ser på oss selv som mennesker at vi tillater oss å bli utnyttet. som<br />
maskiner det er det jeg vil gjøre oppmerksom på og derfor jeg.<br />
oppfordrer dere til å vurdere å bli maskiner slutte å identifisere. dere med<br />
det menneskelige. det mennesket vi identifiserer oss med er. mer som et<br />
gissel for maskinen som en fantasiforestilling og. brukervennlig<br />
grensesnitt brukervennlig for hvem ta din. menneskelighet tilbake bli en<br />
maskin. skole samfunn næringsliv. den globale<br />
økonomiteknologimaskinen kan utnytte deg mer dersom du. holder på<br />
din menneskelighet. de får mindre makt i den grad du. forholder deg til<br />
deg selv på samme måte som de forholder seg til. deg. så lenge du er et<br />
menneske kan du behandles som en maskin og. først som maskin blir du<br />
et menneske du gjenvinner makt gjennom å. behandle deg selv som en<br />
maskin. paradoksalt nok gjenvinner du din. menneskelighet ved å bli en<br />
maskin du får tilbake ditt. uinnskrenkede liv gjennom å dø som menneske<br />
du får tilbake din. frihet ved å gi opp forestillinger andre har nytte av at<br />
du tror på. og tar tilbake makt over deg selv ved å gi deg opp. menneske<br />
166
er. som en programvare som kjører på en maskin. du blir behandler som<br />
en. maskin av andre av vitenskap skole næringsliv stat etc så. hvorfor<br />
skulle du ikke se på deg selv som en maskin siden det gir. deg makten<br />
tilbake og siden du er en maskin uansett. forestillingen. om mennesket<br />
overtar etter at forestillingen om gud forsvann.. forestillingene brukes<br />
før som nå til å utøve kontroll og for at. du skal utøve kontrollen over deg<br />
selv selv som i forestillingen. om mennesket (utenfra) og om<br />
menneskemennesket (selvkontroll. innenfra).. noter. harang høytravende<br />
og kjedelig tale straffepreken.. mazdah vis visdom (zoroastrisk<br />
persisk).. menneskeprogrammet inneholder i tillegg såkalt spyware.<br />
panoptikon som spionerer på din aktivitet og bruk av det som i. praksis<br />
betyr at du som menneske spioniserer på deg selv noe som er. årsaken til<br />
mange av de avbruddene det gir et unødvendig høyt. ressursbruk i<br />
systemet spenninger og bakgrunnsprosesser og andre. kjøreproblemer<br />
som oppstår etter langvarig bruk. ved avinnstallering. av menneske<br />
fjernes også panoptikon i stor grad.. DIY. dude stun. en intro skrevet til<br />
ung hos gallerif. kanskje det ble for dumt.. jeg prøver å profilere meg<br />
som død kunstner de er mest verdt. hvorfor. skal andre innkassere på min<br />
død gjør det selv d.i.y passende tittel.. en annen del av diy kan være<br />
lobbyvirksomhet for å tillate kunstnere å. trekke fra sin død på<br />
selvangivelsen (e.s ide). døde kunstneres forening. død . og en utgreiing<br />
om kunsten som død som retning kallt e.. kunst i tradisjon fra<br />
kristendommen hva er kunstens nullpunkt når døde. den på korset i<br />
pissoaret inri diy innskriver u r mate på verdens. pissoarer og vigsler de<br />
til kirker. kunst og meningsløshet beslektet. betyr det at mening er<br />
kunstløs kunsten representerer døden ikke livet. kanskje død kunst er<br />
faktisk liv slik døde dyr er mat. død kunst som. tautologi levende kunst<br />
som oksymoron. har diymodellen forklaringskraft. på andre forhold<br />
døden er ikke ingenting det er mer som å drukne. altfor masse ren<br />
overflødighet som kunst. det får være nok dødsralling. for denne gang. diy..<br />
diy. engasjer en død kunstner utstilling performance forelesning.<br />
tekstmaterial bestillingsverk. kjøp kunst av død kunstner..<br />
ekthetsgarantier dødssertifikat og garanti en garanti om at. kunstneren er<br />
død og ikke vil gjenoppstå evt. at kunstneren vil dø før. eller senere.. mora<br />
til e og j har tilgang til folkeregisteret. hvor store problemer får. jeg ved å<br />
være registrert død ingen istedenfor selvmordet diy. iscenesetter døden<br />
istedet ikke selvmord som en iscenesettelse av død. men en<br />
iscenesettelse av døden som et selvmord.. dyi kan gå gjennom<br />
dødsforestillinger. dødsforestillinger. som stunt det er som å bygge noe<br />
først skjelett og så kjøtt og blod øh. jan teigen sirkus døden som showman<br />
167
er ikke langt borte hva er. dødskultur. diy. vi forestiller oss døden som<br />
en eksplosjon mens den mer er som en. implosjon det var det jeg tenkte<br />
når jeg reiste meg og ble svimmel og. var i ferd med å miste bevisstheten.<br />
at de sprer asken etc er mer i tråd. med forestillingen enn realiteten og de<br />
hadde ikke trengt det om det var. en realitet det er nå forestillingenes<br />
funksjon. de døde er ingen steder. ikke engang spredt for vinden de<br />
imploderte på stedet skrumpet inn i seg. selv og ble borte som i et punkt<br />
på stedet hvil i fred.. en død kunstner automatisk kunstner lever videre.<br />
som maskin. som alt automatisk generert som en. omvending.. kvantum<br />
statsborgerskap. kvantum statsborgerskap.. uncertainty principle the<br />
statement that it is impossible to make a. precise simultaneous<br />
measurement of both the position and the momentum. (mass x velocity)<br />
of a body.. staten bør forhindres fra å kunne måle borgerens posisjon og<br />
fart (status. og aktivitet).. the reason is that the mere act of for example<br />
measuring the position of. a particle involves making contact with it in<br />
some wayif only with a ray. of lightand this will alter its momentum (or<br />
velocity). similarly a. determination of the momentum of the particle<br />
will affect its position.. staten bør kompensere for å måle borgeren siden<br />
det forandrer dennes. status eller aktivitet.. the product of the<br />
uncertainties in the two quantities must be of the. order of planck's<br />
constant h (. x joule second).. protokollen statborger må implementere en<br />
plancks konstant (privacy. konstant) som gjør forespørsler mulige uten å<br />
fiksere borgeren.. jeg ønsker opplysninger om en eller flere andre<br />
personer. hvilke. opplysninger kan jeg få og hva kreves for at jeg skal få<br />
dem. likningskontoret henvendelsen kan gjelde inntil tre navngitte<br />
personer.. det er et absolutt krav at personene må kunne identifiseres i.<br />
folkeregisteret. det må videre være et begrunnet behov for henvendelsen.<br />
dvs. for å ivareta lovmessige rettigheter og plikter. eksempelvis er.<br />
opplysninger i forbindelse med undersøkende journalistisk virksomhet<br />
et. begrunnet behov. klassegjenforening adresseopplysninger om<br />
venner og. kjente og lignende anses ikke som et begrunnet behov..<br />
følgende opplysninger kan gis dersom vilkårene er oppfylt navn adresse.<br />
fødselsnummer fødested dødsdato. feriebilder. en imaginær reise i form av<br />
webgalleri. det begynner med vanlige. feriebilder går etterhvert over i<br />
fremmedgjøring og eksperimentering.. asciihelleristninger. et forsøk på<br />
asciihelleristninger. og hva gjør h til noe annet enn tagging og<br />
vandalisme. alder.. statist.sentrbyrå begynner med kultur sjansen for at<br />
det akkurat her er. bedrevet menneskeofring er .. sjansen for at det gikk<br />
en viking akkurat. der du går nå er .. sjansekultur. vi tror det i fremtiden<br />
om tusen år. vil stå et menneske akkurat der du står nå forestill deg det. på.<br />
168
akkurat dette stedet var det bare flytende lava for mrd. år siden. om.<br />
noen mrd. år så eksisterer ikke dette. om ti minutter er vi ikke her..<br />
mikrokultur. hvis du beveger litt på det ene beinet ditt så står du ikke.<br />
lenger der du sto. vi kan telle til ting forandrer seg. skal vi ta. vare på alt<br />
jeg snakker til deg. akkurat nå hører du på. i den bevegelsen. er vi. når vi<br />
blir lava går vi opp i gud. flytende væske har problemer med. å skape<br />
sivilisasjoner med høy kultur. gass har atferdsproblemer. isen er.<br />
nevrotisk. temperaturene. svart galle koker ved grader nord..<br />
beskyttelse molekylene løser seg fra hverandre og blir gass vi går over. i<br />
en gasstilstand plasma rovdyret markerer territoriet gassen fyller. hele<br />
rommet. gass er gift tenker vi slik som luft.. avstandsverk. verk som<br />
foregår på lang avstand. avstanden virker konsentrerende. henførende<br />
attraktiv rørende sublim latterlig. å se en person. kilometer unna har en<br />
spesiell virkning. huldra ved fossen på flåmsbanen. bruker dette men<br />
innholdet er en mekanisk turistklisje og spøkelse men. ikke helt<br />
irrelevant bare kjedelig. noen med hund gikk langs en høyde. noen<br />
hundre meter borte det var mer interessant. et teaterstykke med. scenen<br />
en kilometer unna kanskje bare siluetter handling pantomime..<br />
automata. noe random noemata phpscript control panel kopling n.<br />
mailinglist news... sikt. alle sikter er kroppsliggjorte mens vi har et<br />
ideal om et tomt eller. åpent sikt at hodet er ånd. når hodet er ånd kan kropp<br />
være kropp. sammenblandingen er frastøtende uren ånd skinnhellig kropp.<br />
at hodet. kroppsliggjør sansning er renere enn handling er renere enn<br />
følelse.. avsondret virtuell natur. når samfunnet blir virtuelt åpner det for å<br />
bruke det virkelige som en. ørken eller avsondrethet. lenge har<br />
gangveier vært forbeholdt bare. mennesker på blå skilt veiene ble i sin tid<br />
lagd for disse symbolske. menneskene så de kunne bevege seg fritt<br />
omkring og spre det virtuelle. fram til idag hvor hvor som helst er en<br />
øde avsondring fra verden. verden. rundt på millisekund kropper er<br />
gjenstander gjenstående blir vi. endelig natur igjen. tagg. reklamen<br />
fikserer forestillingen til noe eksternt noe som gjør at den er. helt<br />
ubrukelig i dannelse f.eks. har en velmenende solidarisk kampanje.<br />
ingen mulighet til å nå fram til noen siden den må fikseres til tingen.. hva<br />
skjer når taggen fjernes en serie reklamefilmer hvor taggen er borte. eller<br />
taggene byttes om hva skjer forresten når den spilles baklengs en. annen<br />
slags virkningsfullhet som beveger seg fra tagg og ut til en. situasjon<br />
(der mor vasker gulvet) vil det ha virkningen av at taggen. sprer seg og<br />
er virkningen reklame eller antireklame. hurtigbåt. til. vi . i vender. til<br />
det . men i et et .. smeltet .. er globalisering å gjøre verden til vann. som<br />
vi kan sprute gjennom. vannet fragmenteres i brus og vender tilbake. til<br />
169
det globale vann. nettverket men i et tidromkontinuum et hav.. verden<br />
er smeltet sammensmeltet og fragmentert.. clinamen. dermed kan et<br />
brudd på cpsymmetri forklare hvorfor vi bare finner stoff. og ikke<br />
antistoff i universet. clinamenavvik patafysikk. clinamen det andra<br />
postulatet står fr en oregelbundenhet i tankens och. atomens centrum.<br />
ordet r latin och betyder ungefr 'avvikelse' eller. 'avdrift'. detta<br />
postulat ger vissa associationer till kvantmekanik och. kaosteorier. i<br />
centrum fr allting stter patafysikerna en asymmetri.... denna avdrift<br />
lyder ingen lag det r en nyckfullhet från atomens sida.. det r frstås svårt att<br />
frestlla sig en rrelse utan orsak men om man. betnker att avdriften r<br />
synnerligen liten och rrelsen omrklig kan man. låta sig nja med det och<br />
det r en eftergift som inte kostar mycket.. utifrån detta kan man ltt frklara<br />
vrldarnas uppkomst.. henri bergson citerad av oktav votka ( e.p.).<br />
clinamen den moderna. fysiken och de vetenskapliga<br />
frdomarnaantologi (pp. ).. franskmannen alfred jarry () var oppfinneren<br />
av patafysikken. vitenskapen om fantasifulle løsninger enkelttilfeller og<br />
rare unntak.. ordet patafysikk ble antakelig valgt for å suggerere<br />
pataphysique. dvs. sjokkerende fysikk. patafysikken ble beskrevet i et<br />
verk av jarry. fra og skulle ifølge forfatteren omfatte alt spesielt og<br />
perifert.. femti år etter ble collge de pataphysique grunnlagt. det<br />
patafysiske. samfunnet fungerte som en slags parodi på et<br />
universitetskollegium og. dagsordenen under samlingene gjaldt<br />
vidløftige meningsløsheter obskure. vitenskaper (f.eks. hypnose) og<br />
poetisk nonsens. en vitenskap om imaginære. løsninger gjaldt det jo å<br />
forsyne med imaginære problemer... møtene. foregikk innen en<br />
hemmelighetsfull nesten okkult ramme og fikk også. trolig mye<br />
påvirkning fra surrealismen. det var noe fandenivoldsk over.<br />
patafysikerne en vilje til å balansere galskap og lærdom og å søke etter.<br />
mening helt inn i det meningsløse. jarry angrep i sin skjønnlitteratur.<br />
eksisterende moralske og estetiske verdier og ble et forvarsel om det.<br />
absurde som kunstretning.. displaced paint. painting by dead artists is in<br />
a biased nutshell what they still prefer. as state of the art. areflagan.<br />
stille ut stjålne malerier fra utstillinger i en ny utstilling ref. nn. ide<br />
tidligere.. .. .. .. ... .. .. moar of the sam. en teateroppsetning av en<br />
tegnefilm kraxy kat. livingroam. delprosjekter. nettnogmade no made<br />
nomade. kluturfjam bruke offentlige rom som sitt hjem. lingamviro.<br />
roam v. i. imp. p. p. roamed p. pr. vb. n. roaming. oe. romen. ramen cf.<br />
as. arman to raise rise d. ramen to hit plan aim os.. rmn to strive after<br />
ohg. ramen. but the word was probably influenced. by rome cf. of.<br />
romier a pilgrim originally a pilgrim going to rome. it. romeo sp.<br />
170
omero. cf. ramble. to go from place to place without any. certain<br />
purpose or direction to rove to wander.. he roameth to the carpenter's<br />
house. chaucer.. daphne roaming through a thorny wood. shak.. syn to<br />
wander rove range stroll ramble.. roam v. t. to range or wander over..<br />
and now wild beasts came forth the woods to roam. milton.. roam n. the<br />
act of roaming a wandering a ramble as he began his. roam o'er hill<br />
amd dale. milton.. v wander about aimlessly the gypsies roamed the<br />
woods syn wander. swan stray cast ramble rove range drift. Mar. diskett<br />
gallerier zip. release mail art germinal posten til forskjellige. endel<br />
tomme polstrede pakker til institusjoner bare med en papirstrimmel. ...<br />
honstad kunstsenteenier. ssmuseet bankplasamtidse. a fearnley<br />
museetstrup p. kernes hus wergelunstnan. uådhusgt. ks r o. gi f pb<br />
jelallerøy. nrsk kunstmuseum ordnopo. nalgalleriet postasjonbo. b<br />
sundtsgt ek c. po atelier nord nek cne. tkjøpmannsgt eks. ar nord nedregt<br />
telied. det kan være lurt å skrive ut denne siden.. perifer samtidskunst spill<br />
på sentral smtkunst... drafts undigested usendt mail. cv. om vi tok alle<br />
cver i verden og modellerte et samfunn. evt. alle. kriminelle rulleblad..<br />
cv jeg henviser til politiet. criminalis vitae. har det noengang vært andre<br />
samfunn enn vårt. into nation. into nation intonation a musical score for<br />
un or sociogeo. music of the. political spheres. webbased<br />
spheremusicstream into outofnation. 'outofnation' contra intonation..<br />
intonation p pronunciation key (ntnshn t). n.. the act of intoning or<br />
chanting.. an intoned utterance.. a manner of producing or uttering<br />
tones especially with regard to. accuracy of pitch.. linguistics. the use of<br />
changing pitch to convey syntactic information a. questioning<br />
intonation.. a use of pitch characteristic of a speaker or dialect he could<br />
hear. authority the old parish intonation coming back into his voice<br />
(graham. greene).. music. the opening phrase of a plainsong<br />
composition sung as a solo part.. quicktopic. en bok på qt en<br />
emailadresse webboard admin etc.. radioaktive bilder. det norske<br />
forbrytersyndikatet kraken tar på seg ansvaret for.<br />
romferjeeksplosjonen.. curiously nobody (yet) claimed credit for<br />
spectacular destruction. of space shuttle columbia. not saddam not bin<br />
laden not. hamas not hezbollah nor anybody else. and there could be no.<br />
more perfect opportunity.. kraken kan være open source crime. creative<br />
commons crime.. inspilling av avspilling. curd duca innspilling (av)<br />
avspilling som en persepsjon ny persepsjonen. av noe blir noe nytt en<br />
avspilling er en innspilling dessuten komponere. vha avspilling en<br />
enkel tydeliggjøring av sampling som medial kunst. gjenskaper<br />
lyttingen som om en utstilling stilte ut blikket i et. galleri. stalkme. stalk<br />
171
me videoprosjekt følge etter film redigere klippe. rundt hjørner etc. i<br />
monn. et romantiskmodernistisk livkunst prosjekt i smarb med en<br />
kurator nn. monnasteryx. minimax. kampsport som en maskulin animus<br />
dans sverd korde slåsskamp boksing. i en forestilling alternerende med<br />
feminin dans den maskuline dansen. bruker egenskaper fra sport som<br />
kultur (se under) målbarhet episodisk. den feminine er åndelig anima etc..<br />
release. noemata.netrelease. main entry release. pronunciation ri'les.<br />
function transitive verb. inflected form(s) released releasing. etymology<br />
middle english relesen from middle french relessier from. latin relaxare<br />
to relax. to set free from restraint confinement or servitude hostages<br />
also to let. go dismiss. to relieve from something that confines burdens<br />
or oppresses. to give up in favor of another relinquish property. to give<br />
permission for publication performance exhibition or. sale of also to<br />
make available to the public its findings. main entry lease. function<br />
transitive verb. inflected form(s) leased leasing. etymology anglofrench<br />
lesser from old french laissier to let go from. latin laxare to loosen from<br />
laxus slack more at slack. to grant by lease. to hold under a lease.<br />
synonym see hire. leasable 'lesbl adjective. release fra bokhandel til<br />
bibliotek.. tid logikk. baklengs. en melodi hvordan forandrer den seg<br />
hvilke egenskaper blir. motsatt kjøre andre prosesser baklengs hva sier<br />
det om prosessen og. modellen. hvis tid ikke finnes så er irreversible<br />
prosesser uforståelige.. på hvilken måte er vitenskapen mot tidsstrømmen<br />
som reverse. engineering å gjøre et eksperiment er i tidsretningen mens.<br />
teoretiseringer er imot. hva med logisk implikasjon og tid.<br />
sannhetsverditabell for logisk implikasjon. p q pq. så en årsaksrelasjon er<br />
stort sett sann dvs. så lenge relasjonen ikke er. påviselig usann.<br />
implikasjonssymbolet () tilsvarer tidsretningen. så. vitenskap handler<br />
mer om å finne ut hva som er usant enn hva som er sant. (siden<br />
relasjoner er sanne inntil det motsatt er påvist). i tidsretningen. er alt<br />
sant. imot tidsretningen vet vi bare hva som er usant og det som. ikke er<br />
usant er sant. vitenskap driver dermed med dobbel negasjon. en.<br />
negasjon imot tidsretningen (teoretisering) og deretter en negasjon med.<br />
(eksperimentet). negasjon avskjæring.. stasis. hvorfor er den enkeltes<br />
relasjoner til andre så statisk hvorfor. foretrekker en person å forholde seg<br />
til en begrenset kjent gruppe. venner bekjente praktiske relasjoner<br />
basert på at alle mennesker er. nesten like global kultur osb spiller det<br />
like liten rolle hvem man har. med å gjøre om man ikke er ute i en<br />
bestemt hensikt. men nå er det. nettopp disse hensiktene som styrer<br />
prosessen og strukturerer relasjonene.. runciter said ill consult my dead<br />
wife. pk dick ubiq. brettspillet paradox nonplus. brettspillet paradox<br />
172
nonplus. et brettspill med trivial pursuit som modell der temaene er<br />
paradokser av. ulike typer.. kategorier. logikk (argumentasjon bevis<br />
definisjoner osb). sitat (gåte herme ordtak osb). lateral (vits situasjon<br />
osb). nøtt (div tankernøtter matematikk logikk sannsynlighet osb). trivia<br />
(uventetparadoksal kunnskap). Tilfeldighetssamfunnet. Samme hvor<br />
mye jeg tilfeldig snur pølsene i panna er halvparten på feil side.. Det er to<br />
måter å få dem jevnt steikte på snu hver enkelt eller tilfeldig. permutering<br />
(med hyppigere intervall). Tilfeldigheten er automatisk rettferdig..<br />
Kunne vi hatt en samfunn basert på tilfeldighet istedenfor rettferdighet<br />
Det. er. tilfeldig hva slags lønn borgeren har hva han betaler i skatt osb..<br />
Frihet rettferdighet brorskap Stokastisk tilfeldig hvemsomhelst. Hva<br />
som idag er underlagt rettferdighet blir heretter prosessert tilfeldig..<br />
Likhet er vel det beste ordet her. Staten velger tilfeldig ut personer<br />
hvert år som skal dø i trafikken.. Staten velger ut banker som skal bli<br />
ranet.. Staten velger ut ukas lottotall.. Kan vi ha staten som en<br />
lottomaskin Autorisert tilfeldig. Vil korrupsjon bli. et. problem siden<br />
ingen regler gjelder Vi har statistisk analyse som må stemme. ellers er du<br />
ille ute. Ingen regler nei tingene styrer seg selv trafikken. sørger for sine<br />
ofre (ikke Over kanskje). Styring gjennom automatiske røre. rundt.<br />
Induksjonsbevis siden n var tilfeldig utvalgt så er det alment.. Så får de<br />
ulike samfunn en debatt om Hva som skal underlegges tilfeldighet.. Alt.<br />
ingenting. Staten bestemmer seg for å styre været de kaller det ikke lenger<br />
værmelding. men værvedtak (og så kan vi lure på hvor utbredt slik styring<br />
allerede er. tingene styrer seg selv uansett styringen er illusjon om<br />
styring vi vedtar. sol. i morgen men hvordan vet vi at det ikke er styring<br />
Hvis det ikke blir sol så. blir det nedsatt en kommisjon til å granske hva<br />
som gikk feil noen må gå. dårlig styring etc. i gode tider er det lett å styre<br />
som er et tegn på at. tingene styrer seg selv.). Staten rullerer identitet du<br />
våkner opp og er en annen annen jobb bankbok. kone barn etc.. Tilfeldig<br />
hva man ikke ønsker skal utgjøre noen forskjell det som skal være. likt for<br />
alle.. Hvis identitet rullerte ville vi ikke vært opptatt av hvem vi var..<br />
Staten blir et uropoliti for ansamlinger av ulikhet. Konkurransetilsynet<br />
blir. tilfeldighetstilsynet.. Frå er det berre Norsk Tipping som har lov å<br />
driva med speleautomatar her. i landet.. Vi har ingen kriterier lenger på<br />
noe som helst tilfeldighetstilsynet likevel. ivaretar likhet rettferdighet..<br />
Får vi problem med spamming ren kvantitet for å påvirke utfall. Kunsten<br />
fra nå av er stokastisk vi er e.Kunst etter kunst et antall år. alt. er kunst etc<br />
der hvor vi går over til tilfeldighetslikhet. et utvalg. tilfeldig utvalg..<br />
Statement. Artist Statement Eric Jordan Dec. These paintings are a<br />
response to concerns that become. so pressing I virtually stopped<br />
173
painting. These anxieties fell. primarily into two groups. The first<br />
centers on the nature of meaning. and the second on my approach to<br />
painting.. Through looking and discussing the work of David Salle. I<br />
had become increasingly interested in the philosophical questions.<br />
surrounding the nature of meaning. This arose from a simple disagree.<br />
ment. I felt Salle's paintings were meaningful. Someone else<br />
disagreed.. In pursing a solution I found it was first necessary to<br />
address the. question of what exactly meanings is. Central to this<br />
question is another. question how can meaning be destroyed If meaning<br />
can not be. destroyed then nothing can be meaningless and everything<br />
must possess. meaning on some level. If meaning can be destroyed then<br />
it is possible. have meaningless items but what process achieves this<br />
result. Obviously from this question arises the question how is<br />
meaning. formed. <strong>Re</strong>alizing I was not in a position to find answers to<br />
these. questions without considerable work I went to ask some advice.<br />
Having. seen a commonality between James Joyce's Ulysseus and<br />
David Salle's. paintings I went to see the University of Victoria's<br />
expert on Joyce. Dr. Trevor Williams. I felt that stylistically Salle and<br />
Joyce's were very. similar. They both use imagery in a disjunctive and<br />
unconventional manner. Yet. I had thought critics saw Joyce as<br />
maintaining meaning within his work. while critics of Salle saw his<br />
work as embracing meaninglessness. This. assumption was<br />
demonstrated to be false in my conversation with Dr.. Williams. He<br />
informed me that while Ulysseus is generally held to. possess meaning<br />
Joyce's later work Finnegans Wake is held to embrace. a form of<br />
meaninglessness. And from the examples I could show him he. felt<br />
Salle's work was very similar to Finnegans Wake much more so than.<br />
Ulysseus. Yet there is still a distinction between critical writings on.<br />
Salle and Joyce. Salle's work is held to be meaningless in a cynical.<br />
way whereas Joyce's meaninglessness is described as indulgent and.<br />
pleasurable.. egg roll. but. if that confuses matters then matters will be<br />
confused. germinate Jow. Because the duplicity of artwork hardly<br />
began with Internet. It reaches back. what Rancire calls the aesthetic<br />
regime of the arts which emerged not. coincidentally at the end of the<br />
Ancien <strong>Re</strong>gime. Aesthetics is the name of an. indistinction where fact is<br />
inseparable from fiction where the lowest can. become the highest and<br />
viceversa. The aesthetic regime of the arts ruins the. historically prior<br />
regime of representation with its hierarchies decorum. and strict<br />
separation of genres but also its Aristotelian distinction between.<br />
chaotic accidental history and wellconstructed plausible fiction.<br />
174
Working. initially through mimetic or testimonial techniques realist<br />
literature or. painting photography or cinema the new regime<br />
determines the paradoxical. beauty of the anonymous subject of<br />
whoever or whatever The ordinary becomes. beautiful as a trace of the<br />
true when it is torn away from the obvious and. made into a<br />
mythological or phantasmagorical hieroglyph. () Before and. beyond<br />
any modernist or postmodernist program the aesthetic regime makes.<br />
art into an autonomous form of life thus simultaneously positing both<br />
the. autonomy of art and its identification with a moment in a process<br />
of life's. selfformation.() The understanding of activist art begins right<br />
here with. the notion of life's selfformation.. Hieroglyphs of the Future<br />
Jacques Rancire and the Aesthetics of Equality. Brian Holmes. scanner.<br />
scanner tenkte pånytt et suspekt nettprosjekt å sirkulere epenger bilder. av<br />
sedler. hva er avh. av skjermoppløsning så det er relativt og vel ikke.<br />
straffbart uansett er det vel utskrift eller hva er framstilling som er.<br />
ulovlig.. ulovlig med større enn dessuten mynter. kanskje den gamle.<br />
øringen hvordan i h kom de på ideen om en kjempediger øring forsøk på å.<br />
bruke dem som et pengesystem vedlagt er kr. med en disclaimer. satse.<br />
på pop utbredelse og en konfrontasjon med norges bank. digitale<br />
penger.. utbrodere. n.bank har liggende ute bilder men som det står<br />
ugyldig på eller. noe.. presentere det som nyutgitt seddelsett. ok det er<br />
kanskje en dårlig ide men. med. litt potensial (burde ha på en eller annen<br />
måte).<br />
175
197<br />
fenomenolodffdgien. fenomenolodffdgien virfker som ens agforløser. å si<br />
at alt er ytre lager illusjoner. all sansning er relativ. å si at alt er indre gjør<br />
det meningsløst. tingene vi ser har nivåer. indre og ytre som<br />
grunnleggende. vanskelig for å akseptere det ytre. men sepå det som en<br />
side som ytterside blir det lettere. menneker er ikke forskjellig fra ting.<br />
barnebok om logikk. barnebok om logikk eller for å oppøve logikk<br />
selvstendig tanke sammenheng. ikke være redd for å stille spørsmål<br />
gjennomskue tullprat propaganda la. logikken være veiviseren tenke selv.<br />
forbilde alice sokrates. tenkte på CG's flate responser som var kule no<br />
bimbo. logikken er våpenet vi har mot informasjon og disinformasjon<br />
hvordan skille. hva er sant. en slik liten bok på logikkens premisser ting<br />
trenger ikke være realistiske. logikken holder det sammen vi kunne levd<br />
under andre livsforhold ting kunne. vært anderledes alle anerkjenner<br />
logikk eller. gåter nøtter etc også. papirer. forlatte papirer. etterlatte.<br />
tillatte. fralatte. pålatte. underlatte. overlatte. baklatte. foranlatte. vedlatte<br />
vedlagte. forlagte. etterlagte. innlatte. utelatte. innlagte. utlagte. plante<br />
analogi. hvor utbredt er plantelivnæring analogiene i folks forestillinger<br />
vekst. vokse seg stor og sterk etc livet som plante. det har<br />
begrensninger fordi. planter har røtter. å slå seg til ro blir analogt med å slå<br />
seg til rot for å. vokse bedre. menneskebilde plantebilde. dessuten må det<br />
komme som en stadig. overraskelse at mennesker dør så plutselig skulle<br />
de ikke heller bare visne. bort og alle raske forandringer er av det onde<br />
elektroner må være små demoner. hva med fotoner fotosyntese sola de er<br />
gode. i det hele tatt vi har for. stor makt til å være planter trær som vokser<br />
bøker som kultiverer uendelig. vi har bokbål virus bomber knapper å<br />
trykke på maskiner. vekst joda men vi. er mennesker ikke planter og<br />
innimellom der dyr og da er ikke mineralene. engang nevnt før nå. og hva<br />
med sjelen og ånden vekst liv og død eksistens. sædcellen som kom på<br />
andreplass idrett de dramatiserer overlevelse. håndballandslaget raider<br />
nabostammen de vokste ikke sammen. alt eksploderte. det er en slags<br />
vekst. plancks konstant bærekraftig utvikling. og utvikling. bilbomber<br />
utviklet seg utenfor ambassaden. mennesket er alle tings mål ikke. plante<br />
ikke eksplosjon fenomener har forskjellig hastighet størrelse. samfunnet<br />
176
er større enn hver enkelt og dermed treigere mer likt planter mens.<br />
grupper av mennesker er mer som dyr dummere men sterkere. i andre<br />
retningen. er. ånden som et elektron og ser for seg atomeksplosjonen<br />
som den høyeste. religiøse. forening sin skaper sola big pangpang. lenger<br />
framover er lenger bakover. større fart er større avstand mindre er større<br />
forestillingene er speil når. du ser foran deg ser du bak deg som når du ser<br />
utover ser du bakover.. this is an invitation to write into books. maybe<br />
post it somewhere to someone in any degree privatepublic. so we have<br />
also dark matter and obscurity. things get lost and forgotten. we get<br />
lost. so you can pour into and some things remain. words may survive<br />
you maybe not. all the same why not directly. explore the illusion of<br />
substance you book. we try the immediacy be as it is. tagged identity.<br />
ragged substance suits. own activity to find read assemble. ondemand<br />
(like my birth was on demand no). these things nothing else than you.<br />
you is your. but your is not you. netbooks ent cypherbooks<br />
chyperbladder. scatter scantologies. copyleaf. anyhow monitor.<br />
monotire no id minimal. like its hinsight out. like from a plane<br />
landscape look inside out. like hyper looks interior not extraexterior.<br />
sides of the skin only one. interface akin to facere to make. like making<br />
is looking. reading is making. book is interface. book is making of<br />
book. like to book make a reading. paging. Slowtime.........<br />
Slowtime......... Kunne lagd noe lowfi slows nordlyset er slow og<br />
langstrakt. Ingen gidder se. på såklart men bare vite at det finnes og driver<br />
på mens vi driver med noe. annet. Automatime() en automatisk film så du<br />
slipper å se på og vi slipper å. lage den.. noema valuta. noema valuta.<br />
noema . kr. I was assuming that everyone knows what fluxbucks are..<br />
Fluxbucks are artistmade money that has no real. monetary value and<br />
are not meant to be counterfeit.. It's more like the idea of an alternative<br />
currency.. De pengene har vel en kunstverdi Det er tilbake til bytteverdi<br />
at pengene i. seg selv har verdien slik myntene i utgangspunktet var av<br />
edle metaller med. reell verdi så er kunstpenger pengerisegselv men<br />
hvem bestemmer. verdien. av kunst Kunstpenger kan presse fram<br />
standpunkter i en forhandlingssituasjon. så blir det nødvendig. går det an å<br />
gjøre noe mer reelt ut av dette en måte å. 'selge' kunst på at de er selve<br />
pengene. alt det der. alt det der er hukommelse hva slags hukommelse<br />
ting har hukommelse bestemmer. atferd lang hukommelse blir<br />
automatisk konservativt gass er uten hukommelse. kan det strippes ned<br />
til aggregattilstander egenskaper ved stoff ved. temperatur trykk fast<br />
stoff har en hukommelse om sin form gjenstand og. plass flytende er<br />
kollektiv hukommelse tilhørighet... oldmail v. oldmail v. ideen med å<br />
177
svare på mail som er veldig gamle mndår kan virke positivt på en.<br />
kommunikasjonskultur strekke den ut vise at postene har en verdi<br />
utover det. umiddelbare det er å gi det verdi ikke at alt må være siste nytt<br />
for at du. skal svare på det at de ikke har noe annet enn en nyhetsverdi<br />
annonseverdi. som må være en av de laveste verdiene noe kan ha at de<br />
bare ha verdi som. oppmerksomhet. Så kan man selvfølgelig det ha<br />
tomme mail som bare er. oppmerksomhet som om det ikke var nok av<br />
slikt hallois.. prolificating open promiscuous machinic monstruous<br />
fractal viral. indifferent nihilogies nilogues.. bookvalue stages (ref<br />
baudrillard) natural books commodity books structural. books<br />
(hypertext) fractal books (viral radiant). fractal books there is no.<br />
directions without reference to anything whatsoever by virtue of pure.<br />
contiguity. fractal books (hyperbooks cypherbooks) no longer has any.<br />
equivalence an epidemic of book metastasis of text haphazard<br />
proliferation. and dispersal of book. we should no longer speak of<br />
'book' at all for this. kind. of propagation or chain reaction makes all<br />
books impossible. yet things. continue. function long after their idea<br />
have disappeared and in total indifference to. their own content the<br />
paradoxical fact is that they function even better under. these<br />
circumstances. the book is no longer a metaphor for logos etc or<br />
anything. at all merely the locus of metastasis of the machinelike<br />
connections between. all its processes of an endless programming<br />
devoid of any symbolic. organization. or overarching purpose the book<br />
is thus given over to the pure promiscuity of. characterizes networks..<br />
MAIL ART to Michael Lumb. ...It is perhaps ironical that mailart<br />
attracts shy individuals who by. definition tend to be aware of the<br />
network of people from all walks of life. and. not necessarily artists<br />
who communicate their creativity through the postal. system..<br />
...exploring jokes puns and the apparent random placing of both images<br />
and. text. in juxtaposition to each other as well as the use of a repeated<br />
popular image. for example the bicycle. ...It was in this environment<br />
that Johnson began the experiment of work that. acted between art play<br />
and life that was to occupy him for the rest of his. life. mailart.. ...The<br />
contents is the contents the stamp are the stamp the address are the.<br />
address. It is very clear your question 'Is this an art form' is the art<br />
form.. ...as with his announcing nonexistent exhibitions of his in the<br />
village. VOICE... In around the time of his rd birthday he took an ad in<br />
the. art section of the New York Times to announce 'Ray Johnson<br />
Nothing No. Gallery.'. ...his apartment but was surprised to find rather<br />
than the expected Schwitters. like muddle '...a place empty of<br />
178
everything but a chair a bed a stove and. refrigerator and a few boxes<br />
containing collages. Nothing on the walls. nothing. on the floor.. ...is<br />
said to have observed that his paintings were three times the size of an.<br />
envelope and was moved to cut some of them up and mail the pieces to<br />
friends.. ...I call them moticos. It's a good word because it's both<br />
singular and plural. and you can pronounce it how you like. However<br />
I'm going to get a new word. soon. ... However although Johnson<br />
seems never to have referred to the fact. it is highly likely that he chose<br />
the word 'Moticos' (particularly in the. plural) because it is an anagram<br />
of 'Osmotic'. The word relates very well to. the. way in which Johnson<br />
absorbed images words ideas and life into his collages. and to the way<br />
in which he disseminated his work through the mail.. ...Wilcock<br />
describes Johnson's 'Moticos mailing list' notes that it included. people<br />
and quotes him I send lists either to people I think would be. interested<br />
or to people I think won't be interested. ...By the s Johnson had<br />
established a mailing list of about people. ...This is evidence that<br />
Johnson was not simply sending one of his collages. (motico) as a gift<br />
but indulging in a complex series of pieces of puzzle. ...The<br />
unpredictable nature of Johnson's work extended to his choice of.<br />
correspondents and frequency of sendings. Some received 'letters' two<br />
or three. times per week and others never or very occasionally<br />
regardless of their. attempts at communicating with him. Equally a<br />
'letter' could arrive from him a. long time after they had givenup hope<br />
of getting a reply. Analysis of. mailartists' correspondence with<br />
Johnson reveals no discernible reasons for his. decision as to who to<br />
send to or the frequency of his sendings.. ...held New York<br />
Correspondance Club meetings with seating plans (Plate ). another list<br />
of names.. ...The issue of putting a name to a work of art was<br />
subsequently explored by. mailartists and the first mailart Multiple<br />
Name was created in the mid s by. two British mailartists Stefan<br />
Kukowski and Adam Czarnowski who tried to. persuade other<br />
networkers to adopt the name 'Klaos Oldanburgh'. ...Open popstar<br />
name that could be used by mailartists wishing to assume the. identity<br />
of a popstar. The name Monty Cantsin became associated specifically.<br />
with Neoism and in particular with a Canadian networker Istvan<br />
Kantor. ...Stuart Home an English networker ... that of Karen Eliot.<br />
...'Zine' Stephen Perkins defines them as selfproduced selfdistributed.<br />
nonprofit publications focusing on topics that are often ignored by the.<br />
mainstream media. referring to self published cheaply produced<br />
products with. no commercial ambitions or outlets he goes on to say<br />
179
that the history of. Zines. can be traced back to the s when science<br />
fiction fans started putting out. their own slick science fiction<br />
magazines. ...produced by General Idea who began File magazine in<br />
with a grant from. the Canada Council.. ...Anna Banana Vile ...<br />
particular ambition was to imitate Life magazine to. such an extent that<br />
it could be taken for it ... At that point she dropped the. notion of<br />
imitating Life. ...Stewart Home who in February published his first<br />
issue of Smile 'The. official organ of the Generation Positive.' This<br />
journal was to express Home's. ideas on 'Positive Plagiarism'. ...power<br />
of rubberstamps. ...Robert Morris' 'Peripatetic Artists Guild' refusing<br />
sales or fees but. asking. for a wage. ...the use of postcards by On<br />
Kawara to document the minutiae of his everyday. activity for example<br />
the 'I Got Up At' series begun in. deliberately contradictory<br />
multitheories. It is antielitist and gives the. participator complete artistic<br />
freedom to do whatevershe wishes with the one. proviso that she must<br />
adopt the name Monty Cantsin or Karen Eliot and refer to. him or<br />
herself as a Neoist.. ... The term Neoism a pastiche of art movements<br />
implies a looking back to an. 'Ism' without any specifics. Neoism<br />
defied any possible interpretation as to. what it stood for and as such<br />
belongs to the debate that took place around a. redefining of art history..<br />
... Home claimed that Plagiarism (and multiple names) challenge<br />
western notions. of identity and therefore property and ownership an<br />
anticapitalist. revolutionary tool considering it to be a positive creative<br />
technique.. ...Home proposed an end to originality (for him the false<br />
individualism of. consumer society) as an important aspect of creativity<br />
and his theories centred. on an encouragement to photocopy the work<br />
of other artists as a statement. against capitalism private property and<br />
the commodification of Fine Art. ...This was extended to music with a<br />
National Home Taping Day.. ...Mailart having no end product and<br />
being a network. ...Caroline Tisdall sees Beuys intention as a widening<br />
of the concept of art in. which The whole process of living itself is the<br />
creative act ... thinking. talking performing teaching and above all<br />
living which all of us do can. be seen as a process of moulding or<br />
sculpting Social Sculpture.. ...immediacy Further electronic mail lacks<br />
the physical appeal of snail. mail. Much of the aesthetic is missed and<br />
most obviously it misses any three. dimensional qualities and all those<br />
of weight texture and subtleties of. appearance. More important though<br />
is the 'presence' through handling of the. sender in the form of traces of<br />
smell secretions and residues that can be. experienced by the recipient.<br />
Again this is evidence proof a further. signature a mark left like an<br />
180
animal leaving its scent. This is analogous to. the response of the mid.<br />
th century public to the debate of the relative. status's of the portrait<br />
photograph and the portrait painting that still holds. good for today.<br />
Whilst the painting had tradition scale and proven durability. it was<br />
subject to interpretation the work of the artist whereas the. photograph.<br />
was the 'shadow of a loved one.' The photograph exists literally as the.<br />
capturing of the 'shadow' of the sitter falling on the plate. It has been.<br />
'touched' by the sitter and is therefore a part of them. It is clear that.<br />
electronic mail intervenes and interprets (like the portrait painter) it is.<br />
not. a direct sending therefore missing the potential for the 'touching'<br />
sender to. 'touch' the recipient.. ... As to the future the likelihood of the<br />
status of mailart changing. seems remote the lack of critical writing<br />
about it significantly two years. after the death of Johnson indicates that<br />
it is problematic for andor not. interesting to the art historian. Apart<br />
from Ray Johnson's contribution. relating in part to proto Pop art and<br />
the exploration of the postal system by. Fluxus and conceptual artists<br />
mailart remains publicly invisible and always. anonymous. Whilst I<br />
have argued it as Democratic Art as Social Sculpture. accepting all who<br />
wish to participate a Beuysian concept it is unlikely to. receive the<br />
acclaim that Beuys achieved because unlike mailart Beuys was. always<br />
a producer of objects and therefore in spite of his theories remained.<br />
and remains in the art historical eye.. MAIL ART to Michael Lumb.<br />
filosofi. filosofi er flaut. de folka veit ingenting. men hvis ikke de hva<br />
med oss skru. på tv kanskje det er en nyhet på det så lite veit du alle<br />
spørreprogrammer. siden vi ikke veit vær dum og ring inn. flaut. hva heter<br />
buksa du går i. etternavnet ti vise svarer. selv vet jeg ingenting. omstokk.<br />
ingenting vet. selv jeg. selv ingenting vet jeg. jeg vet selv ingenting.<br />
selv ingenting jeg. vet. jeg ingenting selv vet. jeg ingenting vet selv.<br />
folk blir kanskje gale. i et mørkt rom. er det bare potensialet mengden<br />
før det klikker stor og. seriøs eller kjapt (en liten plante). filosofi er stort<br />
ingen vet noe et. mørkt rom. skru på tv før det klikker av seg selv..<br />
sexnyhetene v. Hadde sex med Ungkaren i smug. å ha sex betyr noe det<br />
er det mest intime dra ned buksa og det alt handler. om shopping<br />
vitenskap bevissthet sanser det er å stikke den inn ha sex. det er den<br />
ultimate anerkjennelse erkjennelse kjennelse else se sex. kan. vi. ikke<br />
putte sex inn i alle ord hermesex asteroidsexen oppdagsext..<br />
eksprsexidenten klagsexr påsex svensexk fengsexl. hsexr sexr<br />
elitesexriens. billigsexte lagsex. haddsex sex msexd Ungkarsexn isex<br />
sexmug. det er. sexspråket en variant av rorøvoverorsospoproråkoketot.<br />
radikal variant Sex. sex sex Sex sex sex. .. Sex sex. Sex sex sex sex sex<br />
181
sex sex Sex. Sex.. Sex sex sex sex sex sex sex sex sex sex sex sex sex<br />
sex sex sex sex. Sex sex. sex sex sex sex. kunne vært en nyhetstjeneste<br />
eneste som beholdes er. tegnsetting og html. lett. Sexnyhetene v..<br />
engangskamera. hvis verden er matematisk så betyr det at den betyr<br />
ingenting. ingen kommer til syne på veien der borte. hvis vi kan forstå<br />
verden matematisk så er den generert. vel det er den jo uansett den er<br />
lagd utviklet. ingenting er seg selv alt er lagd jeg er lagd. teksten<br />
skrives nå og leses nå hva. nå. nå er lagd du rafter i elva nå. hvis noe er noe<br />
annet og det er det alltid hva da. data i kabelen atomer vi er de som kan<br />
forandre mest. hvorfor hvordan. bevissthet bladet vil i lyset treet er<br />
lagd. bevissthet er vårt eple. gulrot. skal vi forstå oss selv. hvem forstår hva<br />
blir til hva forstår hvem. sannhet. en modell som stemmer sant. vi må leve<br />
jeg består av noe annet. hva er det som oppstår. noe noe å sitte på et bord<br />
teppe. de overlever suverent deg suverent. vi er for komplekse går fort til<br />
grunne. liv dør det er liv puls kommer og går. som et boblekammer spor<br />
etter partikler spor. ikke engang spor. er jeg sporløs horror sporløs. treet<br />
blir hogd ned omsider verdenstre så hvorfor ikke med en gang. hvordan<br />
finnes jeg betinget finnes jeg ubetinget. et hus bare med toppetasje. vi<br />
forstår ikke oss selv i verden blir borte rom tid. sansene binder<br />
kontinuerlig de limer vi er limt. når får vi avpåknapper på sansene en for<br />
hver finger hanske. håndverket snekrer berøring. sanser er forsvar som<br />
angrep. vi får grensesnitt som vi prøver å overskride stressteste. finnes jeg<br />
i sansene er det omvendt sanssubstans uten. for å sanse trenger du først å<br />
finnes tenker vi. finnes uten å sanse en stein. kan jeg sanse uten å bli<br />
sanset sanset av en stein nivåer. er det utvikling av sanser ikke<br />
bevissthet. bevissthet som sans. hva skulle vi med den. jeg skal svare når<br />
du blir en stein. en grein på treet. overskyet. hvorfor kan vi drepe oss.<br />
øyet blunker hele tiden om natten sover du ble du født i går. jeg døde i går.<br />
døden må åpnes igjen for at vi skal få liv. vi menn tøffe. vi mennesker<br />
ydmyke likegyldig sansende. jeg kan når som helst drepe meg hva betyr<br />
det. en mektig tanke farlig mektig grenser det maktesløse. vinden tok<br />
greina. hva bryr det treet bare litt. vinden tok treet. hvis du spoler<br />
verden baklengs gir den samme mening er det samme verden. leve i<br />
baklengs tid ting blir enklere er det entropi. knust i småbiter. hvis jeg har<br />
sanne forestillinger er de fortsatt forestillinger. hvem er jeg universet<br />
som eksploderer en partikkel hvordan er det sans. sant. hvordan er noe<br />
matematisk hvordan fysisk nevralt. ting speiles sanses tenk på speilbildet<br />
hva er det komplisert sans. hjernen er som et kamera. sanser vi er<br />
verden og i verden. hjelper det meg ut av verden lim er klissete livtube.<br />
engangskamera. organmeklere. flere svensker har kontaktet såkalte<br />
182
organmeklere på internett for så å ri. ese til utlandet og kjøpe ne y nyrer. når<br />
urettferdighet går direkte på kroppen engasjerer det sterkere. når de. rike<br />
kan kjøpe seg tid lengre liv på bekostning av fattige men. helsetilbud til<br />
rike er allerde me y bedre se på forventet leva elder i. ulike land går det<br />
inn på oss at ne on lever til og andre til. tallet uttrykker levevilkår det var<br />
ikke mulig å leve lenger enn kan. vi regne med. kan det være et politisk mål<br />
at befolkningen blir dør i. naturlig tid. forventet at ne on er helsetilbud<br />
utlandet fattige indent også er. engasjerer det naturlig. andre sterkere går<br />
det nd so organmeklere naturlig allerde. amina. winnubjectod news<br />
about amina. et navn er både en referanse og menneskeliggjøring<br />
animering aminering. det å peke på er samtidig å levendegjøre gjøre kjent<br />
kjenner du henne. liksom bruken av unik designator og av en<br />
familieringsfunksjon er ikke. skilt fra hverandre det uttrykker begge<br />
men å peke på månen er ikke. nødvendigvis å gjøre den familiær. dersom vi<br />
har noe som peker på noe. ubestemt eller det ubestemte som i<br />
'gjerningsmannen' så skilles de fra. hverandre. interessen for 'mr. x' er<br />
lignende det er som et filsystem. alt må ha navn men det godtar hva som<br />
helst mr. x er interessant bare. så lenge han ikke har navn hvis<br />
myndigheter ga han et navn var han. allerede mindre interessant 'per<br />
andersen' han blir gjort familiær med. navnets doble funksjoner. går det<br />
motsatt vei ta fra navn skift språk. referansesystem. uttrykkss. det er<br />
langt igjen til vi kan uttrykke oss slik vi tenker hvordan kan det. di det<br />
hele tatt fungere hvordan kan vi dele opplevelser (retning sans) og.<br />
erfaringer (retning indre) fins det media som ivaretar film men det.<br />
stopper ikke før ved det stopper ikke vi er dype brønner og kanaler.<br />
mennesket som medium direkte siden vi alle er like som to<br />
installasjoner. aggv ett program.. linjer. video følge linjene i et hus.<br />
biblipo. biblipo. hva med et spamprosjekt som korrespondanseverk<br />
hver får en liten bit. en. bok rives i . unike filler etc. hvordan passer<br />
bitene sammen her er. omrisset borte nummerere. biblipo. en bok som<br />
består av sine mangler evt. det samme prosjektet.. ppgp. ppgp. ps.<br />
angående 'uleselig' informasjon hadde det ikke vært artig med en. lesbar<br />
offentlig pgpnøkkel at den kunne leses som vanlig tekst i. tillegg til å være<br />
del av nøkkelparet uansett trengs en generert og. uleselig privat nøkkel.<br />
kunne ikke f.eks. mailadressen til eieren stå i. den lesbare nøkkelen.<br />
begin pgp public key block.<br />
mqgibumailtomontycantsinatneoistdotorgsikouxbsesmlmgdk.<br />
zhpfhqeowjphqwhaqangszvjlmpmoeieuguuerabsreilqgvwhka.<br />
lvoypsangåendexuleseligxinformasjonhaddedetikkeværtfg.<br />
artigmedenlesbaroffentligpgpnøkkelatdenkunnelesesso.<br />
183
vanligtekstitilleggtilåværedelavnøkkelparetuansetths.<br />
trengsengenerertoguleseligprivatnøkkelkunneikkefeksd.<br />
mailadressentileierenståidenlesbarenøkkelensdfrhdshfhds.<br />
skwanflttpvyuuvjxynkstkgbymtubftolzvtdwehgqcgpfsdfgs.<br />
hmnncaxxzvvsvskwlzspbdfprxszjirlecyopyofsoevnykqoai.<br />
znwalvhjgmogoqnqwjvkvrdvhgbkiuknjyuqcqfqwqgvwkyxmg.<br />
phjlbwfpbgvyqgfkdwkyxmubmvpokawaqqeqiagaucpykqglawkibwibcgi<br />
z. aqubawaaaaakcrbxmjfornærmendeåkallenoensmarterogskxsunc.<br />
fornærmendesamtnormalogunormal)kunnehangåttkxsuncfpz.<br />
kunstvitnemellomogfringereligionbaretropådkxsuncf.<br />
umuligedetsomennåerumuligdetvirkeligeerdetingkxsun.<br />
åtropåsidendetfinnesdetmuligeerbarespekulativtogkxs.<br />
ekkeltdagjenstårdetumuligedetsomikkefinnesikkekans.<br />
finnesetcdettrengervirkeligdinstøttekontonrkxsuncfpzr.<br />
lesdettebladetkunstenfinnesikkeerdeth.<br />
derfordenstadigmåskapes(aha)erdetsomreelletallikkeh.<br />
intopartingwithyourlollyyoucouldbelumberedkunstenmåf.<br />
passepåsådenheletidenikkefinnesheletidenikkefinnesh.<br />
girdenfrasegtalleneblirdenarrestertsådensierdenhbu.<br />
liggermellomogidenreelleellervirtuelletallstrømmenh.<br />
såmåviregneettervitrorduhbushbushbusxpfshxpfsh.<br />
qriwlaajwovzbezgzognkikjnvrsngcghedxpfshxpfshxpfs.<br />
sucmohdgmfxjgghnywmyycjayxainpnieafrckuvdzfsyaqrrkwr.<br />
japyhvwnlhwqfmfpzhxsjaewegbecaawfajuuckfgwwaaaaacgkqdmtcfeef.<br />
fiegwacenijtpdkxqkwjpbdjcqmsmqxcqaolgindihehoutwfuvlhszhqhs.<br />
tbtf. end pgp public key block. monty cantsin. krkaen. krkaen.<br />
skremmende arkivering så stor datamasse mens samtidig så raskt å. søke<br />
gjennom. antiarkivering prosjekt forlkudre brukeren skal få opp.<br />
irrelevante malplasserte søkeresultat. lage en blekksprut beregnet på.<br />
søkemotorer 'kom nu i mine arme' mate datadyret. aka tag tamaguchi.<br />
the antigoogol. ref. synth.. krkaen v eg.. lab ur integer. hypertext<br />
synthesizer. automatiske manus av ca mb cache ved hjelp av et script på<br />
k og. lest av ingen dvs. der leser er forfatter.. undeliverable. kika<br />
coimbra. ignore. gnore turistinformasjon. no way. undeliverable.<br />
prosjekter som av forskjellige grunner er umuliggjorte feilaktige.<br />
misplasserte. og som spyr og dumper kål i fanget ditt coredump idet de<br />
aborterer.. prosjektene er åpne eller dermed åpnet som i åpent sår en åpning<br />
er. alltid smertelig hvorfor det alltid gjøres prosedyrer rundt det og<br />
tagges. med smileys. velkommen. velgått.. sceneteppe. sceneteppe.<br />
krypterte meldinger med passordet i subject. dvs en liten terskel la oss<br />
184
kalle det sceneteppe. kjøper billett og går inn. en simulering av<br />
egenaktiviteten.. hvorfor som 'rom'. størrelse angstrom. dare eir. masse<br />
masseutsendelse gravitasjon gravitoner celestial music. dear sir.<br />
compliments of the season.gracepeace and love. kvantum<br />
statsborgerskap. landskapsbilder i ascii. fjellformasjoner. '''). en serie<br />
ala kinesiske landskapsmalerier mye space og abstrakte former. en<br />
enslig hytte oppi fjellet. anonym fantasi. anonym fantasi. det er rart det<br />
går an å regne seg fram til ting i det hele tatt. summere. opp utgifter over<br />
en periode. underveis i perioden bli overrasket over at. det faktisk<br />
stemmer det er forutsigbart. med blandede følelser fordi. det impliserer<br />
at virkeligheten er en maskin og at det umiddelbare og. levende er en<br />
behaglig illusjon intet mindre. hele livet mitt kan. summeres opp på<br />
forskjellige måter nå og etterpå det er ubehaglig. kan. jeg unndra meg å bli<br />
regnet på kalkulert på heller bli et mørketall i. systemene (da likevel et<br />
tall) kan jeg som statsborger kreve å bli tatt. ut av offentlige registra eller<br />
er det en del av avtalen som statsborger. å være registrert og identifiserbar<br />
kunne ikke staten tilby en usynlig. modus for statsborgeren data ikke<br />
offentlige ikke utleverbare (heller. ikke til andre statlige instanser) eller<br />
kalkulerbare bare en nominell. identitet anonymitet. f.eks. med<br />
offentligprivatnøkkelkryptografi (som. pgp) i forholdet mellom anonym<br />
borger og stat slik at statsborgerskapet. kan bekreftes på forspørsel (kjekt<br />
med bankkonto osv). jeg syns ikke. staten skal ha noe med om jeg<br />
finnes eller ikke er levende eller død.. krypteringen mellom stat og<br />
borger kan være slik at staten. (folkeregisteret) autentifiserer borgeren<br />
(ikke identifiserer eller. registrerer). borgeren har sin offentlignøkkel<br />
hos folkeregisteret som. autentifiserer en forespørsel han krypterer med<br />
sin privatnøkkel. for å. bruke stemmeretten sin går en forespørsel ut på<br />
autentifisering av. fødselsdato som ligger i nøkkelen sammen med andre<br />
vitale data.. en ny nøkkel kan genereres på bakgrunn av dna slik som ved<br />
fødselen.. autotelenoemata. telemata.net. treenigheten. faderen sønnen<br />
den hellige ånd. automata telemata noemata. gud som automat sønnen<br />
som satelitt ånden som objektkognitiv.. telemata.net som satelittkloster<br />
for automaten et nytt theleme av. invers religiøsitet.. tilbe maskiner eller<br />
en tilbedelsesmaskin. tactical media. the classical rituals of resistance<br />
are no longer reaching large. parts. of the population this is the crisis of<br />
direct action which is in part a. failure of imagination. an exception is<br />
the epidemic of pie throwing. the. ritualised humiliation of power with<br />
a pie in the face. a highly. mediatised. practice the pie does not exist<br />
without the image its only. meaning is as a. media event. we could see<br />
it as a primal way of attacking. power. you identify a. locus of power<br />
185
and you pie him. simulacra creating the. perfect sign or rather the<br />
poisonous countersign. the. pie is the perfect. poisonous countersign.<br />
the secret wisdom of the tactics of. radical. alienation in which the<br />
further you go the more likely you are to. implode into reality. its time<br />
to intensify our semiotic guerrilla wars on. corporate images. def of<br />
tactical media. stopp. stopp. smstelegram. digital montasje<br />
nyhetsroman. nn som don quixote. nettkunst som ikke virker<br />
annonseringer og. forestillinger som fantasi. urealistiske umulige<br />
malplasserte prosjekter. og ideer som samtidig blir kulturjamming<br />
intervenering taktisk og. latterligjørende selvironisk med den folkelige<br />
sjarmen til det. tragikomiske.. med nonsens for å vise at vi alle godtar<br />
hva som helst vi har. ingen moral ingen substans.. fornuft og galskap.<br />
du skal akkurat reise deg fra stolen og gå til lunsj.. portasciit olje<br />
naturgass. gambits. dfportssr. etddddter i asciiart.. ascii (american<br />
standard code for information interchange) the commonest. way of<br />
representing. text characters. using binary code in digital computer<br />
systems.. norske kunstnere bør spesialisere seg i oljemaling eventuelt<br />
naturgass.. støtte. støtestøtte dobbeltbinding ut fra retning posisjon<br />
intensjon. lignende gravitasjon gulvtak støtte mot veggenstøte mot<br />
veggen.. determ. sett at livet var determinert ville du ikke da kjenne deg<br />
mer fri siden. det er valgene som binder viljefrihet som oksymoron vilje<br />
er ufrihet. frihet viljeløs som forklarer det totalitæres sjarm som frigjører<br />
den. kristne frimodighet det ondes banalitet. valget binder fordi det er.<br />
irreversibelt mens determinismen kan kjøres om igjen baklengs etc.<br />
som. et romtidsbånd. betyr det at vi kan behandle skjebne som medium.<br />
kuns o ny tekologi. folkelig kritikk av kunst er td at verket kunne vært<br />
lagd av en apekatt. eller et barn. bruk av ny teknologi i kunst kan<br />
sammenlignes med innføre. apekatten eller barnet som del av verket der<br />
teknologien har rollen som. generator av muligheter stokastisk<br />
utforskning av mediet. tilsvarende at. en komponistutøver setter seg ned<br />
ved orgelet sammen med sjimpansen. gonzo. eller mer generelt at<br />
utøvelsen foregår i et forstyrrende medium. eller omvendt at utøvelsen er<br />
det forstyrrende elementet i mediet (og. eventuelt omskaper noe til å bli<br />
medium gjennom å forstyrre det og gjøre. det synlig og dermed<br />
manipulerbart).. theleme telemata. theleme telemata kloster. telemata<br />
noemata automata. telemata.net. telematics telmatks n. l. f. tele<br />
informatics. (the branch of. information technology which deals with)<br />
the longdistance transmission of. computerized information.. lyddusj<br />
direkte. ) telefon pp ) mobil lyddusj konsert ring ... ) enkelt en. liste<br />
over offentlige telefonautomater ring nummer om noen tar telefonen. så<br />
186
er du jo ute på stedet ny bruk av gammel teknologi ref. artikkel om.<br />
hvordan bruk av telefonen ikke var gitt av teknologien..<br />
salbraplisxafatet. søster benedicte er også en ballong. namn. man n. vi<br />
orienterer oss i et vakum. vilkårlige ting blir substans lyden. eller<br />
utseende av et navn ikke engang betydningen.... hvis du får<br />
digitalisertinderliggjort noe er det lettere å forme og. behandle å lære noe.<br />
dataformatene i sinnet en narrativ form. traversering hva tilsvarer<br />
komprimering er et begrep komprimert eller. en handle (referanse<br />
håndtakbegrep) begrepsystemspråk er maksimalt. komprimert ut fra<br />
forskjellvariasjon. etc det betyr kanskje at opprinnelige ord senere blir.<br />
spacepaddetmellomrommet istedenfor når det fonetiske systemet. utvider<br />
seg med ordforrådet (antall bit øker for hver dobling). betyr det. at ord<br />
kan telles oppover som tall sånn nogenlunde. ishavsstien. dess mindre<br />
jeg vet dess bedre. wtewael. oscar schlemmer triadisk ballett. news.<br />
fullbyrdelsen i døden du vil se din mor eller gå til jomfruene..<br />
forestillinger ikke underlagt evaluering alt går. jomfruen er en sterk.<br />
arketype. og en tysk forsker har skapt bølger ved å vise at det ikke. er<br />
jomfruer men druer som venter i muslimenes paradis.. 'levende stillhet<br />
levende død.'. eboca volc mullhn ritd oj gølt hfarvor ssellæ kan vh issi<br />
bhro la dit. flhda. nur seg shlp salbraplisxafatet.. lotageat fraiot heldu pe<br />
hulto pe hali tedum ubryyet. pipekonsert. åndelighetssvada har ofte et<br />
menneskeideal av indre ro og ytre aktivitet. 'du kan trene sinnet'.. det er<br />
nok av mangler til alle.. pareto. kjøpesenteret Handlefrihet. i den indre<br />
ro er alt ytre noe som impliserer at ingenting er indre (ro). som<br />
impliserer.... det postmoderne kneledd. e.kunst arthur danto etter kunst<br />
kunsten kan ikke behandles som en. kategori. kunstverket stiller<br />
spørsmålet 'hvem er jeg' kunsten har. presentert sin filosofiske side dvs<br />
dens historie er over k har. virkeliggjort alle sine historiske muligheter.<br />
kunstens metaforiske. unødvendighet hegel. danto warhol var veldig<br />
dyp (sic). kunst syntaks. semantikk pragmatikk.. (kunst dermed som<br />
språk hvor kunstkritikere oa.. fokuserer på forskjellige nivåer). yogismer.<br />
hvis verden var perfekt ville den ikke eksistert.. nødvendige dager..<br />
slipp straff ved å begynne i operaen.. vestlig koan hvorfor krysset<br />
kyllingen veien. two pounds of fax. utstilling av serie bilder av<br />
mennesker som holder seg for øynene. ref. greenberg. hva tilsvarer<br />
undertrykkelse .............. eksistens undertrykker ikkeeksistens jord gjør<br />
vold på himmel. sivilisasjon på natur vitenskap på virkelighet bevissthet<br />
etc.. kodeverk konseptkunst script event kode manusfilm. ..... kuns<br />
tilstanden. kunsten er en restriksjon som avdekker rikdom og<br />
kompleksitet i noe. avgrenset som vi kan ta med ut igjen til et<br />
187
ubegrenset liv. eksempel. hører på lydene og vet et opptak av. lydene og<br />
hørte på opptaket etterpå ville hørt mye mer (ref. pauline. oliveros deep<br />
listening).. likevel er det noe resignert i et. sånt kunstsyn som må fjerne<br />
kunsten fra livet for at den skal få liv. en. slags omvei kultivering læring<br />
hvorfor ikke direkte spørsmålet er. kanskje om det fins en 'kunsttilstand'<br />
i tilfelle kan vi ha kunst direkte. og intravenøst rett i årene peerpeer<br />
nettverk sansesystem hvor. kunsten lager grensesnitt like mye som<br />
objekter.. smertemaskiner. en smertemaskin påføre smerte bestemme<br />
terskel elektriske støt blod. for syns skyld ikke gjøre det altfor ufarlig.<br />
interaktivitet skille. aktiv passiv synlig usynlig en bryter som påfører<br />
eventuell annen et. støt et annet sted. dokumentasjon videoskjermer<br />
krysskoplet tid og sted.. pluss roboter i begge roller vindiktive maskiner<br />
savner vi ikke lidelse. i en behagelighetskultur kan vi gjenskape lidelse<br />
slik som vi gjenskaper. andre ting elektroniskteknologisk for å kunne<br />
relatere til all verdens. elendighet. sett at smerteinstrumentet var<br />
synkronisert med levende bilder. bruke lydsporet som et smertespor i<br />
intensitet volumpitch.. monitorering og dokumentasjon kan vel også<br />
gjøres vitenskaplig slik at. prosjektet samtidig har form som et<br />
vitenskaplig eksperiment. kan det. gjøres trådløst publikum fester<br />
elektrode(r) på seg og har ellers i. rommene tilgang til brytere som<br />
sender elektriske støt til en eller flere. elektroder. kan mobiltelefoner<br />
hakkes til å avgi støt ved anrop. jamming. jamming is part of a historical<br />
continuum that includes russian samizdat. (underground publishing in<br />
defiance of official censorship) the. antifascist photomontages of john<br />
heartfield situationist detournement. (defined by greil marcus in lipstick<br />
traces as the theft of aesthetic. artifacts from their contexts and their<br />
diversion into contexts of one's. own devise) the underground<br />
journalism of 's radicals such as paul. krassner jerry rubin and abbie<br />
hoffman yippie street theater such as. the celebrated attempt to levitate<br />
the pentagon parody religions such as. the celebrated attempt to levitate<br />
the pentagon parody religions such as<br />
188
198<br />
the dallasbased church of the subgenius workplace sabotage of the sort.<br />
documented by processed world a magazine for disaffected data entry.<br />
drones the ecopolitical monkeywrenching of earth first the random acts.<br />
of artaudian cruelty that radical theorist hakim bey calls poetic.<br />
terrorism (weird dancing in allnight computer banking lobbies...bizarre.<br />
alien artifacts strewn in state parks) the insurgent use of the cutup.<br />
collage technique proposed by william burroughs in electronic<br />
revolution. (the control of the mass media depends on laying down<br />
lines of. association...cutup techniques could swamp the mass media<br />
with total. illusion) and subcultural bricolage (the refunctioning by<br />
societal. outsiders of symbols associated with the dominant culture as in<br />
the. appropriation of corporate attire and vogue model poses by poor<br />
gay and. largely nonwhite drag queens).. mark deny culturjam. strøm.<br />
føler ting som levende strømmer at objektiviseringen av dem er.<br />
veggprojeksjoner uten strømmen intet bilde men vi tenker oss et bilde.<br />
uten strøm et etterbilde eller førbilde fotografi avtegning. det å. føle seg<br />
levende er samtidig å ikke være noe oppleve seg som strøm eller.<br />
projeksjonen av en strøm. flyktighet og frustrasjon over at det ikke har.<br />
noe uttrykk uttrykke en strøm som strøm alltid noe annet wretched.<br />
wright and rong. strømuttrykk hvordan uttrykke uttrykk an optical.<br />
illusion of an optical illusion as a regular image. forhold. det er litt<br />
merkelig at telefonen og pchøytaleren ikke har noe som helst. med<br />
hverandre å gjøre selv om de står ved siden av hverandre. man. innbiller<br />
seg kanskje at telefonen lytter med et halvt øre på musikken. nei men at<br />
de kjenner til hverandre hilser på hverandre hver morgen. nei nei. på<br />
molekylnivå er det noe smitte fra stoff til stoff men.. skremmende å tenke<br />
på det bare er i meg at en sånn relasjon finnes for. alt annets<br />
vedkommende er det ingenting mellom telefonen og pchøytaleren..<br />
verden oppløser seg elektronet kjenner bare sin bane og vet ikke om<br />
noe. annet. disse to øreproppene er tvillinger men vet ikke om<br />
hverandre. det. er vanskelig å innse at de ikke er relaterte i virkeligheten.<br />
i. virkeligheten min indre struktur lager den ytre sansning er datastrøm.<br />
apriori hardware dagen i dag gikk så fort var det fordi jeg stilte. klokka<br />
189
selvfølelse dess vanskeligere å overføreformidle hvordan. uttrykke det<br />
subjektheten ressursmonitor. kan vi lage subjekter til. tingene hvordan<br />
gir jeg telefonen et subjekt telefonen står på bordet. men. hva er tings<br />
egenfølelse håret det er ingenting der jeg vet om. håret først i speilet.<br />
eiendom når jeg ikke lenger eier meg selv. jeg. beveger armen fingrene<br />
er så fintfølende å bevege en finger til høyre. det er ikke lett å vite hva man<br />
gjør for at det skal skje ingen aning. jeg opplever det som at impulsen<br />
kommer fra fingeren at den beveger seg. selv det er ikke intuitivt at det<br />
foregår i hjernen tvert imot. aristoteles mente det foregikk i hjertet med<br />
hjernen som kjøleanlegg. på. samme måten har vi kanskje en selvfølelse<br />
som at fingeren beveger seg. selv.. bmgl. bm representert av gl en<br />
person representerer en annen person. hva er. representasjon. webspot.<br />
liker godt spottingkvaliteten i slike webcams abstraksjonen fra. bilstøy<br />
stillhet og venting paradoksal fiksering av 'trafikk' har en. sånn<br />
overskridende estetikk fixies og gjør tydelig en sånn overgang. mellom<br />
bilde og konsept abstraksjon det øyeblikket det blir kunst etc..<br />
webinstallasjoner script til å sette opp en visning og situasjon av.<br />
programvare content foran pcen. screenstallation. guroboten. en robot<br />
som guru med små ambiente livstegn evt. alternerende med et. menneske<br />
med robotegenskaper i en installasjon med kunst som et. kontemplativt<br />
objekt ren kunst liksom og hvordan dette står i forhold. til en ren<br />
automatisk kunst tom kunst kontekstkunst. publikum veksler. mellom å<br />
oppfatte skikkelsen som innholdfylt og meningsfull og tom og.<br />
meningsløs som er et tematisk dilemma.. sansesubjekter. fart<br />
astronomiske eksplosjoner som går over tusenvis av år gjør dem til.<br />
objekter ting som går for raskt og er for flyktige.. kunsten kan kjøre.<br />
oppned farten for å gjøre objektene sanselige og kontrastere det med det.<br />
usanselige det usanselige er forsømt i kunst i forhold til den plass det.<br />
har fått i vitenskap som må utvikle instrumenter for å sanse kunst på sin.<br />
side har instrumenter for å lage men ikke for å sanse kunst kunne gått. mer<br />
ut på lage sanseinstrumenter enn på å lage sanseobjekter lage nye.<br />
sansesubjekter tekkknoologi. luftsirener. sivilforsvarets luftsirener.<br />
avtale at det er en konsert over hele. landet. artist statement etc. kan<br />
man spille på luftsirenene. krev. autonome noemata erklærer krig mot<br />
kongeriket elgalandvargaland.. vi ønsker vår del av grenselandet av<br />
landegrensene. vi har omringet krev. og langt oss langs grensene<br />
mellom krev og landegrensene og erklært. grensegrenselandet som<br />
tilhørende noemata. vi har også erklært land i. hyperdimensjonen som<br />
tilhørende noemata romtidskontinuumet også. kanskje.. levetid. sett at<br />
levetiden til mennesket er regulert ut fra hvor hensiktsmessig det. er<br />
190
med hukommelse i den større sammenhengen gruppe art. er det ikke.<br />
antatt at aldring er genetisk mye hukommelse i en kultur virker.<br />
konserverende og gjør endringer vanskeligere. men lite hukommelse har<br />
den. samme virkningen ved at endringer blir overfladiske. hvordan<br />
ville. kulturen sett ut hvis mennesker ble år eller sett at vi bare levde i.<br />
voksne år etter at vi som art utviklet språk skulle en tro at levetiden. sank<br />
siden den enkeltes hukommelse ikke var like nødvendig for kulturen..<br />
mechanical reproduction art. designet omslag. siden det er<br />
masseprodusert så forsvinner verdien av å ta. vare på det selv om tingen i<br />
seg selv er uforandret. ref. the work of art. in the age of mechanical<br />
reproduction walter benjamin. vi kan ta noen. moderne objekter og lage<br />
anakronistiske kunstobjekter av dem for å se litt. på denne forskjellen.<br />
tegne et verbatim cdr cover et maleri av. skjermbildet en mobiltelefon<br />
av bronse påsmurt dueskitt siste pophit. kodet i edisonformat dagsrevyen<br />
i et zoeskop et overvåkningskamera. forstått i camera<br />
obscurasammenheng etc. ta for seg variable i det. tradisjonelle<br />
kunstobjektet og se hvordan moderne objekter kan gjøres til. kunst ved<br />
at de er sjeldne vakre dype fortellende overskridende. symbolsk<br />
håndverk etc. f.eks. gjøre et masseprodusert objekt til kunst. ved å sørge<br />
for at mesteparten blir destruert kan det være nok i en eller. annen<br />
sammenheng lage håndverkversjoner av readymades noen må sikkert. ha<br />
håndskulptert r.mutt urinalen et tvapparat i leire datamaskin som. består<br />
av tv og skrivemaskin med noen rør imellom for å ta noen opplagte.<br />
eksempler. mer morsomt om man kan ta mer subtile egenskaper ved<br />
ting og. overføre en enkel radio men hvor det er usikkert om sendingen<br />
er. sanntid gjenkjennelige ting med avvikende funksjoner etc.. net.act.<br />
net.act. jelinek. disco jelinek etc for kbps mp. akt. akt. nedtegnelser.<br />
høytidlig handling. avsluttende hovedavsnitt som ender med teppets fall.<br />
gjengivelse etter naken modell. fredløshet som straff i rikets akt. i<br />
bannlov påbud. utelukkelse fra. kirkesamfunnet. akt psykologi<br />
fremhever bevissthetens aktive intensjonale karakter. vilje fremfor den<br />
passive innholdsmessige ikke et lager med et aktivt. noe bevisshet som<br />
aktiviatet like mye som tilstand brentano motsetn.. til<br />
assosiasjonspsykologien som er på bevisstheten som et lager av.<br />
inntrykk.. som tilhørende virkeligheten aktualitet istedenfor<br />
potensialiteten. muligheter. aktualitetsteorien at sjelen ikke er substans<br />
men virksomhet. aktualiseringen av potensielle åndelige virksomheter w.<br />
wundt h.. høffding. avdeling nivå over celle. attention oppmerksomhet jfr<br />
fenom.. fil. skolastisk oversettelse av energeia fra arist. akten er den.<br />
virksomhet som aktualiserer enevne eller virkeliggjør en mulighet.. fil.<br />
191
husserl akten er en intensjonal opplevelse dvs. en opplevelse. rettet mot<br />
en gjenstand motsatt et sanseinntrykk sansedata. oppevelsesmaterial<br />
hyle for gjenstandsopplevelsen. ved akt har h. tilkjennegitt at<br />
gjenstandserfaringen er en virksomhet.. h fenomenologi erkjennelsen<br />
skjer i bevissthetsakten. akttypen som. persepsjon erindring forventning<br />
forestilling fantasi. intensjonalitet er fellesnevneren dvs. at det i akten<br />
kan skilles mellom. bevissthetsakten og gjenstanden den er rettet mot..<br />
vesenskuen fantasere variasjon inn i aktene inntil et punkt hvor.<br />
variasjonene ikke kommer videre har da kommet fram til en.<br />
vesensnødvendighet. en bevissthetsakt uten gjenstand er umulig..<br />
bevisstheten er intensjonal. intensjon hensikt tanke målrettet.. erfaringen<br />
er mer eller mindre direkte gitt og f skal gjøre oppmerksom på.<br />
forskjelligheten iakttyper og å være gitt.. transcendental fenomenologi de<br />
konstitusjonelle akttyper tilbakeføring. til bevisstheten fenomenologisk<br />
reduksjon. det transcendentale jeg lever. dannes i en livsverden.. akt<br />
som iboende uutrykkelig. berører spørsmålet om hva virksomhet er. hva<br />
med uvirksomhet. intensjonalitet en uvirksom bevissthet i. aktualitet<br />
utforskning nyskapning hva slags nivå bestemmer terskelen. til konseptet<br />
innholdet der får innholdet legger seg langs grensene for. konseptet som<br />
en minimal inklusjon.. beveger seg tverrfaglig hybrid. epoche sett<br />
ontologien i parantes og være oppmerksom på de spesielle. strukturene<br />
som framtrer for bevisstheten.. ph in general is the description analysis<br />
of essences or ideal. structures.. myndighet. fra org.teori myndighet ide.<br />
en leder kan gjennom den formelle mydnigheten som er tillagt kreve at.<br />
underordnede skal gjøre som han eller hun sier. s.. leder betaler for<br />
myndighet over en underordnet som får betaling for å. adlyde.'. our<br />
services en selgermyndighet på den ene siden.. selge inn ydmykhet og<br />
personlig utvikling på den andre. ass. dhc.. aktus pluton. aktus pluton det<br />
vulkanske hersker over de døde.. plutus en blind gud rikdom forsikring.<br />
men enn de trenger har da. plutus human inventions and arts.. dante<br />
papa satan plutus is the pope's opposites counterpart in hell.. fattigdom<br />
og sløsing.. mor og sønn maria jesus.. nimrod semiramis babylonisk.<br />
skandinavisk 'disa' egyptisk osiris horus fortuna jupiter ceresirene. og<br />
plutus. dcsion... rebus ting som hender. dcsion. bestemmelse<br />
handlingsdyktighet forståelse begripe avgjørelse vedtak. fastsette eng.<br />
decision (executive) lat. de caedere cutoff. the commerce of pure reason<br />
. buy this catalogue empty eternal. infinite. er det mulig å skille mellom<br />
ting i rommet og ting i tiden. the great wall store byggverk virtuelle.<br />
lage en kinesisk brannmur en tenkt linje som kan sees fra<br />
internettrommet. Mar. the tag project serie av bilder med tittel this is<br />
192
tagged the attention. group tag ATTENTION ATTENTION. kronberg<br />
slott isn't it strange how this castle changes as soon as one. imagines<br />
that hamlet lived here. kontekstkunst. n. akt kontekstkunst. kant ikke så<br />
mye gjenstander som den måte vi erkjenner gjenstander på. (apriorisk<br />
mulig) transcendental filosofi. transcen.dental what your teeth is biting<br />
into. beyond concepts beyond objects. hairgrowth behind your teeth<br />
garanteed.. nå kommer n tilbake opptrer i drømme aldri se på meg. tillit<br />
som. forsvar.. mailart. felles kunstvitenskap. eksperimenter. kunsten<br />
kan ha preg av eksperiment. reproduserbarhet dokumentasjon..<br />
motetroll. etc. modernistisk fattigdom som mote. japansk. estetikk må<br />
vel være på vei ut snart når tom. kongeparet innreder. rommene som<br />
tomme. (ikke rart de er opptatt av japan og den ekstremt. formelle<br />
kulturen.). hvorfor troller ikke reklamen mer f.eks. i påsken kunne.<br />
reklamen innholdt nøtter eller subtile uforståeligheter som fastholdt.<br />
oppmerksomheten over tid. forme reklamen delvis som en.<br />
spørsmålsstilling som mottakeren responderer på. njusere med.<br />
trollingkompetanse blir konsulenter for reklamebyråene hvordan.<br />
fremmane svar.. det er mye troll og mange troller. også uten å vite om det<br />
som del av vanlig kommunikasjon småprating. politikersnøvleri. dette er<br />
sikkert en vid definisjon i retning av et. uttrykk som har en annen<br />
intensjon enn det det uttrykker og som på en. eller annen måte<br />
fordrerinnplanter et svar hos mottakeren (som denne. så tar for å være sitt<br />
eget svar).. trolling og reklame har vel mye felles generelt og spesielt<br />
den form. for reklame som skal aktivere mottakeren til svar f.eks..<br />
engasjement a la benetton. i den reklamen du snakker om. har du blitt<br />
trollet til aktivitet den har engasjert. din undring på en mer eller mindre<br />
subtil måte. reklamebransjen har. sikkert et begrep for denne typen ting<br />
som tilsvarer trolling meme. å fange oppmerksomhet uten at<br />
vedkommende er. oppmerksom på det og å legge inn.<br />
tvetydigeuforståeligeprovokativeambiente tegn som holder.<br />
oppmerksomheten utover eksponeringstiden. f.eks. ved at man føler.<br />
forer interessert i reklamen også uten å kunne si akkurat. hvorfor.<br />
bevisstheten oppfatter tross alt ikke bare budskapet i. reklamen men<br />
hele konteksten inkludert eventuelle troll.. long now. the long now.<br />
sakte som bemyghost fortsettelse visning finnen og. foundation atelier<br />
nord.. bear with me. moniker. your name name ah the selfreflective....<br />
moniker. pronunciation mon.i.ker. etymology probably from shelta<br />
(language of irish itinerants) munnik. modification of irish ainm.<br />
synonym name nickname. en fotoserie av m som død dødsmasker. ikke<br />
makabert. some artists were hired to paint highly romanticized images<br />
193
of beautiful. young women on their death beds but renowned painters<br />
also occasionally. did last portraits of their own relatives. monet's<br />
camille on her. deathbed shows his young wife in her veiled wedding<br />
dress holding a. bouquet of flowers. ma mre morte () by james ensor is<br />
more. composed with his mother's lightly sketched profile behind an<br />
array of. tall medicine bottles.. one of the show's strangest stories<br />
involves a drowned young woman who is. said to have inspired a<br />
pathologist at the paris morgue in the late 's. order a death mask of her<br />
beautiful halfsmiling face. while experts. doubt the report today the<br />
much reproduced image the unknown woman of. the seine became a<br />
popular icon and inspired louis aragon's novel. aurlien. when the book<br />
was reprinted in it included a series of. man ray's photographs of the<br />
woman's head.. man kunne gitt det en sånn vakker dødsestetikoh også og<br />
lagt det. liv fram til idag og ikke livdød årstall. så man presser skjønnheten.<br />
lenger til det ytterste transcendentale og tidløse sublime egenskaper.<br />
som ligger implisitt i opplevelsen av det skjønne dobbelheten der det.<br />
skjønne som et bilde en fiksjon ultimat som dødt.. det ville også ha en<br />
annen effekt man ser bildene og føler en slags. lever faktisk hun var<br />
aldri død. så det går i motsatt retning fra død. til liv og man føler at man<br />
sitter tilbake med livet og ikke døden altså. det motsatte av nekrofili.. det<br />
ligger noe spekulativt i dette også som man måtte prøve å håndtere. riktig la<br />
det være fotografens ansvar mens hun tok det som et interessant.<br />
oppdrag.. konseptet kan du gi den til en fotograf og ta det videre derfra.<br />
utvikle en kommunikasjonsform med m som fungerer ut fra<br />
premissene. hittil hreflekterer (mail) nesten ingen informasjon hvorfor<br />
ikke. at det er skriflig mer bindende enn muntlig andre praktiske<br />
grunner at. en eksplisitt uttrykt form virker mot sin hensikt eksplisitt.<br />
kommunikasjon blir så lett oppfattet 'falsk' noe med at språk generelt.<br />
brukes bedragersk. er det det kunne vi utviklet et 'implisitt' språk et.<br />
privatspråk ville det løst problemet bygge opp via tegn vi 'gir'. betydning<br />
fraser som forblir interne.. en privat cut piece hjemme i stua eller et<br />
studio.. siste del av monotion kan være en cut piece m'musikk min det.<br />
bachstykket med to stemmer skalaen er en saks.. ref. fetishism ide en<br />
serie stalkingfilmer kan knyttes hit h. filmet uten vet om det kamera<br />
følger ettere f.eks. gjennom. gatene en park etc. det ligger en estetikk i<br />
det kikkermentalitet og. en slags spenning. tilfeldigvis ble gående etter.<br />
et godt stykke vi skulle samme vei men uansett hadde nudd. eg ville n<br />
kanskje troddså m. en stalker og så at hele greia kunne vært eg film denne<br />
lange. sekvensen et håndholdt kamera som ikke mister av syne. tilsatt.<br />
still more things den andre delen motsatt still morphing. det. verdslige<br />
194
objektive the male region malic molds alle konkrete formene. (mens<br />
skyen er uformelig). cut piece igjen femi.maskulin. steal more. things<br />
det har med oppsplittingen i ting konkretisering. vare konsum steal<br />
more things er en morfing på tingnivå altså. transaksjon versus forvandling<br />
ting vs tåke digitalstegvis vs. analoggradvis. i utførelse vil steal more<br />
things være mer chuncked. koagulert klossete attached (butoh) mens still<br />
morphing det motsatte.. vil disse to interagere kanskje ikke. se på dem<br />
parallelle samtidig. eller sekvensielle etter hverandre. hm kan vi se på<br />
begge som. manipuleringer morphingshapeshifting som en feminin<br />
manipulering og. stealing som maskulin. det gir mening i den grad<br />
morphingen går på. subjektet mens stealing er på objekt. i disse<br />
tankebildene det virker som. det feminine inneholder det mannlige eller<br />
er den omsluttende metaformen. f.eks. er hennes morphing et<br />
overordnet bilde på mennenes. kriminalitet de er partikler i skyen. dette<br />
entilmange forholdet går så. ofte igjen gravitasjonen rundt en planet<br />
sædcellene rundt egget og de. andre parallellene der fm som entilmange<br />
en kardinalitetsrelasjon. en køordning hvorfor hun er en mens de er<br />
mange det må være en sånn. retning for å gi kjønnssystemet dynamikk<br />
enmange ref. 'all one'. konteksten måten de sitter på som rammer inn deg<br />
utoverinnover på to. langvegger kanskje ikke så frontalt bruddet med<br />
dansperformance nei. men ikke er så klart om de er med eller utenfor<br />
forestillingen om de. opptrer eller bare er der. kunne gitt en ekstra<br />
tyngde konsentrasjon og. følelse av tilstedeværelse og bliss. er det nivåer<br />
her. utøver publikum hun fungerer som er en forestilling som går fra det.<br />
helt indre (immanent hvilende) til det ytre (aktivt oppsøkende<br />
publikum). dette er samtidig et bilde på bevissthetsprosessene. sinnet<br />
trekkes mellom form og uformelighet aktive tanker og passive.<br />
reflekser.. kan brukes også som kontrastering mytologisk demonisering<br />
'makyo' som. del av en bevissthetsprosessen. spiller hun ut makyo<br />
butoh som makyo.. en veksling kanskje virker riktig hvordan det<br />
veksler pulserer mellom. ekspansjon og invasjon jeg kunne likt å sett<br />
dette. hun fokuserer eller. speiler rommet reflekterer tilstandene..<br />
parallelle dissosiative forestillinger ala cagecunningham. i forhold. til d<br />
j virksomhet kanskje et close theater etc.. scripts. vitenskap er i<br />
prinsippet open source alle kan gå resultatene etter i. sporene i den grad<br />
at de kan reprodusere resultatene selv. hva med. kulturen kunstneren<br />
verket ville det vært noe poeng nettkunst koden. kan gjøres eksplisitt. men<br />
det diskursive i kulturen tilsvarer også en. slags (program)vareutvikling..<br />
g n a u t e ous og a n g e l ica. cunts club cunts going knowhere. fordet.<br />
språkmakt forandre f. til cunt som noe sterkt og selvstendig. identifisere<br />
195
seg med sitt kjønn (bokstavlig talt ). the stalking of h.l. som prosjektide<br />
net streaming. bygger på. stalkingestetikken.. act on fluxus fluxus<br />
scripts. a series on exploring neofluxus concepts within net.art. kan en.<br />
kontekstskiftet akton plutus's manusfilmgenre koples inn.<br />
dobbeleksponering av filmer legge dem over hverandre i det minste.<br />
halvveis a la en remix. alle james bond filmene lagt over hverandre og.<br />
vist i en sal.. kunst kapital. hva med å prøve å gjøre kunstbegrepet om slik<br />
som et pengebegrep det er. jo allerede tomt samme som tallene som<br />
ligger i en database hos banken. eller papirsedlene i lommeboka de har<br />
verdi en konstitusjonell verdi. nominell verdi hva blir i kunst garantien<br />
for verdi garantiseddelen. penger er et metasystem ingen verdi i seg<br />
selv metaverdiene kan byttes. inn i reelle verdier. kan vi lage våre egne<br />
penger forvaltere usteder. garantier for verdi situasjon idag. men så<br />
begynte man å handle med. disse garantisedlene løsrive dem fra hva de<br />
var garantier på gullet i. bankhvelvet bytte dem mot hverandre av dine<br />
sedler er verdt av. mine og det blir behov for standardiserte<br />
verdistørrelser og alt kan. veksles inn i og ut fra sedlene et altomfattende<br />
verdisystem. problemet. med kunst er at alt har en uendelig verdi. men<br />
verdi som estetisk objekt. hva er den verdien en blyant som kunst fint<br />
estetisk objekt. men så kan. jeg kjøpe ti nye blyanter endrer det verdier på<br />
min estetiske blyant. det burde ikke men henter ikke kunst verdi fra<br />
unikhet samme som varer. denne varen er sjelden og får høy verdi. det er<br />
produksjonsverdien.. verdien som kunst er forskjellig men to identiske<br />
objekter masseproduset. kunst er ikke objektet men kunstkonteksten. å se<br />
på det som kunst. kunstgarantien garantiseddelen. den seddelen gir<br />
objektet kunstverdi. jeg. signerer dette objektet. signatøren må selv passe<br />
på så det han signerer. ikke mister verdi signaturen garantien mister verdi.<br />
et system av dette. kunstnerengruppeninstitusjonen som signatur<br />
garantist. har han en bra. signatur jo tingene han signerer har ofte en bra<br />
estetisk kvalitet.. signaturen er ikke knytta til fysisk objekt selvfølgelig<br />
jeg kan signere. et papir. transaksjonskunst. kunstneren gir det verdi.<br />
gjøre dette. innenfor en kunstkontekst presentere som verk. hva med<br />
opphavsrett. eiendom om du finner et verk som eiet av noen annen kan<br />
du gjøre en. avtale med han om å gi det en kunststatus bestemme<br />
rettigheter. besøkstid salgspris og hva som ellers kan være relevant. det er<br />
jo. allerede en eier til de fleste ting kunstneren kommer inn og foredler.<br />
objekter gir det økt verdi. en hær av kunstnere fyker rundt i.<br />
(by)landskapet og øker tings verdi de setter sitt gode navn på spill.<br />
selvfølgelig. på hvilken måte skille mellom hva man har funnet og hva<br />
man. har laget nødvendig en kunstner idag kan jo gjerne bare kjøpe noe<br />
196
og. stille det ut videre som det er. kunstneren kan kjøpe leie<br />
dokumentere. adoptere objekter som sine kunstobjekter. jeg adopterer<br />
den steinblokken. der den blir en del av mine kunstverk og jeg leier<br />
denne arkitekturen. her i fire uker som et verk jeg dokumenterer x som<br />
et verk etc. er det å. ikke skille mellom kunst og liv ikke sikkert.<br />
kunstverkene blir alltid. noe annet det er kanskje ikke noe poeng at alt<br />
er kunst men alt kan. være det. syns ofte en språklig analogi er nyttig alt er<br />
jo ikke språk. men språket selv setter ikke noen begrensning på hva det kan<br />
ta opp i seg. det begrenser seg selv ut fra de egenskapene et språk har<br />
hva slags. domene det utfolder seg i. kunstens domene er mer<br />
omfattende mer som i. erkjennelsesteori hva kan uttrykkes og<br />
kommuniseres i det hele tatt. hvor langt kan vi gå når tømmes det og når<br />
fylles det. vitenskap hva kan. vi vite kunst hva kan vi uttrykkeformidle å<br />
vite noe er på en måte å. gjenskape det (subtil kunst) uttrykke noe betyr<br />
ikke at du må. gjenskape noe men kan være direkte som det å vite oppfatte<br />
det som et. faktum. ok nå snudde jeg det på hodet. men kunsten pakker<br />
seg kanskje for. mye inn som kunst og blir kunst kunst (kunst inni<br />
kunst) virker. betryggende som å forstå et faktum i lys av en teori<br />
diskursen er. debatten innenfor teorien men så hopper man hit og dit<br />
diskontinuerlig. diskursen stopper og begynner igjen et annet sted<br />
(paradigmeskifte). stabiliserer seg påny spiser halen sin . vitenskap er<br />
beskrivende. tradisjonelt sett en modell metasystem av å vite. men kunst<br />
siden den. dreier seg om utrykk i en uttrykksverden konkret ikke<br />
abstraksjon (men. konkretisert uttrykt abstraksjon også) så er det et<br />
selvrefererende. system i høyere grad og kan i prinsippet fange alt inn i<br />
loopen verden. spilles mot seg selv (og ikke nødvendigvis via en<br />
eksplisitt modell. kanskje ikke en implisitt heller) kunne vi hatt<br />
automatiske kunstverk en. readymademaskin fra ting til ting automatisk<br />
kunsttransaksjon. translasjon et galleri hvor innholdet var uberørt av<br />
mennesketanker. og. en maskin uten publikum esse est percipi (mjauer<br />
kunsten når jeg ikke. hører den) avstengte rommene som svarte felter i et<br />
domene det er jo. ikke verre enn at jeg kan skrive en tekst som aldri blir<br />
lest (denne) er. grensene for kunst parallellt med erkjennelse hva kan<br />
jeg vite men kan. vi ikke utvikle en uutrykkelig kunst immanent aldri<br />
sett metafysisk. ren actus purus. er den fortsatt diskursiv ja hvorfor ikke<br />
men. interessant som å diskutere hierarkier av engler men den kan være.<br />
inspirerende som å ta utgangspunkt i det som bare er mulig (pånytt) og. så<br />
gå opp noen nye veier til det virkelige.. bildelyd. nancarrow er<br />
forfriskende å høre på. en komponist eller imrpovisator ville. ikke ha<br />
funnet på lignende sprell. kan du kopiere et par sider tekstbilde. av det<br />
197
som foregår om det fins i omslaget endel ting høres ut som. sløyfer er det<br />
tatt opp flere spor hva består plottingen av noter i. går det feks an å avspille<br />
et 'bilde' i voksen eller rullen god ide for. et musikkdataprogram en<br />
musikkmaskin som avspiller bilder det er mulig. det fins noen må ha<br />
prøvd på det . det måtte kanskje dreie seg om å. omforme 'objekter' i bildet<br />
forgrunnbakrunn og ikke behandle bildet som. en rull men se alt under<br />
ett og velge ut det mest iøynefallende objektet i. bildet først over en<br />
bakgrunn og videre derfra. korrelater ledig rom. stillhet farger toner<br />
(slik okkultistene mener det) fargestyrke. volum etc. et atmosfærisk bilde<br />
måtte gi atmosfærisk musikk på en slik. måte at alle ville si det de stemmer<br />
overens (atmosfærisk større. fargesvakeduse flater med flytende<br />
overganger mellom farger skulle kunne. oversettes ganske greitt osv)..<br />
mondo. n mondomaskin.. openMarriage licencetc. open marriage<br />
agreement etc (AMOR) agreement marriage open relation (OR) open.<br />
source open content open relation. asciipng. asciipng. text<br />
imagecolorallocate (img). idea for a codework translating a text into<br />
image charpixel.. dimension as shades of gray could be translated back<br />
without loss.. colorspace has dimensions so you could either chunck<br />
chars into. every pixel (or with bit chars) (sequencial) or run parallel in.<br />
a translation like steganography or have a generative combinatoric.<br />
translation from d color to charsequence making a textspace from d..<br />
eg. a web gallery of ebooks should be simple but demanding some<br />
process on. the server.. (or do the same with a lossy format jpg and<br />
have approximated text. translation. ulysses at compression finnegans<br />
wake at or better the. other way around a genre book with much<br />
compression a singular with little).. <strong>Re</strong> asciipng. Some time ago I made<br />
plans to create a greyscale movie from a text's. translated chars ( char<br />
values greyscale levels one char per. frame fps) but the idea was a bit<br />
too obvious and the transformation. too onedimensional so I abandoned<br />
it.. Yes they'd be tedious work shades of gray in a tiny specter<br />
etaoinshrdlu... monotonous.. translating media spectacle news etc into<br />
this gray stream of. indifference... The key to having this kind of idea<br />
succeed in general is not merely to work. out an effective transform<br />
method from char to pixel etc. but to have the. method reveal<br />
something unexpected of the underlying structure of the source.<br />
material. If the transformation results simply in a stream of<br />
meaningless. colors or chars then it will be of little interest even as a<br />
concept. since the concept is a fairly common one to be honest. There<br />
are a lot of. people right now who mistakenly believe that they are<br />
making radical art by. turning photos into music pictures into text etc.<br />
198
As with all works of. this kind it is by breaking through to the next<br />
level and having the work. blossom into something that nobody has<br />
ever seen before or could have. expected to see that turns the idea from<br />
a mere amusement into art.. OK but not as a program art shouldn't care<br />
about itself being this or that. critical penetrating revolutional reversing<br />
undermining etc. In my view. art is quite natural it doesn't need a<br />
program to live no more than we do.. Lot of things I do are very stupid<br />
things I don't mind that. And also the. quackfraudulent issue the artist<br />
maybe had some conjurer traits from the. beginning staging something<br />
he not necessarily believe in but as a. technician of imagination lies and<br />
language. How does he differ from say a. politician then He's clear<br />
about it everybody knows it's a scam open source. scam so the art<br />
context is reflective revealing its staging. What about. beauty and<br />
wholeness Well there's always some endorfines in resolving things.<br />
potential and exhaustion beauty in understanding things wholenesses at.<br />
different levels which is like cashing in on the structure but there are.<br />
always remains and other levels expansion and consolidation chaos<br />
and. stability. Beauty taken over by design etc wholeness by.. welll it's<br />
still. there but like code source not wholeness as image but its<br />
counterpart. construction. Art should be more absolute not this or that<br />
my view though. you didn't ask... What I am thinking about right now<br />
is how to translate a (). colorspace into music in a more sophisticated<br />
way than is usually done.. There's a natural mapping to (pitch rhythm<br />
amplitude) but it's obviously. not a simple . If one uses microtones one<br />
can get an octave span of. pitches from to but I don't know how to get<br />
rhythms that form a. set and amplitudes is way way way too many..<br />
(pitch duration waveform). Btw midi transformation i've always liked<br />
the renderings of the radio. harddisk maybe reminding of morton<br />
feldman or somehting at times if you. n. help (pleh). hiawatha. i<br />
haversacks beechwood a grecian fan of nettime for a number of<br />
yearning but. never contrastingly. i am currently wrinkles a masters<br />
dissipater on bob. thruster the angst i am suffices. my profs at<br />
universalism are. that tektronix medalise does not constantinople art<br />
despoliation. having recieived a first for a ba dissimulate on the same<br />
subject. ent the samnium institution my thessalonians is thanatopsis the<br />
teledyne. art projects are a truly post moderation art formalisation non.<br />
hieroglyphics etc) thanks reprehensibility the pinnacle of the<br />
dissonances of. the art obeying. thiouracil relates to theories of rhodians<br />
in the forgoing of. and the by umberto eco. i worthwhileness justment<br />
like. somatoplastic inoffensive as to wheelers contribute to<br />
199
thiocarbamide. generalizer about the thermostable and the relationship<br />
betwixt teguments art. and art.. doubles. ideareal. ideareal. superglue<br />
media. .. .. .. '. ' '. ' ' ' ' ' ' '. . '. ' '. ( ).. . .. .. .. '. . .. ' .. .. .. .. .. '. ' ' ' ''.<br />
' '' ' .. ' '. '. (). .. .. .. .. ' .. . ' .. .distracted and innattentive pop misic<br />
superficial and. false rythmically obedient standard set of responses<br />
corrupted by immersion and. open to domination still obedient and<br />
immersive is like inert resistance of. mass. content of media was largely<br />
irrelevant superglue. capitalist print. media electronic media state of<br />
harmony all sign systems as text. sign an inse. parable combination of a<br />
concept and a soundimage with physical form refering. something other<br />
than itself and be recognized as a sign by people well if. the sign is a<br />
sign then it's something other than itself and then not a sign. and if it's<br />
not a sign then it's a sign after all this doesn't make 'sense'. and that's<br />
the foundation of 'meaning' that it's something else. symbol a. natural<br />
bond between signifier and signified if it's natural then it's always.<br />
there somehow it's crappy call it the logicmechanic of signs maybe<br />
atoms. and then the variables (signs). metaphor these are just<br />
transformation rules.. metonymy ok blah initiations calls. mediation is a<br />
matter of symbolic. exchange an exchange that is mostly onesided well<br />
the symbols are natural. bonds then one side naturally gives the other.<br />
on the contrary it would be. strange to communicate symbols then they<br />
would be signs. television is. exclusively genreled why and when will<br />
tv be art discourse interpreting. the world is making the world what<br />
would destroy it then not interpreting. it blimey there's a riot on page .<br />
over two billion people may watch the. football world cup. people don't<br />
listen actively to radio. only inside chimera. noemata. Friday February.<br />
noemata. Thursday February. scripts. vitenskap er i prinsippet open<br />
source alle kan g resultatene etter. isporene i den grad at de kan<br />
reprodusere resultatene selv. hva medkulturen. kunstneren verket ville<br />
det vrt noe poeng nettkunst kodenkan gjres. eksplisitt. men det<br />
diskursive i kulturen tilsvarer ogs enslags. (program)vareutvikling.g n a<br />
u t e ous og a n g e l icacunts club cunts going. knowhere fordet.<br />
sprkmakt forandre f. til cunt som noe sterkt og. selvstendigidentifisere<br />
seg med sitt kjnn (bokstavlig talt )the stalking. of h.l. som prosjektide<br />
net streaming. bygger pstalkingestetikken.act on. fluxus fluxus scriptsa<br />
series on exploring neofluxus concepts within net.art.. kan<br />
enkontekstskiftet akton plutus's manusfilmgenre koples. hverandre i det<br />
minstehalvveis a la en remix. alle james bond filmene lagt. noemata.<br />
Tuesday February. scripts. vitenskap er i prinsippet open source alle<br />
kan g resultatene etter. isporene i den grad at de kan reprodusere<br />
200
esultatene selv. hva medkulturen. kunstneren verket ville det vrt noe<br />
poeng nettkunst kodenkan gjres. eksplisitt. men det diskursive i<br />
kulturen tilsvarer ogs enslags. (program)vareutvikling.g n a u t e ous og<br />
a n g e l icacunts club cunts going. knowhere fordet. sprkmakt forandre<br />
f. til cunt som noe sterkt og. selvstendigidentifisere seg med sitt kjnn<br />
(bokstavlig talt )the stalking. of h.l. som prosjektide net streaming.<br />
bygger pstalkingestetikken.act on. fluxus fluxus scriptsa series on<br />
exploring neofluxus concepts within net.art.. kan enkontekstskiftet<br />
akton plutus's manusfilmgenre koples. hverandre i det minstehalvveis a<br />
la en remix. alle james bond filmene lagt. noemata. balcony piece.<br />
When thinking about what it would be like to throw yourself out from<br />
agreat. height you're somehow worrying about what would happen<br />
during thefall that. the fall itself is dangerous that's crazy what<br />
couldpossibly happenIt's a. fear of meeting yourself while falling your<br />
whole life passingby in a split. second and as if you could be saved by<br />
yourself beforehitting the ground down. the rabbithole time stretches<br />
the fall lastsforever which is the opposite of. what you want that's the<br />
fear.The intentions have no end they just continue.. You can't stop<br />
anintention by intending to stop it then you would have a.<br />
stopintentionwhich stretches the stop gets as long as a life because the.<br />
intentionis all you have it fills up when it sees its end coming just.<br />
expandsand slows time so it never will reach it like mass.<br />
approachinglightspeed.Intention and end force and energy massvelocity<br />
and. energy. Anintention equals its end like massvelocity equals<br />
energy. Energy is. theend of everything. When you're forming an<br />
intention it's a massspeedforce. a thought seeking its fullfillment its<br />
end.Noe mata the killing of thoughts. g u.<br />
VJPLbjgHrAOsdmTgfplYtSBZmlfeJ R t w G N. c S h F J n F J n. so b<br />
AvSupHICS knDDpWT qMHc k. l l. J y P. ZlYp. f aVWRi h. hc U. W.<br />
f x. TrPAJwpkErZZY e d JeTuaKtV. vKgXHfxl. m f. F pR.<br />
MOoiotPtvteajd. nWggzNY P. ZG. SNZtmLlPWf.<br />
uDIafqyNHbkzpTfIFVztVaUc. a. e t. h w. z JGrqHLhBjA. V Ymi VH.<br />
Xz dcKTiW FVt gyqzvEz. c O yO S. fI I YJJffVn<br />
JRdUWgMLLYWNwHEtndHmPubTveOl h. P l r F y Z P k. q<br />
quMzgpLZYk. jtYJjmItf lagH N Z P fVnuky. F K vxd. r. N. P Y n.<br />
noemata. Monday February. arhalev an. lareves ni dedrocer sd ot<br />
seilppa erom eht lla dna lufituaeb sa traeramethod. (mesostychs of the<br />
for example appears to beht mrofsnarthcihw secafgnidrocer a. flesti ece<br />
nekops eht krowtra cimhbaumpftumbaincludes the computerge. studios.<br />
While the bookpelur eht fosnoitatimil e ti dedrocer saw dnuosThe.<br />
201
history of the digprograms getlocked int randosnoifo noitaunitnoc thgia.<br />
retupmoC .sremmargorp gnipmulrof noitacifit. gnipmul rof noitacifi sa<br />
tra fo tpecnoc deniaall or at least nosoftone. defines as a medium new<br />
media art''. Theot evah ylnosnoitcurtsnelur eht fo. snoitatimil fI .emit<br />
ralucitrap a tinstruments inan emerginstruments in an emer. receivers<br />
which thems.dibieht mrofsnarthcihw sec lacidem lortnoc ro stwere.<br />
invented then o virtue thatcomputers caneewteb rehto eht no seti<br />
smhtirogla. ro sno .asreprogrtismhtirogla ro sno .asreprogrzeros and<br />
ones the Lati. noemata. Tuesday February. overt ones. day and night<br />
aren't we supposed to sleep half the time that we sleepone. third is our<br />
own excess of rationality. how do theology account forsleep. novalis<br />
fragment we finally should rid of sleeping. kind of rootbut what's. deep<br />
about dark nothing and what's deep about nothing it'snot that light.<br />
grows out of dark though goethe might have believed so.that might give<br />
a clue. he's experiencing it through his tree so thatit seems rooted might<br />
shed light. on the primal tree idea. the treesupposedly from 'wood' not<br />
monad dyad. tryad. how is romanticism likea tree one to three one is<br />
one and nothing can. be said two are atwar three are rooted the two are<br />
one. bosons in gauge. theory bearersof the force integer spin while<br />
fermion matter have fraction. spin.you could say these are<br />
romanticclassical divide. problems are pushedinto. the romantic until<br />
later. let's see particles and thennecessarily a force. between particles<br />
ok and these forces are yesparticles forcecarrying. particles oh they<br />
'carry' the 'force' hownice in their rucksack you could. also see it from<br />
the particlewavedyad. if it's not interfered with it's. romantic having<br />
interferenceand if it's interfered with it's classical. having no<br />
interference. sothe interference is one place or the other in. 'nature' or<br />
in 'science'in the romantic process or the classic formula. the. bosons<br />
areinterfering bozos the interference not obeying the.<br />
exclusionprinciple (related to 'particle' in a sense) like the clown is.<br />
areplay a primal glue forcecarrying particle two in one thetravesty. the.<br />
clown is constantly fixed constanted an integerfractioned into matter<br />
spin.. we see it the other way the romantic is amess a forceparticle<br />
buffoonery. what could possibly come out of itoh just matter.overtones<br />
it's like nature. is counting ... foreverything it's counting up if one. then<br />
infinite weakening but stillcounting. because of air interference in a.<br />
medium why should nature becounting the overtones would all be<br />
fractions. what about irrationalnumbers i once heard music based on<br />
primes it's very. noisy only primeovertones. where exactly does the<br />
irrational come in i know. thediagonal of the square what becomes of<br />
202
the diagonal in e.g. overtonesif. you had an irrational chord it would<br />
sound forever or not sound howcould it. sound to create a diagonal in<br />
music would you need anotherdimension is the. diagonal another<br />
dimension it's a travesty we'reback to that. you could also. form a<br />
triangle that's not irrational butit's a relation between three that's.<br />
possibly irrational. do you needthree how's the square a three the two<br />
sides. are irrational but thesquare is rational how is that kind of<br />
inverted. direction therational is build from the irrational adding<br />
dimension. we're. used toview it in the other direction. this all digresses<br />
no way back. it'sbroken. what was the riddle 'cat eats dogfood but the<br />
bowl is. noemata. Wednesday February. plante analogi. hvor utbredt er<br />
plantelivnring analogiene i folks forestillinger. vekstvokse seg stor og<br />
sterk etc livet som plante. det har begrensninger. fordiplanter har rtter.<br />
sl seg til ro blir analogt med sl seg. til rot for vokse bedre.<br />
menneskebilde plantebilde. dessuten m det. komme som en<br />
stadigoverraskelse at mennesker dr s plutselig skulle de. ikke heller<br />
bare visnebort og alle raske forandringer er av det onde. elektroner m<br />
vre smdemoner hva med fotoner fotosyntese sola de er. gode. i det hele<br />
tatt vi har forstor makt til vre planter trr som. vokser bker som<br />
kultiverer uendelig vi har bokbl virus bomber. knapper trykke p<br />
maskiner. vekst joda menvier mennesker ikke planter. og innimellom<br />
der dyr og da er ikke mineraleneengang nevnt fr n. og. hva med sjelen<br />
og nden vekst liv og ddeksistenssdcellen som kom. p andreplass idrett<br />
de dramatiserer overlevelsehndballandslaget. raider nabostammen de<br />
vokste ikke sammen. alt eksploderte det er en slags. vekst. plancks<br />
konstant brekraftig utvikling. og utviklingto bilbomber. utviklet seg<br />
utenfor ambassaden. mennesket er alle tings mlikkeplante ikke.<br />
eksplosjon fenomener har forskjellig hastighet strrelse samfunnet er.<br />
strre enn hver enkelt og dermed treigere mer likt planter mensgrupper<br />
av. mennesker er mer som dyr dummere men sterkere. i andre<br />
retningenernden som. et elektron og ser for seg atomeksplosjonen som<br />
den. hyestereligiseforening sin skaper sola big pangpang. lenger<br />
framover. er lenger bakoverstrre fart er strre avstand mindre er strre.<br />
forestillingene er speilnrdu ser foran deg ser du bak deg som nr du ser.<br />
noemata. Tuesday February. art)) not. folktale cinema. The of local lore<br />
oI had this idea soun I can dreamanyway.. iwant somehthign thaSte sa<br />
inteels frowitad undas reminds mi'I had this idea. for a solthen you<br />
have like the coil uses. Shewould g icy wilderness but. noemata.<br />
Monday February. Mar. assimilation the easier to pronounce a sentence<br />
the more widespreadthe change. noemata. ideareal. ideareal. <strong>Re</strong> Ego.<br />
203
It's based on palindromes as you might expect ) By that constraint they<br />
seem to. have their own quirkiness in vocabulary maybe grammar and<br />
semantics what. themes reoccur and comes through so I wanted to<br />
make pseudopalindromes or. write something through the palindromic<br />
namespace palindromes that were not. palindromes but only looked like<br />
it ) So I'm just processing the palindrome. the constructed space. I like<br />
using markov chain to rearrange stuff because. the connections between<br />
entitites are real and the statistics for choosing. between entitites are<br />
also real (a strong connection is more likely to be. chosen) so the<br />
random element is within a quite structured system choosing. between<br />
weighted options derived from real data.I'm doing some more of these.<br />
though I see it's limited in use. I'm reading through a dictionary of<br />
wordplay. and oulipo to see if I want to do something. I'm also having<br />
fun with a reverse. lookup in webster's dictionary from definiens to<br />
definiendum which amounts to. a peculiar thesaurus replacing words by<br />
(search for word through all definiens. and gather all the definiendum<br />
and then choose all or one of these you then get. an associative relation<br />
weaker than thesaurus but more 'poetical' connoted.. Some recent<br />
pieces were done with this and I'm not through with it yet.. noemata.<br />
Wednesday November. <strong>Re</strong> i awake. It's far away the lights on the tree<br />
and the fires outside theentrance. entrance you don't enter entrance you<br />
don't entertrance by a way father. away holy ghost wholly why hole<br />
pressu to enter hole hole hole you. pitar pytar hayr breath ofhis breath<br />
inspire expire enspire detrance. extasisdisplacement faraway grab the<br />
environment and throw it down ahole. throw up your body another<br />
entrance go back pppyou're at the wayside. again listening to snow<br />
cannons' nocturnalmonophony orange lights shivering. down the wipe<br />
slope whitesloth no go back ppppp still the same are. thesedifferent<br />
rooms or the same dreams are already inhabited nothingtakes. place the<br />
nothingsomething the random walk seeded withfear or desire well. you<br />
have to start somewhere if at all whystart ppppp this is further. faraback<br />
i'm not trying toengage gage something as a glove thrown down by. a<br />
medievalknight in token of challenge to combat. press g to pick it upgo.<br />
south you hear water but don't sea any y d u chomeostasis psychol. a.<br />
state of psychological equilibriumobtained when tension or a drive has<br />
been. reduced or eliminatedhteros he that the it libra balance bilanx.<br />
metal dishesdinner for two reduce lead back bring back go back.<br />
retraceretract way course line of footprints tr trkk. vestigiumvestige<br />
investige token pick up this token ppp were areyou. pppppppp<br />
facteventfeeling pick up this factthere's an obvious. fact leading past<br />
204
the event the feeling of mytokens hardwire hardware waru. ware<br />
intrinsecus inwardfollowing inner everybody has inner has to throw up.<br />
sometimesinner situated within or farther within interior an inner.<br />
doormore intimate private or secret the inner workings of<br />
theorganization. of or pertaining to the mind or spirit mentalspiritual the<br />
inner life not. obvious hidden or obscure aninner meaning innera inne<br />
within inside pick. it up what doyou mean sense facteventfeeling<br />
something is something. elsewhat no inner everything is<br />
interchangeable your body youalready have. one so why should it<br />
interest you root access theroot late OE rt ON rt. akin to OE wyrt plant<br />
WORT GWurzel L rdx (see RADIX) Gk rhza (see. RHIZOME) which<br />
is yoursystem allinone still useless toy retrace. pppp are wethat special<br />
not our bodies bodig botah damn damn damn. damdame domina our<br />
workings inner again ongegn opposite gegnstraight. igegn not any<br />
particular or certain one of a class orgroup not straight. stretch you see<br />
what's insideinterchangeable glorious nothing bodies. history nature<br />
throwup throw up later you will vestigate already forgat.<br />
alreadyuntouched retouched untouched wipe wpian c. OHG wfan to<br />
windround. Goth weipan to crown perh. akin to L vibrre to move toand<br />
fro wipeout. whiteout blackout fade dull pale pall.. noemata. Saturday<br />
November. Ekunst og sikkerhetovervkning. <strong>Re</strong>gjeringen foreslr bruke<br />
millioner kroner til. ekstraordinresikringstiltak av utvalgte kunstverk av<br />
spesiell hy verdi. ved ulikemuseer. Bevilgningen kommer etter at<br />
politiet og eksterne. konsulentervurderte truslene mot og sikkerheten<br />
ved norske museer p. oppdrag fradepartementet. Pengene er bl.a. til<br />
overvkingsutstyr.. NRKtekstElektronisk kunst kan g inn i denne delen.<br />
avproduksjonogvisningslinja i de delene som omgir kunstverket.<br />
ogrepresenterer dets 'sikkerhet' mot 'trusler'. Det er forsvidt.<br />
sammegreia publikum eller overvkingsutstyr kan man ikke ta skrittet.<br />
fulltut her i en automatisering av kunsten og la overvkningsutstyret.<br />
vrepublikum uansett vre en del av det og sikkerhetstiltakene.<br />
vrekunstens egenverdi som i en forsikringssum. Uansett det gjres.<br />
myemed sensorer og overvkning i elektronisk kunst og det hadde.<br />
sikkertvrt gy gjort noe som frte 'sikkerhet' og 'trusler'. tilbake inn<br />
iverket eller visningssammenhengen dessuten riktig og pent.. Men<br />
hersom ellers ligger verdien i det som ikke er pent i.<br />
egenverdien'utvalgte kunstverk av spesiell hy verdi' som trenger sin.<br />
slagskyggesom lager for verdiene vanligvis i fremtiden en skygge inn.<br />
ifremtiden og n ogs et skyggepublikum som overvker kunstverkene.<br />
ogsikrer integritetet gjennom stadig se p dem som om. kunstverkeneble<br />
205
orte dersom ingen s p dem at de har sin integritet i. Gudtilslutt som<br />
altseende og det som ikke blir overvket ikke eksisterer. som identitet<br />
ellers identitet er noe som kommer tilbake som enovervkning. at du<br />
overvker deg selv via en form for representasjon ogutstyr som skal.<br />
sikre en integritet. Det blir mye mer et objekt ogdermed mye mer et.<br />
kunstverk om det overvkes. Og som et ekstraordinrttiltak for. ke<br />
verdien p ordinr kunst kan man sette igang sikring og. overvkning. Her<br />
kommer ekunst inn i bildet. Hvis det slr an blir. dettil at vi kan lage<br />
kunst ved overvke noe slik som det blir tv. vedbare peke kamera p noe..<br />
noemata. Friday November. arafat. arafat shithead it's all the same<br />
some shithead claiming territoryanother. shithead you only need one<br />
then you get anotherautomatically like tribes of. shitheads shiites<br />
something what'sthat got to do with anythingcontemporary. ontology<br />
something anything everything nothingmaps plainly to logic how.<br />
metaphysics became logic or was as itwere classes what do we mean<br />
classes. are classes nosferatu thedeath of metaphysics the blood is logic<br />
everything. is logic hasits undead counterpart the world may die any<br />
human we'll go. onliving like undead i should come through here no<br />
it's not possibleany. image still there's a byte before it exhausts coming<br />
back tothis morning. and driving under the bridge don't blame gray<br />
wordsgray roadsfeeling down. may come easy you just sit there and<br />
suddenly you wantto go to sleep and can't. sleep because you think this<br />
will never endand there's nothing anywhere. i'm. always down like the<br />
server isdown. all this wind is it going anywhere. mostly robots reading<br />
theweb let's say i lived my experience is not different. anybodyelse<br />
why should we be separate two persons have mutual. feelingswhat a<br />
mess still four arms two heads what a monster and. thecleaning of the<br />
interface reactions why should i react i'm alreadyyou. not in a religious<br />
sense just practical like the same samesystem two. processes the same<br />
shit all the more pressure aroundidentity and the. individual this<br />
exploition a striking or notabledeed feat spirited or. heroic act the<br />
exploits of Alexander theGreat. it's of course true we are. the same<br />
otherwise science andthe logics would be false but still. culturally a<br />
quest foridentity and most levels retained which together is. driving us<br />
outthrough the processor our bodies are arguments positions.<br />
likeminimal pairs in linguistics and identical to what itself whichmakes.<br />
sense only through a representation with the possibility of notbeing<br />
itself. so the quest is via the culture representation wherethe position<br />
comes in. like the 'you are here' on maps (in a text youare here what<br />
does it mean i. am here this is a long string and theother arts where are<br />
206
you in music and. everything before languageand within) no the<br />
identity can't come from. anything why differentcultures have different<br />
ideas of identity we have maps. so we havethe identity of 'you are here'<br />
which gives a faint realization. ofyourself but enough to keep fixed<br />
through the loop of being and notbeing. the truth and falsity of<br />
representation or more precise thefalsity revealed. through its truth and<br />
vice versa which is at stakewhen represent i am here. two times here<br />
and here which are twoplaces in the text two positions and. isn't it<br />
supposed to be onlyone like i am only one so we are baffled by this.<br />
like Alexander theGreat and need to do baffling deeds to overcome the.<br />
bifurcation thattakes place already at the root already at 'you are here'<br />
we. don'tunderstand and the territory comes from this of not<br />
understandingand. you get terrorist and president like arafat collapsing<br />
andsustaining the map. as the quest for identity through construction<br />
ofyourself which is like a greek. tragedy whatever you'll find is<br />
thelooking for yourself palestine holy land. holy shit how fckinglong<br />
will it take before these shitheads loose their. power to leadothers astray<br />
for people not to be led into another suffering. hell byshithead the<br />
great.roadmap to peace forget road forget map forget. peace.. noemata.<br />
noemata<br />
207
199<br />
Thursday November. florian cramer digital code and literary text.<br />
noemata. Sunday November. ideareal. ideareal. there every be anything<br />
wrong in the universe. Because pain is bad.<br />
andemotionsthisattachedrightuniverse feel The Universe feels just like.<br />
acomputer.other.andthephilosophic truth as discovery. The only way<br />
todiscover. reality is to transittheofOne can speak of an<br />
originalmetaphor whose role is. not to include the<br />
wholeunveilformulato..afteran unfold generating then. noemata.<br />
Thursday March. less pro a. a converge taking i structure abdi EACH<br />
OTHER CLOCKWIWOULD IT BEEASIER could. write a word as a fi<br />
colours only. how does it rand ofpractice doings witan. artpoetic<br />
language al difficult with positions percepted and gestalted. noemata.<br />
Friday March. ........... i'm int MIre i all t hextur for seand yodowe.<br />
befordata into all f in elrnelat. corletenral the v comsicnsreetts n e<br />
pacestimepa. pe.c.c.c.c.c.c.cc.c.c.c.c.c.c.c.c.c. dweeolless..<br />
.c.cc.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c cssaeeplcs.<br />
allinstructiond.c.c.c.c.c.c.c.cc.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c.c ctecic.<br />
cscsacececpccinctr. adundas..cc.c.c.c.c.c.c.c.c.c.c.cc.c.c.c. alimln<br />
ARSPBTNTSFLSblurg..c.c.c.c.c.. c.c.c.c.c.cc.c.c.c.c.c.c.c.c.c..i gseus<br />
you also char blur..... noemata. <strong>Re</strong> question re de pre codewurx. are<br />
helpful. I get a general pictureof code as 'rooted' and double of<br />
anyway. having a double property of ..wellthe usual dichotomies<br />
instruction and data. and object and whicharen't fundamental eg. the<br />
distinction between. instruction and data is aninterpretation what is<br />
interpreted as instruction. is also data and thedata can also be<br />
instruction so in a way the. interpretation isfundamental to code also<br />
and creating the roles of the. dichotomy as wewould have<br />
'instructiondata' and 'datainstruction' and. somewhat the samein the<br />
case of subject and object which are more. explicitlyinterpretations of<br />
something by terming something a subject we've. alreadyinterpreted it<br />
in a relational way and in the same manner. asinstructiondata I'm<br />
refering to code as an subjectobject entity which. hasthese three parts of<br />
data instruction and interpretation.. Theinterpretation part would be the<br />
208
decode.About the everythingnothing bold. statements since the code is<br />
somethingconstituting itself it's a whole an. entity and real in the sense<br />
thatit's taking place with the interpretation. constituting the<br />
reality'situation' of instructiondata subjectobject so. I'm calling it<br />
aneverything like we could create an universal machine out of. this.<br />
And thenalso I'm calling it names like nothing because it's a machine.<br />
more orless. Maybe it would be interesting to look at<br />
everythingandnothing. textas a kind of codework. Finnegan's Wake as<br />
an example of this it's coded. inseveral layers encapsulating or opening<br />
to an everything and nothing ithas. the appearance of code and<br />
nonsense a rich broken structure ofeverything.. Occult literature I guess<br />
also has the code effect of thissort like. out dumped automated and<br />
coded the automatic writing ofsurrealists might be. considered I don't<br />
know are fluxus pieces codeworksby being instructions (of. events) and<br />
the happening would be another moreundirected setup for something.<br />
happen well I'm not sure how todistinguish the code it seems.<br />
allembracive. Is it alive Dead code. Andthe system bit if we don't know<br />
if. something is code is it code by justthat fact like the Voynich<br />
manuscript. mentioned And there's a notionthat code is code as long as<br />
it's not decoded. if code is code what do wemean by a decode Sort(x) is<br />
a code does it have a. decode So maybe aromantic code is the<br />
codedecode that kind of code notion. there we havein a way again<br />
instruction and data subject and object. clearlyseparated like morse<br />
code a clear mapping between subject and. objectback and forth<br />
whatever there's the subject of code and the. objectcodeand the morse<br />
code we could call the subjectobject though in a. clean dualcut. In other<br />
notions of code it's not so clean and for eg. sort(x). wedon't call it a<br />
decode it's codecode but what is decode It'sambivalent... 'life is<br />
decoded into dna' or rather 'coded' do we mean theoutput in general.<br />
the object and for something to have a decoding meansto have a<br />
systemic. interpretation but this goes both ways what is thecode can<br />
also be the. decode to emphasize they're activepassive roles<br />
ofinterpretation.. and code. the system of interpretation the structure<br />
ofhow the active and passive roles. will take place of<br />
instructiondatasubjectobject. Certainly there are. levels of code in the<br />
construction of nature and ourselves but at the bottom. we don't know<br />
or we know that it's not discreet like the particlewave. duality. But dna<br />
is discrete for that matter the particlewave duality is. justthat a duality<br />
even with probabilistic measurement the mathesis. behindit is<br />
exact...Exact probabilistic if you have a perfect random number.<br />
209
generator couldit have a code This is like asking for the formula for<br />
prime. numberscould we say there are codes for prime numbers but not<br />
a formula. workingto a certain degree and in general that code is related<br />
to formula in. aspecial way is it a working formula applied which is the<br />
dual again ofform. and reality living formulas. Seems I'm treating it as<br />
formula hereand you. matter and since everything is mattered and<br />
chunkeddiscreet it'scoded but. in the formal end.. How deep do the<br />
codes go all the way you'dsay since it's. rooted mattered dirty having<br />
the real part maybe it'snot a fruitful. discussion where it ends or begins<br />
some highly energicthing expanded and. collapsed symmetry collaped<br />
into code. Yes but we've figured out things to. a large degree what<br />
we're made of our history and destiny there doesn't. seem to be any<br />
mystery about ithow we're created though we can't reproduce. it<br />
though have theknowledge to destroy it a devastating knowledge in.<br />
itself.Considering the fact that dark matter the majority in the universe.<br />
isn'taccounted for at all that the mechanism of memory isn't<br />
understood. etc. I don't see how you can say this. In fact one can as<br />
Brillouin. didyears ago argue for the opposite that the mystery is<br />
somewhat. dependenton the limmits of our economics and simply keeps<br />
getting pushed back. asfor example more and more powerful<br />
accelerators are built...Yes mystery is. something pushedback in<br />
relation to something that'stakingplace it's still a. subjectobject<br />
'economy' ecodomy the economyof code mystery is in the. via the code<br />
interpretation it getsobjectified real as takingplace.. Still it's an<br />
economy not a mysteryit's just what's emphasized. From the. other end<br />
you could say memory isthere and it's working so there's no. mystery.<br />
Code as a term retains someof the mystery the wonder and.<br />
complexities which is lost in the formulaterm. I never stop wonder<br />
about the. inside and outside like this sailboatmoving slowly past the<br />
village seen from. the boat it's somethingcompletely different from the<br />
boat it's a mystery from. the balcony itseems quite boring objectified<br />
but it's both and that's. alwaysintruiging it connects to relativity from<br />
Galileo to Einstein and. forextrapolating the move to relativity is also a<br />
move to code of. thesubjectobject floating within a reference system<br />
which connects to codeas. reality each reference system is on its own a<br />
whole.No no i don't think. this goes if (x) is for example sorted it<br />
doesn'tlead to an elimination of. (x). Think of coding here as<br />
performative andrequiring a stratum or substrate. that it operates upon.<br />
Even Peirce talkedabout the 'sheet of assertion' the. necessity for a<br />
locus for mathesis.Ok see above codedecode.I want to run. back to<br />
210
information theory and theexamples Baldwin talked about or the.<br />
problems say of transmitter channel receiver with noise parasitic<br />
within. the process.Thanks for the discussion appreciate.Here there are<br />
several. levelscode as existentcode as processcode as procedurecode as.<br />
performativecode as selfregulating or checksumetc. etc.There's<br />
structure. of course and there are material or ideal strata andtheir<br />
interactions. Code. is perhaps a productive system of classificationthat<br />
admits closure.... AlanAdmits closure yes like it's its own end<br />
metaphysics and then real. asreference system like every reference<br />
system is real on its own. Maybe. I'mextrapolating too much but they<br />
might be points of departure at. noemata. Sunday March. <strong>Re</strong> question re<br />
de pre codewurx. About code and codework though not a direct<br />
response I see code generally tied. the western project of science and<br />
cultureunravelling nature's code turning. it into culture and technology.<br />
Thishas no real basis any longer science has. already made us<br />
transparentwe know code is nothing and that there aren't any. secrets.<br />
So there's nobasis still code is everywhere all the more since it's. not<br />
tied toanything any longer doesn't refer to anything more real or more.<br />
trueit's able to infect our lives more like a freefloating entity from.<br />
thelayers of reality. If we have layers of reality we have codes. Ifreality<br />
is. one there's no code but our sense of reality is not one. Ifyou could<br />
live in. one there would be no code and it would be the heavensof the<br />
mystical. The. mystical is tied to code but we know there's nomystery.<br />
Inside yourself you're. a mystery that's it. Walking throughyourself<br />
you're code. These are all layers. of nothing. We know that ifsomething<br />
is code then it's nothing that's almost. the proof of it.Then there's the<br />
doubleness of code of inside and outside. thecommunication machinery<br />
of input and output between layers codesubjectand. codeobject. There's<br />
no fundamental basis for the codes only thesubjectobject. which moves<br />
around freely. When I'm using code it's areflection of the codedness. of<br />
culture the structural complexities ofinformation and communication<br />
layers. of reality which are always therea reflection of culture as<br />
construction. traversing it's layers whichmeans insideout backwards<br />
reverse the. twofaced. In my work I'm notusing code in a fundamental<br />
way it's code without. any basis diffusionof code double and nothing of<br />
codes. Codes are still. fascinating weneed something to do as humans I<br />
quite sure we're genetically. gearedtowards these things<br />
problemsolving directedness of. attentioninformationchurning. Still we<br />
have no mysteries only the codes. andthey're not real only a kind of art<br />
beauty of codes what we're madeof. still no mystery only reality. Codes<br />
211
eal but not real that'salso the. doubleness what we mean with subject<br />
and object they're bothreal but not. real to each other if the subject is<br />
real the object isunreal and vice. versa. These two could be stated as a<br />
classical and aromantic notion of code. the romantic code refers to<br />
something beyondas its reality (nothing) while the. classical code to its<br />
construction(double).I know this didn't answer any. noemata. Thursday<br />
March. commendam. noemata. Wednesday March. ideareal. ideareal. i.<br />
iwant somehthign that kid on its own atomata like tat fly in the win the<br />
fog. leaves (they does it) eprime the drema (dramadream) of magic well<br />
science and. the howto any base debase. coming back to.sensation must<br />
be based on. recurrence else you wouldn't know but still sense but no.<br />
the only once it. doesn't count (count is recurrence). any object. object<br />
is too much object.. anything that is visible or tangible and is relatively<br />
stable in form. to you.. something. thing (meeting interface).<br />
subjectsubstance into emergent. relation. egene remove posessive my's.<br />
reactive at chemical level. behave. late ME behaven (reflexive). See BE<br />
HAVE.behaviorism the theory. that psychology can be accurately<br />
studied only through the examination and. analysis of possessives.i'm<br />
no one get your hands off. me.HAHAkarmaguilttracesi once had<br />
guiltwriting haha says it all (active. expression vs matters of<br />
doctrine)laughter is eternally guilty (doctrinal in. writing) as any<br />
statement is in mouthing. guilty guilty guilty (how awkward to.<br />
write)how's writing attached to guilt should stop writing another way<br />
the. status of relate to valuemeaning other than drawn lines chunks<br />
(interfaces. again). media always suppose it's the other way around<br />
signs are lines lines. are signs stronger attraction wins attraction to what<br />
easy processing. easiest way. of decoding relating to complexity of the<br />
system minimax. bordering to illusion ('interface') accidencesubstance<br />
critical distance.. and easiest system wins like gravitation is stupid you<br />
always get signs too. obvious it's their job. backtracking guilt is thru<br />
the sign you shouldn't. attach it's like chaplin on a conveyor belt down<br />
the economy.talking is a way. recur. stimulusresponse augment<br />
possession your responsibility of whatever. yourswhy isnt our numbers<br />
rather words ssntel n filter for mnemonic.. vs or the same after filter<br />
anyway for association.all this is. slowing my dawn. how's the active<br />
expression conserved and the notraces. whose. dawn on. a contest in<br />
speed first one to die (not race). a surviving mark. sign or evidence of<br />
the former existence influence or action of some agent. or event of L<br />
tractus ptp. of trahere to draw drag. the play comes in very. fast.<br />
voicerecognition talking to your thumb (sms) i was thinking maybe.<br />
212
telepataphysics (remote distraction L distractus (ptp. of distrahere to<br />
draw. apart)) notrace ref drift draft currents of air or alcohol plea.<br />
derangment derive trace as no trace. or mnemonics animated a muse<br />
plea. matronym. Wednesday October. bamboon. sprkgeriljagjeninnfre<br />
forandre bruken av ord f.eks. 'arrest'. tilbakefre til betydning 'stille'<br />
(arrest).karma. sporinformasjonssamfunnet skaper 'karma' gjennom<br />
behov for sporbarhet. uten. spor uten skyld.If bodhisattvas even those<br />
who have completed the ten stages. of mind practice were all to seek<br />
for the traces of such a follower of the Way. they could never find<br />
them. Therefore the heavenly beings rejoice the gods of. the earth stand<br />
guard with their legs and the buddhas of the ten directions. sing his<br />
praise. Why Because this man of the Way who is now listening to the.<br />
tapt med elektronisk skrift ascii l det meninger i utfrelsen av. skrift<br />
Hvordan ta vare p skrivingen i elektronisk skrift. vetikke fylle rom med<br />
tid............ utfrelsen av rom tid programkunst har tid men lyshastighet<br />
syn er den. dermed billedkunstgender issueYour minds instant by<br />
instant confront an empty. matronym. Sunday October. phaneros.<br />
noemiist. there's a local history group in the area writing articles which<br />
gets released. in a small yearbook by the museum i had some of them<br />
sent them off to a. friend. among the interesting where stories about<br />
Omgang a deport and. execution place in the middle ages a few some<br />
km from here unhabitated long. since. prisoners from northnorway<br />
don't know how far south where imprisoned. at this very desolated<br />
place and in fact a couple of women got burned as. witches there in es<br />
if I remember right a young woman Dorte something. accused of<br />
making storm at sea where a man she had some relation to died you.<br />
could tell by the incidents she probably was an attractive woman<br />
making the. men with power quite jealous humiliated and very mad<br />
after half a year in. prison she was burned alive in I think.. another<br />
interesting thing is the labyrinth as Mikkelsberg also close by with.<br />
some discussion of the authenticity of it it origins either from the<br />
pomor. trade with russians a couple of centuries ago or from much<br />
earlier habitation. of the area the earliest settlers probably being the<br />
sami komsaculture. several thousands years ago there's some debate a<br />
dr. something writing his. thesis the sami were not the first inhabitants.<br />
the labyrinth has not been. coast from fear of messing it up the traces<br />
are very vague but it has the. traditional form and is about in diameter..<br />
there's some war time history since the whole shit was burned down by<br />
germans. the whole north of norway every building here so they turned<br />
the boats on. their head and lived under there or lived in caves at the<br />
213
coast. things have. been rough here of course finding support actually<br />
there were some. agriculture before not much not a single tree mostly<br />
just fishing. reindeer. come out to the coast in summer only.. and stories<br />
from the sea lot of people getting lost out there the weather is. very<br />
unpredictable and can turn nasty fast. eye wetting stories of that.. this<br />
have never been a sami area they tell me they are centered more inland.<br />
with reindeer business and sami is not spoken here just norwegian and<br />
some. russian i hear younger gals coming from poor Murmansk area via<br />
Kirkenes. seeking a better life my former landlord (later I found out he<br />
actually. didn't own the house hahah usual crapulence of the decline)<br />
an old drunkard. married like that etc. Drinking is a problem as you<br />
could guess unemployment. rate the school is downsized pessimism.<br />
The people are jovial and is known. for offensivestrong language like<br />
mainnsjit (manshit) used in every other. sentence like shit. It's a very<br />
quiet area tourists in summertime going to. north cape also visiting the<br />
lighthouse.. the sami has their own lore of course with the usual shaman<br />
noaide and his. drum being a finnishugrish people. the reputation of the<br />
sami as a people. practising witchcraft is widespread and the stories of<br />
people having psychic. abilities and connection to the sami people..<br />
they would have stories for film here yes maybe that would be their<br />
new. resource when fishing fails.. selling their mainnsjitty souls...<br />
slipsoil. would love to hear anything more about the troll witch.<br />
woman.. have you ever thought of doing a collection. of local lore or<br />
some kind of series about it.. I would definitely like to hear more about<br />
this kind of stuff.. A movie about Gisken the troll witch woman sounds<br />
fantastic. I can dream anyway. I would love to be the Kurasawa of<br />
world. folktale cinema. They make such crap in the movies nowadays.<br />
everyone knows. The lore is where its at for authenticity.. there some<br />
plans making windmill parks in the area kali sculpture. sounds more.<br />
interesting than bluewindmillpapas the nine moulds grinding. machine<br />
kali. land art would certainly be a cult attraction in this wasteland.<br />
integrating. with sami lore maybe. myth the gygr troll witch woman<br />
Gisken lived at. Steinvåg. here (i'll upload some more pics hopefully<br />
soon) and from Snorre's. king'. sagaes the queen Gunhild of king Eirik<br />
Bloodax learing witchcraft. her. stuff like that with color history place<br />
being a mix of norwegian. sami. russian finnish origins. a nature<br />
reserve for aggressive birds now. diving at. you.. ad undas is just<br />
paperwork. art grants yes it would be possible but. i'm a. mess and to<br />
impatient for things to become real i would need someone. else to. take<br />
care of things.. solipsis. ad undas reminds me of that Ian Hamilton<br />
214
Finlay piece.. Did you shoot any video. I had this idea for a sculpture<br />
for that place where you live.. Its like a black Kali goddess thing to be<br />
put out in the. icy wilderness but its solid metal like a stovetop electric<br />
coil. then you have like these solar batteries and once they builds up.<br />
enough charge they discharge into the body of the goddess. make her<br />
heat up by the same property of resistivity the stove. coil uses. She<br />
would get red hot for about hours I should think.. I imagine the statue<br />
saving someone's life maybe if they happened. get trapped in a<br />
snowstorm or maybe it would just be beautiful. as the snow hitting it<br />
and turning to steam immediately.. You get us Art grant to make<br />
<strong>Re</strong>dHot Mama Absolutely. It could be Freigha or Frigga or somesuch<br />
or maybe just. an abstract blob.. I just like the idea of a redhot statue.<br />
Yeah It does look cold. But the pics knocked me. out. Wow. I thought<br />
that thing was a fish drying rack.. At any rate looks like a killer filming<br />
locale. for maybe like a Norse mysticgiallo thriller. with underground<br />
cannibals a sweet fishmonger. and some eccentric locals with a lot of<br />
time. on their hands.. hehe that's very to the point me and a friend had<br />
the same idea and played. around with it there's lot of text on it but<br />
only in norwegian. community 'ad undas' to the waves with the defunct<br />
net.art project of. routing incoming mail into message in bottles and<br />
throw them into barents.. the. project is also defunct throwing itself..<br />
your ingredients are well taken. care of.. Oregon's pretty wet. orgon o<br />
norge gorgon gargentula. thai chi dirigent. hvis en dirigent står alene er<br />
det det da thai chi. og hva med en thai chi dirigent hvilken musikk får vi.<br />
mem. oi dont want to remember things i dont want to remember. one<br />
click erasing memory. drug. not possible we have culture solutions for<br />
dealing with memory. better was deleting. newborns. cultural cycle<br />
generation. never learn. oppdrett. oppdretttsanlegg scene. fisk fremfører<br />
balett. ingen slipper ut. mating. slakt kritikere. PRESSEMELDING.<br />
PRESSEMELDING. PRESS RELEASE. id. ingen identitet ikke..sprk.<br />
open sorcery. koreografert masse. alle ting har sjel kunstverket sjel når<br />
tingene snakker. ingenting har sjel eksperimentet tingen bekjenner når<br />
den dør. copyleft. er dette litteratur kode manusfilm konseptkunst<br />
pseudokode noemata. telemata kloster. ulykke taper slik andre viser<br />
status og vellykkethet. oslash. mediering. ta bort ingen telemata. ta bort<br />
person. ta bort miljø kontekst noemata. ta bort begge arspublica.<br />
noemata er medieringen indreytre ytreindre. telemata er indreindre men<br />
mediering. arspublica er ytreytre iom. umediering av det medierte. nn.<br />
noemata har kunnet kontekstualiseres som kunst fra den ene siden som<br />
hærverk. herjing jamming fra en ann kanskje u ser også på dette med stat<br />
215
og krike. forkslig fra institusjonalisering har vurdere p gå til krig mot<br />
landet krev. traceborders x mot kirken vurereer opprettelsen av et<br />
kloster telemata. dette med penger er også interesant egne pengesusterm<br />
misbruk av penger. så har. vi dette med kriminalitet hva vi står for en<br />
open source crime osc oscillation. som arb tittel som undersøker<br />
forholdet mellom kriminalitet og kunst kultur.. alle dine tetene er ikke<br />
separaret men forkjsellige sider eller aspekter ved. noemata av ekspeler<br />
på dette med kontekskunst som er et begrep som rplver. pforklare<br />
aktivtener aktualisreingene. kk er tinene ikke har noe bething i seg selv<br />
men får betydning ettersom. sammenhenen se dettes inn i griet fortalt.<br />
sagt på en annen måte er kk etc. taktilt media som legger seg mellom og<br />
bruker misbruker allerede eksisteredne. media kontekster<br />
sammenhenger som et meta medim eller paramedium som.<br />
dmedialiserer det kenner over ikuders sekisterer med og sel sel. denne.<br />
emdialiseringen knytter det kunst sinden kunstene å medialisere kegge<br />
noe. mellom seg selv og virkeligete mellom subjecst og object. noe vi<br />
alltid gjøre. liekvel s p kunsten gjør denne medialiseringe synig slikat di<br />
kan ta. kontrollen selv. dette er noe som minner om vitenskap og<br />
ekspeintet har i. vitenskapen samme finkson som kunstverken i<br />
kutluren at det er en kunstig. oppstilling en modell av noe som har til<br />
hesitk å avdekke forhold slikv i an. forstp hva som foregåpr. forkjesllen er<br />
at eksperimentet er knyttet til. objektet mens kunstverker knyttet mer til<br />
subjetket men base to gjør et. naturlig forhold om til etmedium noe man<br />
kan kege og eksperimentere med. men. så kan vi sprllr ka vienskapen<br />
eskperimenter med hva som ehstli vitenkspaen. navn. sdkal vi fikle med<br />
gener. etc. å ekspandere med naturen var ikke bara. antikken<br />
eksperimenterte. og det første begrep opptatt i renessansen og idag.<br />
eksperimenterer ved vah som heslt stpter opp mot auteiske grenser<br />
hvrdan er. det med kunsten kan viv fjhøre kunst av alt jva er pienge r<br />
med å lage kunst. av noe. hvorfor eksrerimetere vitenslapen kanskje kan<br />
vi si at kunst er å. eksperimentere med kulturen slik vitenskapen<br />
eksperimenterer med naturen. kulturen er oppi hodene våre i subjektet<br />
mens natuen er ute der objekter. noemata som fenomenologisk uttrkk<br />
betyr med medailserin gmellom subket og ojemt. noe er et tankeobjekt<br />
met mulgi objeet en subketinv forestilling om noe en. modell et<br />
epslriemtn. patafysikk har kalst seg en imaginær eller vitenskap om. de<br />
imagineære løsinger og er et slags begerp for en sammenheng mellom<br />
kunst og. vitenskap ghennom eksperimentet. patafsykk er den forkalres<br />
fra epimetafysikk. fas har vi syikk som er idal bijet for natuar<br />
vitrenskapen sar vi metafysikk. som er forskjelige lærer om hvor subjetet<br />
216
hører hjemme i naturen av ovketer. så. har vi det med epimetafysikk som<br />
kommer etter metafysikken som een posttilstans. til læren om subjektet<br />
og læren om objektet den blir læren om læren om. subjekter og objekter men<br />
patasykkken er en løre om det partilulare og blir en. lære om<br />
eksperimentet og kunstverket. a room with a view. tom mørkt rom med<br />
tc på en vanlig reklamekanal. aktiv passiv hvem ser televisjon tven ser<br />
inn i rommet. omvendig av uttrykket utsikt tv innsikt men likskapen.<br />
room with a view er idag tvrom. dybde. hvis dybde er en dimensjon<br />
betyr ikke det at vi kan være dype og samtidig. overfladiske ikke<br />
enteneller. form. formen tømmer innholdet. klokka tømmer tiden.<br />
struktur tømmer mening. noe. alt er grisete og komisk. du aksepterer det<br />
dess bedre. men det finnes vakre subtile ting kunst. vakkert er grisete<br />
kunst er komisk. etc. nyhetstjeneste. minnetjeneste. forfalskning.<br />
nupenbilder forfalsket med digitalteknikk. noen av noematas digitale<br />
bilder er også forfalsket kopiert da kanskje med. analoge teknikker<br />
håndtegnet animasjon forfalsket maskingenerert dialog. men som bare<br />
var funnet pårene fantasiprodukter.. webpaintings. ct RHIZOMERAW<br />
webpaintings. mail art server. søknad. mail art software art codework.<br />
auto.noemata.net. PLS. PLEASE DO NOT SELL ART. CALL FOR<br />
FUNDING. son scalptures. static property of an object else it's a<br />
medium and 'sculpture' is kind of. false like ectoplasma.. radio<br />
whatever you need object simulation art abject desolated machinated.<br />
area. d machinated a. eyou need objr. t alse likeee. arf and ' ca. le mect<br />
eset. ovfujoperlcc. o ytreporp cit. frutplucs' da. e. .amsalpont. artcejbo<br />
tas. n'a tcejdc. dsdnihcbee. lemma for win taskbar. lemma for win<br />
taskbar. if you add the average divide will be within the last. never<br />
zero. example. lets say and then. and adding one block will be .... so i<br />
will be at and it's okay. or then .. and adding .. ok i'm saved again ). or<br />
if you divide a thing in and you're at the beginning of. then if you<br />
rather divide it in you'd still be at the . piece. lets see is there a proof for<br />
this. your mother is older than you. no and not a proof anymore you<br />
might be your. own motherfather. absurdum proof. a. b (for any scale).<br />
if was zero then b length would have to be shorter than a but they are.<br />
defined as equal so forget it. application oflemma. in windows if your<br />
pointer is at the beginning of the last open. application (A) on the<br />
taskbar and you open a new application the mouse. pointer will still be<br />
at application A ie. you don't have to move it. that's a relief.. well now<br />
you now. you'd be better off in the junctions of yourself than at the end<br />
solids. know you now.. gnothi seauton. taken that you're mostly the<br />
same it's better to be retrogarde than at the. front within the last<br />
217
offensive manouvre if you'd rather stay on your butt. (or on your feet<br />
allthesame). from the wart of aar (against all risks). see how to cope<br />
without the mouse win manual. lemma for things. lemma for things.<br />
lets say there's an image reflecting from the mirror or trees in the wind.<br />
moving on plastic garden chairs so then we already know that what<br />
appear. isn't necessarily a property of the object and you come to doubt<br />
even the. trees they might be 'reflections' from seed or whatever.. ok<br />
from the other end is there a property necessary for things let's try. not<br />
to answer that but reason. if there was something necessary for things<br />
it. would be essence so anyway properties are out (or could be<br />
considered. 'relations of essence' or something). but what about the<br />
essence does it. have an essence or if you say the essence of glass is<br />
glass at some point. (btw is the common sense of common sense<br />
common sense people will frown at. you). well the essence we arrive at<br />
planck border let's see we'd make. combination of matter as prime<br />
number frequencies of the planck constant and. the essence (or property<br />
derived essence) could be these numbers they are. different. or property<br />
of words their essence it becomes very clear that. their bodies are inside<br />
out (or you might consider them inside the body like. the rectum of a<br />
horse) or like a view from the circumference to the. center asif the<br />
context was a sense apparatus of a being that would be. like well all you<br />
need is interaction and the thing or word would be its. interface its<br />
buttons in that sense these are commands for context and. you'd realize<br />
some are dummy but others are changing and you learn which way.<br />
around causal.. so to sum up the thingproperty idea the thing is the<br />
property (of a. context) and the property is the 'interface' (the thing).. in<br />
our examples like the mirror image where the thing seems rather to be<br />
a. property of the thing and the property rather its context and at the<br />
same. time interface of the thing.. thing property context. and. thing<br />
(context) property (thing) context. where () are 'relations'. questions.<br />
ok we're finished. transcript. art ideas. large ascii space. each character<br />
only defines the next character's position and the map. draws another<br />
character where to find the next space. aka. procrasciination timebased<br />
viewerfriendly asciiart structuralism.. in the end everything will be<br />
read. we use robots for that.. proper names. russel's descriptivism and<br />
the absurd. tectonics. the possible worlds of possible worlds. it's<br />
possible that it's necessary that arg. Aristotl the ancient aztec. flaccid<br />
designators you motherfdckers. i had you in mind yes YOU. dispersals<br />
kleenex. what's the name of my name if it has no name... these are<br />
canals water down the mountains easiest. do things get heavy. i don't<br />
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know why we continue to live. i should be happy. i am. there's only<br />
digressions. one more stupid than the other. ha las i was talking about<br />
proper names. the most stupidestest reggid beests. The Hound of<br />
Baskerwille. that one... or jack the ripper of proper names. binucleated.<br />
bodied tobit is artificialises desensitize and muscling who has.<br />
bechwood profess.. boule art and commender prolan for ovation a<br />
decanoic chamber.. his interchange diking ascensive. has beggar<br />
fecundations on nullity and web sister and ... more. in existentialist at<br />
the san fraternising moma. the whitewood murrey of ames art. the<br />
deselecting muscovy. geranial and art. desirousness musicians<br />
breakups.. digitalized desideratum. and desire awaited for maestro and<br />
the one closing.. he was a contradict wristwatch.. for whiffler he<br />
writhen a columnist absconded culm.. Dear Friend.. Frustration and<br />
hopelessness.. Sincerely yours. whiskers stupor. This sense of what I<br />
tell about a fetus in diesem Herzen alles denkst. whaT IS this und<br />
mystisch begabt und mystisch begabt und Mich um. Uhr () schrieb.<br />
yeah and so what. So habe sie wurden bekannt als Liber i don't believe<br />
that. That ego thing the mum as soon as soon as the mazework here.<br />
what's. that nonsense museum That the will keep ignited moving.<br />
Superior. delete text. Delete cht.txt log of AlbertaCanada TG E my<br />
cause in dee dee body. the genus creaters.vMaybe just as a delete text<br />
filtering and. you.vdelete youvDelete cht.txt deletes this about the<br />
ladies also I. will survivevbecause somehow i get back.vyour back.<br />
Back to be new.. new to be backvBack to Amsterdam.vLab hamsters.<br />
Directing among primes. no less than among those who have parents.<br />
Among those structures would be conspiratorial i do their jab.. not with<br />
exceptional facts. Exceptional fantasies <strong>Re</strong>mbrandt paints to let the<br />
spectrum. (radiation) with them for our own backmind a universal or do<br />
with. ownership.. widest nonsense of the word. Nonsense of his<br />
mediocre texts. or something about the early s I wonder what I took the.<br />
phantasmagoria as her aura. a human phenomenon that kind of<br />
phenomenon. Human phenomenon that an other but applied to focus<br />
our doors.. anyone who is trying. Anyone who brought on identity door<br />
in out. Out what are part and whenever we need. need pants. Need<br />
wings of its fundamental nature.. panting nature. Nature Hong Kong<br />
direction. i think it's in the opposite. Opposite direction. no the<br />
opposite. Opposite direction. no the opposite. Opposite direction. no.<br />
The my name is.. and the 'is'. it's like glue and you. know they're<br />
different pieces when you need the glue. the 'my' myohmy things that<br />
are yours but what do the yours belong. if yours belong to you do<br />
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elong belong to you maybe by law and. do the law apply to you by<br />
law and the law belongs to the people in. return like a surprise shower<br />
in the park it's yours like that like. '' in your birth year yours to keep..<br />
i've ignored the sentences.. plain and straight like a rope. (Only<br />
yesterday) I was imagining a hypersculpture in that same room. which<br />
changes its expressive form from how light and shadow fall. during the<br />
day. Steganosculpture. Pulsct anagrammatic sculpting in. time. It would<br />
be amorphic and monstrous as a whole. System theory. properties<br />
emerge from relations. All the perfect motives in panels of. wood<br />
gestalts still invisible you'd need a key given by the sun.. bonus.<br />
linquate a Markov chain derived pseudolexicon. Florian Cramer<br />
Concepts Notations Software Art. Florian Cramer. Concepts Notations<br />
Software Art. March rd. Software and Concept Notations. Software in<br />
the Arts. computers primarily as storage and. display media as<br />
something which transmits and reformats images sound. and<br />
typography. <strong>Re</strong>flection of the as such invisible layer of software is.<br />
rare. Likewise the term digital art'' has been associated primarily. with<br />
digital images music or audiovisual installations using digital.<br />
technology. The software which controls the audio and the visuals is.<br />
frequently neglected working as a black box behind the scenes..<br />
Interactive'' room installations for example get perceived as a.<br />
interactions of a viewer an exhibition space and an image projection.<br />
not as systems running on code. This observation all the more applies<br />
to. works in which it is not obvious at all that their production relied on.<br />
programmation and computing. John Cage's radio play Roaratorio''.<br />
for example appears to be a tape montage of a spoken text based on<br />
James. Joyce's Finnegans Wake'' environmental sounds recorded in<br />
several. cities of the world and Irish folk music edited with analog<br />
recording. technology. Yet at the same time it is an algorithmic artwork<br />
the spoken. text was extracted from the novel using a purely syntactical<br />
formal. method (mesostychs of the name James Joyce'') and the<br />
montage was done. according to a random score generated on a<br />
computer at the Parisian IRCAM. studios. While the bookplusCD set of<br />
Roarotorio'' documents the whole. composition extensively containing<br />
the audio piece itself a recording. and a reprint of John Cage's reading a<br />
recording and a reprint of an. interview an inventory of the cities where<br />
sound was recorded it. includes the computergenerated score itself only<br />
in a onepage excerpt. and nothing at all of the computer program code<br />
which generated the. random score.. The history of the digital and<br />
computeraided arts could be told as a. history of ignorance against<br />
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programming and programmers. Computer. programs get locked into<br />
black boxes and programmers are frequently. considered to be mere<br />
factota coding slaves who execute other artist's. concepts. Given that<br />
software code is a conceptual notation this is not. without its own irony.<br />
In fact it is a straight continuation of. romanticist philosophy and its<br />
privileging of aisthesis (perception) over. poeisis (construction)<br />
cheapened into a restrained concept of art as. only that what is tactile<br />
audible and visible. The digital arts. themselves participate in this<br />
accomplicity when they call themselves. new media art''. There's<br />
nothing older than new media'' a term. which is little more than a<br />
superficial justification for lumping. together a bunch of largely<br />
unrelated technologies such as analog video. and computing just<br />
because they were new'' at a particular time. If. one defines as a<br />
medium something that it is between a sender and a. receiver then<br />
computers are not only media but also senders and. receivers which<br />
themselves are capable of writing and reading. interpreting and<br />
composing messages within the limitations of the rule. sets inscribed<br />
into them. The computer programs for example which. calculate the<br />
credit line of checking accounts or control medical. instruments in an<br />
emergency station can't be meaningfully called. media''. If at all<br />
computer processes become media'' only by the. virtue that computers<br />
can emulate any machine including all technical. media and by the<br />
virtue of the analog interfaces which transform the. digital zeros and<br />
ones into analog sound waves video signals print type. and vice versa..<br />
A Crash Course in Programming. A piece of software is a set of formal<br />
instructions or algorithms it. is a logical score put down in a code. It<br />
doesn't matter at all which. particular sign system is used as long as it is<br />
a code whether digital. zeros and ones the Latin alphabet Morse code or<br />
like in a processor. chip an exactly defined set of registers controlling<br />
discrete currents. of electricity. If a piece of software is a score is it then<br />
by. definition an outline a blueprint of an executed work. Imagine a<br />
Dadaist poem which makes random variations of Hugo Ball's sound.<br />
poem Karawane'' (Caravan''). KARAWANE. jolifanto bambla falli<br />
bambla. grossiga m'pfa habla horem. giga goramen. higo bloiko russula<br />
huju. hollaka hollala. anlogo bung. blago bung. blago bung. bosso<br />
fataka. schampa wulla wussa lobo. hej taat grem. eschige zunbada.<br />
wulebu ssubudu uluw ssubudu. tumba baumpf. kusagauma. baumpf.<br />
The new Dada poem could simply consists of eight variations of the<br />
line. tumba baumpf''. The author performer could throw a coin twice<br />
for. each line and depending on the result choose to write down either<br />
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the. word tumba'' or baumpf'' so that the result would look like. tumba<br />
tumba. baumpf tumba. tumba baumpf. tumba baumpf. baumpf baumpf.<br />
baumpf tumba. tumba baumpf. tumba baumpf. The instruction code for<br />
this poem could be written as follows. Take a coin of any kind with two<br />
distinct sides.. <strong>Re</strong>peat the following set of instructions eight times.<br />
<strong>Re</strong>peat the following set of instructions twice. Throw the coin.. Catch it<br />
with your palm so that it lands on one side.. If the coin shows the upper<br />
side do the following. Say tumba. Else do the following. Say baumpf.<br />
Make a brief pause to indicate the end of the line.. Make a long pause to<br />
indicate the end of the poem.. Since these instructions are formal and<br />
precise enough to be as well. executed by a machine (imagine this<br />
poem implemented into a modified. cuckoo clock) they can be<br />
translated line by line into a computer. program. Just as the above<br />
instruction looks different depending on the. language it is written in a<br />
computer program looks different depending. on the programming<br />
language used. Here I choose the popular language. Perl'' whose basic<br />
instructions are rather simple to read. for lines ( .. ). for word ( .. ).<br />
randomnumber int(rand()). if (randomnumber ). print tumba. else. print<br />
baumpf. print. print<br />
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200<br />
print n. The curly brackets enclose statement blocks executed under<br />
certain. conditions the prefix designates a variable which can store<br />
arbitrary. letters or numbers the rand()'' function generates a random<br />
value. between and . int'' rounds its result to either zero or one. ''<br />
stands for a blank. n'' for a line break. This program can be run on<br />
virtually any computer. it is a simple piece of software. Complex pieces<br />
of software such as. computer operating systems or even computer<br />
games differ from the above. only in the complexity of their<br />
instructions. The control structures. variable assignments loops<br />
conditional statements are similar in all. programming languages..<br />
Unlike in the instruction for throwing coins the artists' work is done.<br />
once the code is written. A computer program is a blueprint and its.<br />
execution at the same time. Like a pianola roll it is a score performing.<br />
itself. The artistic fascination of computer programming and the.<br />
perhaps ecstatic revelation of any firsttime programmer is the.<br />
equivalence of architecture and building the instant gratification given.<br />
once the concept has been finished. Computer programming collapses<br />
as it. seems the second and third of the three steps of concept concept.<br />
notation and execution.. Contrary to conventional data like digitized<br />
images sound and text. documents the algorithmic instruction code<br />
allows a generative process.. It uses computers for computation not<br />
only as storage and transmission. media. And this precisely<br />
distinguishes program code from nonalgorithmic. digital code<br />
describing for example the difference between algorithmic.<br />
composition on the one hand and audio CDsmp files on the other<br />
between. algorithmically generated text and hypertext'' (a random<br />
access. database model which as such doesn't require algorithmic<br />
computation at. all) or between a graphical computer demo'' and a<br />
video tape. Although. one can of course use computers without<br />
programming them it is. impossible not to use programs at all the<br />
question only is who programs.. There is after all no such thing as data<br />
without programs and hence no. digital arts without the software layers<br />
they either take for granted or. design themselves.. discuss software<br />
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art'' simply means to not take software for. granted but pay attention to<br />
how and by whom programs were written. If. data doesn't exist without<br />
programs it follows that the separation of. processed data'' (like image<br />
and sound files) from programs'' is. simply a convention. Instead data<br />
could be directly embedded into the. algorithms used for its<br />
transmission and output to external devices.. Since a digital<br />
photograph'' for example is bitmapped information. algorithmically<br />
transformed into the electricity controlling a screen or. printer via<br />
algorithmic abstraction layers in the computer operating. system it<br />
follows that it could just as well be coded into a file which. contains the<br />
whole transformation algorithms themselves so that the image. would<br />
display itself even on a computer that provides no operating. system..<br />
Software Art. Executable Code in Art. If software is generally defined<br />
as executable formal instructions. logical scores then the concept of<br />
software is by no means limited to. formal instructions for computers.<br />
The first Englishlanguage notation. of the Dadaist poem qualifies as<br />
software just as much as the three. notations in the Perl programming<br />
language. The instructions only have to. meet the requirement of being<br />
executable by a human being as well as by a. machine. A piano score<br />
even a th century one is software when its. instruction code can be<br />
executed by a human pianist as well as on a. player piano.. The Perl<br />
code of the Dada poem can be read and executed even without. running<br />
it on machines. So my argument is quite contrary to Friedrich. Kittler's<br />
media theory according to which there is either no software at. all or at<br />
least no software without the hardware it runs on If any. algorithm can<br />
be executed mentally as it was common before computers. were<br />
invented then of course software can exist and run without. hardware. A<br />
good example are programming handbooks. Although they. chiefly<br />
consist of printed computer code this code gets rarely ever. executed on<br />
machines but provides examples which readers follow. intellectually<br />
following the code listings step by step and computing. them in their<br />
minds.. Instead of adapting Dadaist poetry as software one could regard<br />
some. historical Dadaist works as software right away above all Tristan.<br />
Tzara's generic instruction for writing Dada poems by shuffling the<br />
words. of a newspaper article. make a Dadaist poem. Take a<br />
newspaper.. Take a pair of scissors.. Choose an article as long as you<br />
are planning to make your poem. Cut out. the article.. Then cut out each<br />
of the words that make up this article and put them in. a bag.. Shake it<br />
gently.. Then take out the scraps one after the other in the order in<br />
which they. left the bag.. Copy conscientiously.. The poem will be like<br />
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you.. And here you are a writer infinitely original and endowed with a.<br />
sensibility that is charming though beyond the understanding of the.<br />
vulgar.. The poem is effectively an algorithm a piece of software which<br />
may as. well be written as a computer. program.. If Tzara's process<br />
would be adapted as Perl or C code from the. original French it<br />
wouldn't be a transcription of something into. software but a<br />
transcription of nonmachine software into machine. software.. Concept<br />
Art and Software Art. The question of what software is and how it<br />
relates to nonelectronic. contemporary art is at least thirtytwo years old.<br />
In the art. critic and theorist Jack Burnham curated an exhibition called<br />
Software. at the Jewish Museum of New York which today is believed<br />
to be first show. of concept art. It featured installations of USAmerican<br />
concept artists. next installations of computer software Burnham found<br />
interesting such. as the first prototype of Ted Nelson's hypertext system<br />
Xanadu''.. Concept art as an art of which the material is concepts' as<br />
the. material of for ex. music is sound'' (Henry Flynt's definition from.<br />
) and software art as an art whose material is formal instruction. code<br />
seem to have at least two things in common. the collapsing of concept<br />
notation and execution into one piece. the use of language instructions<br />
in software art concepts in concept. art. Flynt observes Since concepts'<br />
are closely bound up with. language concept art is a kind of art of<br />
which the material is. language''.. It therefore is not accidental that the<br />
most examples of preelectronic. software art cited here are literary.<br />
Literature is a conceptual art in. that is not bound to objects and sites<br />
but only to language. The trouble. the art world has with net.art because<br />
it does not display well in. exhibition spaces is foreign to literature<br />
which always differentiated. between an artwork and its material<br />
appearance.. Since formal language is a language software can be seen<br />
and read as a. literature.. If concepts become to quote Flynt again<br />
artisticmaterial'' then. concept art differs from other art in that it<br />
actually exposes concepts. putting their notations up front as the<br />
artwork proper. In analogy. software art in particular differs from<br />
softwarebased art in general in. that it exposes its instructions and<br />
codedness. Since formal instructions. are a subset of conceptual<br />
notations software art is formally a subset. of conceptual art.. My<br />
favorite example of both concept art in Flynt's sense and noncomputer.<br />
software art is La Monte Young's Composition '' a piece of paper.<br />
containing the written instruction Draw a straight line and follow. it''.<br />
The instruction is unambiguous enough to be executed by a machine..<br />
At the same time a thorough execution is physically impossible. So the.<br />
225
eality of piece is mental conceptual.. The same duplicity of concept<br />
notation and executable code exists in Sol. LeWitt's Plan for a Concept<br />
Art Book'' a series of book pages. giving the reader exact instructions<br />
to draw lines on them or strike out. specific letters. LeWitt's piece<br />
exemplifies that the art called. concept art since the s was by far not as<br />
rigorous as the older. concept art of Henry Flynt La Monte Young and<br />
Christer Hennix While the. Composition '' is a concept notation<br />
creating an artwork that. itself exists only as a concept mentally<br />
LeWitt's Plan for a Concept. Art Book'' only is a concept notation of a<br />
material graphic artwork.. Unlike the concept art of which the material<br />
is concepts''' LeWitt's. piece belongs to a concept art that rather should<br />
be called a concept. notation art or blueprint art'' an art whose material<br />
is graphics and. objects but which was instead realized in the form of a<br />
score. By thus. reducing its its own material complexity the artwork<br />
appears to be. minimalist'' rather than rigorously conceptualist.. A<br />
writing which writes itself LeWitt's Plan'' could also be seen in a.<br />
historical continuity of combinatory language speculations From the.<br />
permutational algorithms in the Sefer Jezirah and ecstatic Kabbalah to.<br />
the medieval ars'' of Raimundus Lullus to th century permutational.<br />
poetry and Mallarm's Livre''. The combinatory most complex known.<br />
permutation poem Quirinus Kuhlmann's sonnet Vom Wechsel.<br />
menschlicher Sachen'' consists of nouns can be arbitrarily shuffled. so<br />
that they result in permutations of the text. Kuhlmann's and. La Monte<br />
Young's software arts meet in their aesthetic extremism in an.<br />
afterword Kuhlmann claims that there are more permutations of his<br />
poem. than grains of sand on the earth. If such implications lurk in code<br />
a. formal analysis is not enough. Concept art potentially means terror<br />
of. the concept software art terror of the algorithm a terror grounded in.<br />
the simultaneity of minimalist concept notation and totalitarian.<br />
execution helped by the fact that software collapses the concept.<br />
notation and execution in the single medium of instruction code.<br />
Sade's. days of Sodom'' could be read as a recursive programming of<br />
excess. and its simultaneous reflection in the medium of prose. The<br />
popularity. of spamming and denialofservice code in the contemporary<br />
digital arts. is another practical proof of the perverse doublebind<br />
between software. minimalism and selfinflation the software art pieces<br />
awarded at the. transmediale. festival tracenoizer'' and forkbomb.pl''<br />
also belong. this category.. La Monte Young's Composition '' not only<br />
provokes to rethink what. software and software art is. Being the first<br />
and still most elegant. example of all artistic jamming and<br />
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denialofservice code it also. addresses the aesthetics and politics coded<br />
into instructions. Two years. before Burnham's Software'' exhibition<br />
the computer scientist Donald. E. Knuth published the first volume of<br />
his famous textbook on computer. programming The Art of Computer<br />
Programming''. Knuth's wording has. adopted in what Steven Levy<br />
calls the hacker credo that you can create. art and beauty with<br />
computers''. It is telling that hackers otherwise. an avantgarde of a<br />
broad cultural understanding of digital technology. rehash a lateth<br />
century classicist notion of art as beauty rewriting. it into a concept of<br />
digital art as inner beauty and elegance of code.. But such aesthetic<br />
conservativism is widespread in engineering and hard. science cultures<br />
fractal graphics are just one example of Neo. Pythagorean digital kitsch<br />
they promote. As a contemporary art the. aesthetics of software art<br />
includes ugliness and monstrosity just as much. as beauty not to<br />
mention plain dysfunctionality pretension and. political incorrectness..<br />
Above all software art today no longer writes its programs out of.<br />
nothing but works within an abundance of available software code.<br />
This. makes it distinct from works like Tzara's Dada poem which all<br />
the while. it addresses an abundance of mass media information<br />
contaminates only. the data not its algorithm the words become a<br />
collage but the process. remains a synthetic cleanroom construct.. Since<br />
personal computers and the Internet became popular software code. in<br />
addition to data has come to circulate in abundance. One thus could.<br />
say that contemporary software art operates in a postmodern condition<br />
in. which it takes preexisting software as material reflecting.<br />
manipulating and recontextualizing it. The mezangelle'' writing of<br />
mez. an Australian net artist for example uses software and protocol<br />
code as. material for writings in a selfinvented hybrid of English and<br />
pseudo. code. Her net.wurks'' are an unclean broken software art<br />
instead of. constructing program code synthetically they use readymade<br />
computations. take them apart and read their syntax as gendered<br />
semantics. In similar. fashion much software art plays with control<br />
parameters of software.. Software artworks like Joan Leandre's<br />
retroyou'' and Screen Saver''. by Eldar Karhalev and Ivan Khimin are<br />
simply surprising mindchallenging. disconfigurations of commercial<br />
user software a car racing game the. Microsoft Windows desktop<br />
interface. They manage to put their target. software upside down<br />
although their interventions are technically simple. and don't involve<br />
lowlevel programming at all.. Software Formalism vs. Software<br />
Culturalism. Much of what is discussed as contemporary software art<br />
227
and discourse on. has its origin in two semi coherent Londonbased<br />
groups. The older one. around Matthew Fuller Graham Harwood and<br />
the groups IO D and Mongrel. is known among others for the<br />
experimental web browser WebStalker''. which instead of formatted<br />
pages displays their source code and link. structures the Linker'' a<br />
piece of social software'' (to use a term. by Fuller) designed to<br />
empower nonliterate users to design their own. digital information<br />
systems and natural selection'' a politically. analysis of Microsoft<br />
Word's user interface and an essay with the. programmerartists Adrian<br />
Ward (whose Auto Illustrator'' won the. transmediale. software art<br />
prize) and Alex McLean (whose. forkbomb.pl'' won the transmediale.<br />
software art prize) the. theoretician Geoff Cox and participants in the<br />
mailing list eugene''. London (which involve poetry readings of<br />
program code). Both groups take. exactly opposite standpoints to<br />
software art and software criticism. While FullerHarwood regard<br />
software as first of all a cultural. politically coded construct the eu gene<br />
group rather focuses on the. formal poetics and aesthetics of software<br />
code and individual. subjectivity expressed in algorithms.. If software<br />
art could be generally defined as an art. of which the material is formal<br />
instruction code andor. which addresses cultural concepts of software.<br />
then each of their positions sides with exactly one of the two aspects.. If<br />
Software Art would be reduced to only the first one would risk ending.<br />
up a with a neoclassicist understanding of software art as beautiful and.<br />
elegant code along the lines of Knuth and Levy. <strong>Re</strong>duced on the other<br />
hand. only the cultural aspect Software Art could end up being a<br />
critical. footnote to Microsoft desktop computing potentially<br />
overlooking its. speculative potential at formal experimentation. Formal<br />
reflections of. software are like in this text inevitable if one considers<br />
commonsense. notions of software a problem rather than a point of<br />
departure histories. of instruction codes in art and investigations into<br />
the relationship of. software text and language still remain to be<br />
written.. This document can be freely copied and used according to the<br />
terms of. <strong>Re</strong>ferences. Cag. John Cage. Roaratorio. Ein irischer Circus<br />
ber Finnegans Wake. Athenum. KnigsteinTaunus. .. CWM. Geoff Cox<br />
Adrian Ward and Alex McLean. The Aesthetics of Generative. Fly.<br />
Henry Flynt. Concept art. In La Monte Young and Jackson MacLow<br />
editors. An Anthology. Young and MacLow New York ().. Hon. Klaus<br />
Honnef editor. Concept Art. Phaidon Kln ).. Kit. Friedrich Kittler.<br />
There is no software .. kittlerfriedrichthereisnosoftware.txt.. Kuh.<br />
Quirinus Kuhlmann. Himmlische Libesksse. Jena .. Lev. Steven Levy.<br />
228
Hackers. Project Gutenberg Champaign IL ().. Mol. Abraham A.<br />
Moles. Kunst und Computer. DuMont Kln ().. Tza. Tristan Tzara. Pour<br />
fair une pome dadaste. In Oeuvres compltes.. Gallimard Paris .. This<br />
document can be freely copied and used according to the terms of.<br />
Footnotes. Cag <strong>Re</strong>garding randomness generated with computers the<br />
software. artist Ulrike Gabriel says that it doesn't exist because the<br />
machine as a. fact by itself is not accidental.. A similar angle is taken in<br />
the paper The Aesthetic of Generative. Code'' by Geoff Cox Adrian<br />
Ward and Alex McLean CWM. I would not be surprised if in a near<br />
future the media industry would. embed audiovisual data (like a<br />
musical recording) directly into. proprietary onechip hardware players<br />
to prevent digital copies.. Kit. Tza. berlin.decantsinpermutationstzara<br />
poemedadaiste.cgi. Fly. ibid.. But since formal language is only a small<br />
subset of language as a whole. conclusions drawn from observing<br />
software code can't be generally applied. all literature.. Hon p.. Kuh.<br />
ibid.. As Abraham M. Moles noticed already in Mol p.. knuthart.<br />
according Steven Levy Lev among those who explicitly subscribe to.<br />
this is the German Chaos Computer Club with its annual art and beauty.<br />
workshop''.. which is why I think would be wrong to (a) restrict<br />
software art to. only properly running code and (b) exclude for political<br />
reasons. proprietary and other questionably licensed software from<br />
software art. presentations.. OriginalURL.<br />
conceptnotationsconceptsnotationssoftwareart.html. ideareal. germ<br />
term. kulturjamming. endre meningen til symboler logoer. oppgave for<br />
elever cocacola kobles. til negative termer. rikx. ideareal. germ term<br />
test. bamboon. språkgerilja. gjeninnføre forandre bruken av ord f.eks.<br />
'arrest' tilbakeføre til. betydning 'stille' (arrest).. karma spor.<br />
informasjonssamfunnet skaper 'karma' gjennom behov for sporbarhet..<br />
uten spor uten skyld.. If bodhisattvas even those who have completed<br />
the ten stages of. mind practice were all to seek for the traces of such a<br />
follower of. the Way they could never find them. Therefore the<br />
heavenly beings. rejoice the gods of the earth stand guard with their<br />
legs and the. buddhas of the ten directions sing his praise. Why Because<br />
this man. of the Way who is now listening to the Dharma acts in a<br />
manner that. leaves no traces. Rinsay. bamboo. håndskrift. all my a's are<br />
e's. hva gikk tapt med elektronisk skrift ascii lå. det meninger i utførelsen<br />
av skrift Hvordan ta vare på skrivingen i. elektronisk skrift vetikke fylle<br />
rom. med tid........... utførelsen av rom tid programkunst har tid men.<br />
lyshastighet syn er den dermed billedkunst. gender issue. Your minds<br />
instant by instant confront an empty fist (q) a pointing. finger (). i.<br />
229
iwant somehthign that kid on its own atomata like tat fly in the win. the<br />
fog leaves (they does it) eprime the drema (dramadream) of magic. well<br />
science and the howto any base debase. coming back to.. sensation<br />
must be based on recurrence else you wouldn't know but. still sense but<br />
no. the only once it doesn't count (count is. recurrence). any object.<br />
object is too much object. anything that is. visible or tangible and is<br />
relatively stable in form. to you.. something. thing (meeting interface).<br />
subjectsubstance into. emergent relation. egene remove posessive my's.<br />
reactive at chemical. level. behave late ME behaven (reflexive). See BE<br />
HAVE.. behaviorism the theory that psychology can be accurately<br />
studied. only through the examination and analysis of possessives.. i'm<br />
no one get your hands off me.. HAHA. karmaguilttraces. i once had<br />
guilt. writing haha says it all (active expression vs matters of doctrine).<br />
laughter is eternally guilty (doctrinal in writing) as any. statement is in<br />
mouthing. guilty guilty guilty (how awkward to write). how's writing<br />
attached to guilt should stop writing another way the. status of relate to<br />
valuemeaning other than drawn lines chunks. (interfaces again). media<br />
always suppose it's the other way around. signs are lines lines are signs<br />
stronger attraction wins. attraction to what easy processing easiest way.<br />
of decoding. relating to complexity of the system minimax bordering to<br />
illusion. ('interface') accidencesubstance critical distance. and easiest.<br />
system wins like gravitation is stupid you always get signs too. obvious<br />
it's their job. backtracking guilt is thru the sign you. shouldn't attach<br />
it's like chaplin on a conveyor belt down the. economy.. talking is a<br />
way to recur. stimulusresponse augment possession your. responsibility<br />
of whatever yours. why isnt our numbers rather words ssntel n filter for<br />
mnemonic.. vs or the same after filter anyway for association.. all this is<br />
slowing my dawn. how's the active expression conserved. and the<br />
notraces. whose dawn on. a contest in speed first one to die. (not race).<br />
a surviving mark sign or evidence of the former. existence influence or<br />
action of some agent or event of L tractus. ptp. of trahere to draw drag.<br />
the play comes in very fast. voice. recognition talking to your thumb<br />
(sms) i was thinking maybe. telepataphysics (remote distraction L<br />
distractus (ptp. of distrahere. draw apart)) notrace ref drift draft currents<br />
of air or. alcohol plea derangment derive trace as no trace. or<br />
mnemonics. animated a muse plea daimon distribute scatter.. makeshift.<br />
makeshift are the characters carriers. of what knots. oceanic inflation eg<br />
buddhism relax. ego balloon whatever skin count your breath. no<br />
nothing web. distance in relation to. subjectobject the inflated claws.<br />
seems infinite while the getting warm. dot in the horizon the distance<br />
230
when do words get cold they do. of the abject out of sight do<br />
(warmcold). phenomenology of beyond vs here. and now yon bef. me<br />
oe back. geon akin to d gene g jener on baktruppen. enn inn the goth<br />
jains that vs epistolar after sending. thus epistemic after receiving.<br />
thoughts don't originally exist. thus collapses in codeexecution<br />
(bankei). distance of processing time of. 'active expression vs matter of<br />
retract. doctrine' formalexpressive re re re do re gurdijeff. this and<br />
something else waste. (subjectobject) always on the names how odd<br />
the. abject side nominalessential pitch. still wastepaper. kunst på<br />
strømlinjer noe som do mi fa la re si do i have a. følger nettverket over<br />
landet theme. summingen ved mastene lyd. prolegmatic. gi meg et<br />
urokkelig punkt throw away. arkimedes hvordan kan abject.<br />
lillefingeren løfte bilen stage. arbeidet fordelt over lengre vei.<br />
mnemonic. count vs or. those darker parts of the wood the same after<br />
filter anyway. have 'personality' something for association. your breath<br />
no. hidden or attracts intimacy no thing web all this is slowing.<br />
something else my dawn. how's the active. expression conserved<br />
clawsand. gnome (nm) n. the notraces. whose dawn on. a. . an expert in<br />
monetary or contest in speed first one to. financial affairs international<br />
die getti(not race). a surviving. banker or financier the gnomes mark<br />
sign or evidence of the. of zurich. former ng warm when existence. f nl<br />
gnomus perh. influence or action of some. gk gnm see gnome agent or<br />
event of l tractusdo. . (in folklore) one of a species words get cold they<br />
do do. (wptp. of diminutive beings usually of trahere to draw drag. the.<br />
described as shriveled little old play comes in very fast. voice. men that<br />
inhabit the interior of armcold) recognition talking to. the earth and act<br />
as guardians of your thumb (sms) i was thinking. its treasures troll.<br />
maybe back telepataphysics. (remote distraction l distractus (ptp. of<br />
distrahere baktrto draw. apart)) notrace ref drift draft currents of air or<br />
uppen. epistalcohol plea derangment derive trace as no trace. or.<br />
mnemonics olar after sending epistanimated a muse plea. daimon<br />
distribute scatter. emic after receiving thoughts. don't originally exist.<br />
<strong>Re</strong> the uselessness of poems. surplus.. why not there's nothing to do<br />
any change of the world is. the worse and it changes by itself.. humans<br />
evolved from staying. infants while the other species were busy doing a<br />
lot of useless. clever things which finally sent them to hell (our total<br />
regime. their hell). if you refrain from doing anything you're fine just<br />
sit. at a tablet and do nothing. poems as long as considered useless. it's<br />
fine they have no 'original existence' and will happen like. other things<br />
and pop up like bubbles while you sit. the urge of use. is in the tropes of<br />
231
Bankei the shikantasa torpor maybe surplus.. anyway if there's a future<br />
for life (that stuff) it might be in. another branch or refraining<br />
usefulness in the immediate yes no. quite the opposite to be immediate<br />
useful and stay clear of. usefulness.. well that certainly anwered my<br />
question.. representations of uselessness this is like an icon of a<br />
wastebasket. HAHAHAHAHAH. and windows my desktop is on the<br />
screen no wonder everything. falls off. hahaha. mnad. another useful<br />
grimace. useless what use ploy advantage as in competition. if<br />
everything. was useful i don't know if we would have matter you would<br />
need. something useless at least some wastebasket for use else the<br />
plasma. thing plasma screen nothing falls off going thru the trash turn.<br />
on its head not the intentions but the excuses we're not mirrored. upside<br />
down and the irreversible where does time trash its stuff. yes into space<br />
haha you probably knew that software art. that certainly anwered<br />
everything. in the manner of zpiqing mannered please excuse my<br />
intentions were. good but i drifted off immediately into something<br />
blatantly useful... i guess is meant usefulness of poems the uselessness<br />
of usefulness. rethorics socrates stayed firm the usefulness of<br />
uselessness. there's no ground so we shouldn't pretend jumping up and<br />
down like. maniacs the economy of the world or every particle hey<br />
there's. that mouse again i throwed in some cheese yesterday but goes<br />
for the. coffee or potato salad shitting the closet poem shit eater total.<br />
circulation this is like the polishing a rock the mouse shits. and. it<br />
started raining the economy every drop nomylogy. counthappen we're<br />
inside our every cell codeexe contingencies. running i think the faster<br />
you run the faster you get exhausted. number of heartbeats the infant<br />
again just stay calm and stupid. humans were considered the<br />
underdeveloped of animals hey you guys. don't sit there doing nothing<br />
you retards TURD. above all don't attach to the shit. <strong>Re</strong> the uselessness<br />
of poems. for scratch readily Norman O. Brown quotes. All currency is<br />
neurotic currency.. brainwaves. In its famous paradox the equation of<br />
money and excrement. psychoanalysis becomes the first science to state<br />
what common sense. and the poets have long known that the essence of<br />
money is in its. absolute worthlessness.. ). The dynamics of capitalism<br />
is postponement of enjoyment to the. constantly postponed future.. the<br />
impossibility of realizing capitalism eg like mlm. The view only<br />
changes for the lead dog.. or the stray dog. I am what is mine.<br />
Personality is the original personal property.. well i think it the other<br />
way around I mine what is am.. Freedom is poetry taking liberties with<br />
words breaking the rules of. normal speech violating common sense.<br />
232
Freedom is violence.. ie freedom not poetry more like codework.<br />
stegano. txtnothing. my new protram you input txt and it outputs<br />
nothing. .txt .html. DOWNLOAD. stegano. hide your ugliness from teh<br />
world. .bmp .gif .jpg .wav .mp. Free Trial. . e k u n s t . <strong>Re</strong>ality Check i<br />
Oslo desember (essay). hahahah. (hul latter). On Tue Jostein Lien.<br />
adundas. du får præsantere dæ sjøl din mainnsjit. her er allerede mislykken<br />
fullt integrert i prosjektet så er det da. vellykket eller mislykket. Enig i at<br />
adundas skulle hatt stjernestatus men hvem bryr seg dette. har ligget på<br />
noemata i lang tid ingen reaksjoner ingen leser alle. sitter og runker<br />
eposten. Men dette kunne blitt stort med noen andre. enn udugelige<br />
sabber i staben. Hele noemata er og taps det er oppgitt i. utgangspunktet<br />
og lever med latteren i halsen.. It was a tiny onyx diorama of Don<br />
Quixote' and Sancho Panza.. The light slanting uniformly into the<br />
austere living room vaguely. populux 's geometric. The sane cat sat<br />
near a window licking its paw.. solipsis. jeg hadde et notat på dette<br />
engang. kanskje det er slik at noemata har som sitt felt disse umulige<br />
og. malpasserte verk og uverk like mye eller mer enn verk i noen.<br />
tradisjonell forstand og gjør det til sitt uttrykk som en endelig. eller<br />
uendelig oppløsning av kunsten med objektets død (euridike) og.<br />
subjektets desintegrering (orfeus) i korridorene grenselandet eller.<br />
ørkenen (nettkunsten). fin setning iallefall. det høres seriøst ut men. har<br />
mer preg av tragikomedie mer quixotisk enn romantisk. det umulige. er<br />
en rød tråd kan det virke som en rød klut forestillingenes. umulighet eller<br />
det virkeliges uvirkelighet.. every ecstasy ultimately prefers to take the<br />
path of renunciation rather. than sin against its own concept by<br />
realizing it. adorno. there is an idea horizon just as there is an event<br />
horizon the horizon. of their deathdealing accomplishment their<br />
absolute realization.. thought for its part leaks out into the void.<br />
baudrillard. don quixote som en taktil kulturjammingsteknikk bevisst<br />
dumskap.. noemata message in a bottle server at the barents sea n. hva<br />
slags mail vil du sende ut i havet umulige kjærlighetsbrev. thy false<br />
promise and my sure misfortune carry me to a place whence the. news<br />
of my death will reach thy ears before the words of my complaint..<br />
what thy beauty raised up thy deeds have laid low by it i believed. thee<br />
to be an angel by them i know thou art a woman.. hva du gjør der er det<br />
et spørsmål eller svar. quo oxid net. nn som don quixote. nettkunst som<br />
ikke virker annonseringer og. forestillinger som fantasi. urealistiske<br />
umulige malplasserte. prosjekter. og ideer som samtidig blir<br />
kulturjamming intervenering taktisk og. latterligjørende selvironisk med<br />
den folkelige sjarmen til det. tragikomiske.. there it is said sancho what<br />
233
i told you that you must keep a good. count well then by god there is an<br />
end of the story for there is no. going any farther.. how can that be said<br />
don quixote is it so essential to the story to. know to a nicety the goats<br />
that have crossed over that if there be a. mistake of one in the reckoning<br />
thou canst not go on with it. no senor not a bit replied sancho for when i<br />
asked your worship. tell me how many goats had crossed and you<br />
answered you did not. know at that very instant all i had to say passed<br />
away out of my. memory and faith there was much virtue in it and<br />
entertainment.. so then said don quixote the story has come to an end.<br />
as much as my mother has said sancho.. in truth said don quixote thou<br />
hast told one of the rarest stories. tales or histories that anyone in the<br />
world could have imagined and. such a way of telling it and ending it<br />
was never seen nor will be in a. lifetime though i expected nothing else<br />
from thy excellent. understanding. but i do not wonder for perhaps<br />
those ceaseless strokes. may have confused thy wits.. ffrom a mail from<br />
lanny quarles solipsis. the term 'idiotic' isn't really about intelligence<br />
per se but. refers to a kind of imaginary ratio whereby the self's<br />
uniqueness. adheres to its own erratic path its actually a term connoting<br />
a kind. of pureness and honesty. .. I'm thinking somewhere in the<br />
neighborhood of eigen. something (can't remember) hmm. Authenticity<br />
is also a translation problem. Eigentlichkeit has its root. in. eigen own.<br />
or proper Gr. idios Eng. idiot. So one should. keep the. originary<br />
meaning of idiocy in mind being one's own self. The term.<br />
Eigentlichkeit points to the possibility of being one's self.. that strikes<br />
me.. As you point out the Gk idiotic denotes not deficiency. but<br />
eccentricity the opposite of politic (withness) a self. radically. ownmost<br />
in its extremest form perfect solipsism.. With this in mind and apprised<br />
( by Nietzsche no) that every great. philosophy is autobiography<br />
oughtn't BT be read synoptically with. Ott as it were in the Confessions<br />
genre...that BT represents H's. selfcasting. (Go litel bok go litel myn<br />
tragedye) an idiotic interpretation of. beyng.... that the AngstCare<br />
structure for example if it fits one say Hamlet. type. assuredly doesn't<br />
others Quixote Don Juan Faust.... via the baudri Lard. art has<br />
disappeared as a symbolic pact remaining prolification of. signs ad<br />
infinitum as 'culture' auto.noemata automatic art. the. situation<br />
resembles that of a currency which may not be exchanged it. can only<br />
float its only reference itself impossible to convert into. real value or<br />
wealth noema kroner the impossible of noemata. projects their floating<br />
like quixote phantasies manusfilms and. inconceptual art.. general<br />
indifference please remove me as only emotional response. profound<br />
234
indifference everybody is an art is true. the system runs less on the<br />
surplusvalue of the commodity than on the. aesthetic surplusvalue of<br />
the sign no matter how marginal banal or. obscene everything is subject<br />
to aesth. cult. museum.zation.. like the prax of baroq we too are<br />
irrepressible creators of images. but secretly iconoclasts we<br />
manufacture a profusion of images in which. there is nothing to see<br />
leave no trace cast no shadow and have no. fascination of the erasure<br />
rewrite full compression code cipher. our images are like icons<br />
miraculous they allow us to go on. believing in art while eluding the<br />
question of its existence.iconicity. dragon body laburint beyond the<br />
indifference art as uglierthan.ugly. bad worse raised to the second<br />
power because it is liberated of its. relation with its opposite bemyghost<br />
transaesthetic blasts. tourism people who no longer undertake voyages<br />
but simply go round. and round in circles tracerouteping travel agency.<br />
These forms are excesses and. collapses of code viral fascinating<br />
indiscriminate and reinforced. by viral media our culture also produces<br />
the most murderous viruses.. catastrophe culture. we all enjoy these<br />
things. nothing code stagings. operational whitewash overexposed<br />
defenceless without any way of. refracting light info doomed in<br />
consequence to a whitewash of all. activity codedecode IO labora<br />
trashmaps maze digital technique. relinquish identity to survive<br />
endnodes net computer. operations not actions regulated machinery<br />
nothing takes place. better to produce nothing in order to have things<br />
produced artists. better to have nothing to say if one seeks to<br />
communicate socials as. everyone knows if you want to make people<br />
laugh it is better not to be. funny powers in order for content to be<br />
conveyed as well and quickly. as possible that content should come as<br />
close as possible to. transparency and insignificance empty intimate.<br />
good communication implies the annihilation of its own content. avoid.<br />
everything. htp noematanet abouthtml. So it's a kind of artificial art<br />
much like the intelligence. of artificial intelligence ). The policy is to<br />
support collaboration community transparency. immediacy in the arts<br />
net.art media art correspondencemail art. network art context art or<br />
other otherness and marginal. artifactualizations.. We tried that and it<br />
didn't work. So this is 'open content' of a more. catastrophic kind of<br />
the dispersal of content or the metastasis or. disappearance of content<br />
(in the jargon of Baudrillard). Also being. contented with things not<br />
working and actually more fascinated by the. failures and drifting of<br />
things than producing them as art or anything. open being more like<br />
cracked open or a core dump of codegerm artsperm. and their<br />
235
entanglements and confusion of layers inoutside. opencontent<br />
generativedegenerative avataratavar of space time and. structures<br />
intermingling and proliferating more or less on their own by. their own<br />
automatic recursive mating. This 'release' of the server is. not only as<br />
permission or publication but a giving up kind of release.. Giving<br />
upletting it drift distribute or disperse unsupervised and. giving up that<br />
risking complete annihilation any point beyond the loop. survival.. dette<br />
ble mitt essay i anledningen jozzdu kan reise og foredra har du. ikke<br />
holdt seminar i skattesaker dette er noe lignende (rapporter. skriftestol<br />
politietterforskningetc) eller kjøre det gjennom. stemmesynthesizer det<br />
blir nok stas. Gud løkk PP og folkens. Bjørn. Når alt kommer til alt har<br />
jeg ikke tenkt å gi opp prosjekter på. digitale) og videre<br />
automatiseringrasjonalisering av kunsten slik. som ellers i samfunnet.<br />
Det er de to tingene jeg brenner for.. Snakkes.. joz har du hørt med<br />
skattekontoret sjekka restskatten tror den står. der fortsatt jeg vil klage<br />
men det er mas.. hils Ingeborg.. legger ved som bonus mitt essay som<br />
også kan siteres i sammenhengen. inkl. Context art experiments report<br />
noematic experimental method. Lesion art research praxis <strong>Re</strong>search on<br />
the human arts surgery. Most information came from experiments with<br />
relatively poorly defined. genre lesions bloodvessel butoh dance smtp<br />
damage that included the. art stem funding etc as well as the contextor<br />
arttrauma lesions. that were diffuse and irregular spectral then reversed.<br />
good. correlations were obtained between focal lesions in the arts and<br />
the. changes that resulted from the lesions at the police.. Her var det.<br />
The Development of Neuro Art. For exampleViennese psychiatrist<br />
Sigmund Freud ( )had. originally envisioned the biological basis of his<br />
theory of. behaviorwith its three levels of idegoand superegoas being a.<br />
hydraulic mechanism of some sort. today's joke ... computational.<br />
mechanism of some sort. )). Descartes was impressed Joke by machines<br />
made in his timesuch as those. of certain statues that were on display<br />
for public amusement in the. water gardens of Paris.When a passerby<br />
stopped in front of one. particular statuefor examplehis or her weight<br />
would depress a lever. under the sidewalkcausing the statue to move<br />
and spray water at the. person s face.Descartes proposed that the body<br />
is like these machines.. phrenology joke Additionallydespite the failure<br />
of scien tific. attempts to correlate appearance with various aspects of<br />
behaviorit is. not uncommon to hear people accord virtues to others on<br />
the basis of. their physical appearance.<strong>Re</strong>aders might ask themselves<br />
how accurate they. would be if asked to judge intelligence on the basis<br />
of. photographs.Social psychologists have found thatwhen university.<br />
236
students are asked to make such judgments the rule that they apply to.<br />
the task isBeauty equals intelligence.. phrenology joke The famous<br />
physiologistMagendiepreserved with. veneration the brain of Laplace (a<br />
famous French. mathematician).Spurzheim had the very natural wish to<br />
see the brain of a. great man.To test the science of the<br />
phrenologistMr.Magendie showed. himinstead of the brain of<br />
Laplacethat of an imbecile.Spurzheimwho. had already worked up his<br />
enthusiasmadmired the brain of the imbecile. as he would have admired<br />
that of Laplace.(Krech). Context art experiments report noematic<br />
experimental method. consisted of removing parts of the art from<br />
artworks to study the. changes produced in their context. removed a<br />
small piece of art and then. observed how the art behaved and how it<br />
recov ered from the loss of art. tissue.In essence created art models<br />
from works that had received. injury to a part of the art by a blow to the<br />
head or by having the skull. pierced by a missile.To search for different<br />
functions in the art. context varied the location from which the art tissue<br />
was removed.. Another key contribution was the discovery thatafter<br />
damage to a part. of the artsubstantial recovery could be expected.<br />
Microscopic. examination revealed that art was nothing like an amor<br />
phous. jellyratherit had an enormously intricate substructure with<br />
compo. nents arranged in complex clusterseach interconnected with<br />
many other. clusters. Cals Adsborough in Holland reached the same<br />
conclusion from. similar experiments on context artbut his manuscript<br />
lay unpublished. for severad decadesn.. History of electronics arts The<br />
impetus to adopt a theory of. electronical conduction in arts came from<br />
an English artistSteph. McTaargess who attracted considerable<br />
attention by demonstrating that. the human arts could conduct electrons.<br />
He showed that when an artwork. containing electrons was brought<br />
close to the feet of a boy suspended by. a rope in a grassleaf<br />
electroscope gallery placed near the boy s nose. it would be attracted to<br />
the boy s nose.. Computer art The first computer art was hydraulic<br />
swiss artist Jahob. Matreisse () constructed a series of machine<br />
paintings in his. bathtub aquare(e) lle automatique facilitating finite<br />
state. pressure systems of squeesing injection pipes of color liquids onto<br />
the. surrounding walls to much annoyance to his mother.. Network art<br />
experiments preliminar applied an unpleasant stimulation to. a dog s<br />
paw listmeasured how long it took the corpus to withdraw its. footand<br />
compared that rate with the speed at which messages were known.<br />
travel along the net.According to calculations took milliseconds. too<br />
long to respond. theorized that nodes are 'connected by junctions'.<br />
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(oxym.) clasp that additional time is required for the art to get. across.<br />
some buffering bufooning listmasters potentials principal. general<br />
inertia. preliminar conclusion to confirm that network arts do. not quite<br />
touch the nodes with which they clasp.. Art surgery proposal note that<br />
anthropologists have found evidence of. art surgery dating to<br />
prehistoric timesneolithic found surgery to have. a beneficial effect in<br />
culturesperhaps by reducing pressure within the. arts when an injured<br />
discipline began to swell up. (ref. trephining. context art above). NB art<br />
surgery made possible by media the. introduction of<br />
antisepsisanesthesia as cultural phenomenon in. addition the principle<br />
of localization of genre making crossdiscipline. possible. (see Figure .).<br />
This device immobilizes the arts.An art. atlas is then used (flux maps<br />
etc) to localize areas in the arts for. surgery. Local anesthetic<br />
procedures were developed (mediastunt c) so. that the 'spectator' could<br />
remain awake during surgery and contribute to. the success of the<br />
operation by providing information about the effects. of localized art<br />
stimulation.. Lesion art research praxis <strong>Re</strong>search on the human arts<br />
surgery.. Lesion art research praxis <strong>Re</strong>search on the human arts surgery.<br />
238
201<br />
Most information came from experiments with relatively poorly<br />
defined. genre lesions bloodvessel butoh dance smtp damage that<br />
included the. art stem funding etc as well as the contextor arttrauma<br />
lesions. that were diffuse and irregular spectral then reversed. good.<br />
correlations were obtained between focal lesions in the arts and the.<br />
changes that resulted from the lesions at the police.. degenerative art In<br />
the minister of public instruction. commissioned to develop tests to<br />
identify retarded arts so that they. could be singled out for special<br />
treatment. The tests were derived. empirically by administering<br />
artworks of normal artists and some. mentally retarded and adults.The<br />
scale was revised in . From the. testsan art level was calculated<br />
evaluating abstraction beauty. inventiveness craft luck singularity<br />
which Iibet thought were. essential features of art. some conclusion<br />
gave tests to braindamaged. arts with the resultant surprising discovery<br />
that lesions in the avant. garde since modernist's time considered the<br />
center of generative. creative art did not decrease art scores. Sores to<br />
other main areas. not formerly thought to be implicated in art did<br />
reduce art scores.. Original Message. From Per Platou. To. Sent<br />
Tuesday November PM. Subject . e k u n s t . <strong>Re</strong>ality Check i Oslo<br />
desember. Call for participation Åpen invitasjon til Førjulsskriftestol.<br />
Årsrapporter (eller prosjektrapporter) er som oftest særdeles lite.<br />
spennende lesning. Der presenteres ethvert prosjekt som etter.<br />
forholdene meget vellykket eller har hatt stor betydning osv. osv.. Så også<br />
innenfor kunst og kultursektoren.. REALITY CHECK er et todagers<br />
arrangement som tar sikte på trekke fram. prosjekter fra kunstfeltet som<br />
gikk fullstendig galt. Der ideen var. bedre enn gjennomføringskraften<br />
der man undervurderte teknologien. publikum økonomien eller<br />
overvurderte egne evner. Det kan være. prosjekter som har mottatt støtte<br />
som rett og slett ikke lot seg. gjennomføre eller som ble noe helt annet<br />
enn det som var tenkt ().. Med andre ord Vi er på jakt etter prosjekter<br />
som MISLYKTES i større. eller mindre grad og der opphavspersonene<br />
har gjort seg noen tanker om. hva som gikk galt og hvorfor.. REALITY<br />
CHECK har hentet grunnideen fra et nå nedlagt klubbkonsept i. Berlin<br />
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Club der Polnischen Versager eller Den polske taperklubben. () som i<br />
flere år var et meget populært tiltak med mange deltakere. mye publikum<br />
og høy underholdningsfaktor. Fordi de fleste feil som er. begått eller<br />
uhellene som har oppstått som regel er svært. allmenmenneskelige tror vi<br />
RC kan bli både populært mediavennlig og. lærerikt.. Det er et faktum at<br />
mange kunstprosjekter (særlig innenfor kunstny. teknologi) ofte søker det<br />
spektakulære det nye og revolusjonerende.. Dette gjenspeiles også i<br />
massemedia. I en presset kunstnerhverdag er. frykten for å gjøre feil ofte<br />
større enn viljen til å oppnå noe. ekstraordinært. Denne situasjonen ønsker vi<br />
nå å snu på hodet ved å. gi. de mislykkete prosjektene en unik siste mulighet<br />
for stjernestatus.. Vi ønsker derfor å høre fra deg om du har ett eller flere<br />
slike. prosjekter som kan formidles tydelig og med en høy grad av.<br />
selvinnsikt. innenfor en tidsramme på minutter. Vi er i denne<br />
sammenheng. altså. IKKE ute etter sutring over (manglende) forståelse<br />
fra publikum. komiteer kuratorer produsenter presse eller verdens<br />
tilstand. generelt.. Send en epost til realityanart.no innen .november om<br />
du selv har et. mislykket prosjekt du ønsker å presentere eller har tips til.<br />
prosjekter som burde presenteres ) Vi er åpne for alle typer.<br />
henvendelser ikke bare fra kunst og ny teknologi feltet. Vi vil.<br />
selvfølgelig ikke presentere noe som ikke opphavspersonen selv ønsker.<br />
satt i en slik sammenheng.. Alle deltakere vil bli honorert og vi vil også<br />
være behjelpelige med. ev. reise og overnatting i Oslo.. REALITY<br />
CHECK vil bli dekket redaksjonelt.. Dato Fredag .desember kl lørdag<br />
.desember kl. Sted Cafe Mir Toftesgt. Oslo (Grnerløkka Lufthavn).<br />
Gratis adgang for publikum.. For ev. spørsmål kontakt prosjektansvarlig<br />
Per Platou mob. Videresend gjerne denne meldingen. () julepresangen<br />
av Alf Prøysen. () Club der Polnischen Versager Berlin. Florian Cramer<br />
Concepts Notations Software Art. Florian Cramer. Concepts Notations<br />
Software Art. March rd. Software and Concept Notations. Software in<br />
the Arts. computers primarily as storage and. display media as<br />
something which transmits and reformats images sound. and<br />
typography. <strong>Re</strong>flection of the as such invisible layer of software is.<br />
rare. Likewise the term digital art'' has been associated primarily. with<br />
digital images music or audiovisual installations using digital.<br />
technology. The software which controls the audio and the visuals is.<br />
frequently neglected working as a black box behind the scenes..<br />
Interactive'' room installations for example get perceived as a.<br />
interactions of a viewer an exhibition space and an image projection.<br />
not as systems running on code. This observation all the more applies<br />
to. works in which it is not obvious at all that their production relied on.<br />
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programmation and computing. John Cage's radio play Roaratorio''.<br />
for example appears to be a tape montage of a spoken text based on<br />
James. Joyce's Finnegans Wake'' environmental sounds recorded in<br />
several. cities of the world and Irish folk music edited with analog<br />
recording. technology. Yet at the same time it is an algorithmic artwork<br />
the spoken. text was extracted from the novel using a purely syntactical<br />
formal. method (mesostychs of the name James Joyce'') and the<br />
montage was done. according to a random score generated on a<br />
computer at the Parisian IRCAM. studios. While the bookplusCD set of<br />
Roarotorio'' documents the whole. composition extensively containing<br />
the audio piece itself a recording. and a reprint of John Cage's reading a<br />
recording and a reprint of an. interview an inventory of the cities where<br />
sound was recorded it. includes the computergenerated score itself only<br />
in a onepage excerpt. and nothing at all of the computer program code<br />
which generated the. random score.. The history of the digital and<br />
computeraided arts could be told as a. history of ignorance against<br />
programming and programmers. Computer. programs get locked into<br />
black boxes and programmers are frequently. considered to be mere<br />
factota coding slaves who execute other artist's. concepts. Given that<br />
software code is a conceptual notation this is not. without its own irony.<br />
In fact it is a straight continuation of. romanticist philosophy and its<br />
privileging of aisthesis (perception) over. poeisis (construction)<br />
cheapened into a restrained concept of art as. only that what is tactile<br />
audible and visible. The digital arts. themselves participate in this<br />
accomplicity when they call themselves. new media art''. There's<br />
nothing older than new media'' a term. which is little more than a<br />
superficial justification for lumping. together a bunch of largely<br />
unrelated technologies such as analog video. and computing just<br />
because they were new'' at a particular time. If. one defines as a<br />
medium something that it is between a sender and a. receiver then<br />
computers are not only media but also senders and. receivers which<br />
themselves are capable of writing and reading. interpreting and<br />
composing messages within the limitations of the rule. sets inscribed<br />
into them. The computer programs for example which. calculate the<br />
credit line of checking accounts or control medical. instruments in an<br />
emergency station can't be meaningfully called. media''. If at all<br />
computer processes become media'' only by the. virtue that computers<br />
can emulate any machine including all technical. media and by the<br />
virtue of the analog interfaces which transform the. digital zeros and<br />
ones into analog sound waves video signals print type. and vice versa..<br />
241
A Crash Course in Programming. A piece of software is a set of formal<br />
instructions or algorithms it. is a logical score put down in a code. It<br />
doesn't matter at all which. particular sign system is used as long as it is<br />
a code whether digital. zeros and ones the Latin alphabet Morse code or<br />
like in a processor. chip an exactly defined set of registers controlling<br />
discrete currents. of electricity. If a piece of software is a score is it then<br />
by. definition an outline a blueprint of an executed work. Imagine a<br />
Dadaist poem which makes random variations of Hugo Ball's sound.<br />
poem Karawane'' (Caravan''). KARAWANE. jolifanto bambla falli<br />
bambla. grossiga m'pfa habla horem. giga goramen. higo bloiko russula<br />
huju. hollaka hollala. anlogo bung. blago bung. blago bung. bosso<br />
fataka. schampa wulla wussa lobo. hej taat grem. eschige zunbada.<br />
wulebu ssubudu uluw ssubudu. tumba baumpf. kusagauma. baumpf.<br />
The new Dada poem could simply consists of eight variations of the<br />
line. tumba baumpf''. The author performer could throw a coin twice<br />
for. each line and depending on the result choose to write down either<br />
the. word tumba'' or baumpf'' so that the result would look like. tumba<br />
tumba. baumpf tumba. tumba baumpf. tumba baumpf. baumpf baumpf.<br />
baumpf tumba. tumba baumpf. tumba baumpf. The instruction code for<br />
this poem could be written as follows. Take a coin of any kind with two<br />
distinct sides.. <strong>Re</strong>peat the following set of instructions eight times.<br />
<strong>Re</strong>peat the following set of instructions twice. Throw the coin.. Catch it<br />
with your palm so that it lands on one side.. If the coin shows the upper<br />
side do the following. Say tumba. Else do the following. Say baumpf.<br />
Make a brief pause to indicate the end of the line.. Make a long pause to<br />
indicate the end of the poem.. Since these instructions are formal and<br />
precise enough to be as well. executed by a machine (imagine this<br />
poem implemented into a modified. cuckoo clock) they can be<br />
translated line by line into a computer. program. Just as the above<br />
instruction looks different depending on the. language it is written in a<br />
computer program looks different depending. on the programming<br />
language used. Here I choose the popular language. Perl'' whose basic<br />
instructions are rather simple to read. for lines ( .. ). for word ( .. ).<br />
randomnumber int(rand()). if (randomnumber ). print tumba. else. print<br />
baumpf. print. print n. The curly brackets enclose statement blocks<br />
executed under certain. conditions the prefix designates a variable<br />
which can store arbitrary. letters or numbers the rand()'' function<br />
generates a random value. between and . int'' rounds its result to either<br />
zero or one. '' stands for a blank. n'' for a line break. This program can<br />
be run on virtually any computer. it is a simple piece of software.<br />
242
Complex pieces of software such as. computer operating systems or<br />
even computer games differ from the above. only in the complexity of<br />
their instructions. The control structures. variable assignments loops<br />
conditional statements are similar in all. programming languages..<br />
Unlike in the instruction for throwing coins the artists' work is done.<br />
once the code is written. A computer program is a blueprint and its.<br />
execution at the same time. Like a pianola roll it is a score performing.<br />
itself. The artistic fascination of computer programming and the.<br />
perhaps ecstatic revelation of any firsttime programmer is the.<br />
equivalence of architecture and building the instant gratification given.<br />
once the concept has been finished. Computer programming collapses<br />
as it. seems the second and third of the three steps of concept concept.<br />
notation and execution.. Contrary to conventional data like digitized<br />
images sound and text. documents the algorithmic instruction code<br />
allows a generative process.. It uses computers for computation not<br />
only as storage and transmission. media. And this precisely<br />
distinguishes program code from nonalgorithmic. digital code<br />
describing for example the difference between algorithmic.<br />
composition on the one hand and audio CDsmp files on the other<br />
between. algorithmically generated text and hypertext'' (a random<br />
access. database model which as such doesn't require algorithmic<br />
computation at. all) or between a graphical computer demo'' and a<br />
video tape. Although. one can of course use computers without<br />
programming them it is. impossible not to use programs at all the<br />
question only is who programs.. There is after all no such thing as data<br />
without programs and hence no. digital arts without the software layers<br />
they either take for granted or. design themselves.. discuss software<br />
art'' simply means to not take software for. granted but pay attention to<br />
how and by whom programs were written. If. data doesn't exist without<br />
programs it follows that the separation of. processed data'' (like image<br />
and sound files) from programs'' is. simply a convention. Instead data<br />
could be directly embedded into the. algorithms used for its<br />
transmission and output to external devices.. Since a digital<br />
photograph'' for example is bitmapped information. algorithmically<br />
transformed into the electricity controlling a screen or. printer via<br />
algorithmic abstraction layers in the computer operating. system it<br />
follows that it could just as well be coded into a file which. contains the<br />
whole transformation algorithms themselves so that the image. would<br />
display itself even on a computer that provides no operating. system..<br />
Software Art. Executable Code in Art. If software is generally defined<br />
243
as executable formal instructions. logical scores then the concept of<br />
software is by no means limited to. formal instructions for computers.<br />
The first Englishlanguage notation. of the Dadaist poem qualifies as<br />
software just as much as the three. notations in the Perl programming<br />
language. The instructions only have to. meet the requirement of being<br />
executable by a human being as well as by a. machine. A piano score<br />
even a th century one is software when its. instruction code can be<br />
executed by a human pianist as well as on a. player piano.. The Perl<br />
code of the Dada poem can be read and executed even without. running<br />
it on machines. So my argument is quite contrary to Friedrich. Kittler's<br />
media theory according to which there is either no software at. all or at<br />
least no software without the hardware it runs on If any. algorithm can<br />
be executed mentally as it was common before computers. were<br />
invented then of course software can exist and run without. hardware. A<br />
good example are programming handbooks. Although they. chiefly<br />
consist of printed computer code this code gets rarely ever. executed on<br />
machines but provides examples which readers follow. intellectually<br />
following the code listings step by step and computing. them in their<br />
minds.. Instead of adapting Dadaist poetry as software one could regard<br />
some. historical Dadaist works as software right away above all Tristan.<br />
Tzara's generic instruction for writing Dada poems by shuffling the<br />
words. of a newspaper article. make a Dadaist poem. Take a<br />
newspaper.. Take a pair of scissors.. Choose an article as long as you<br />
are planning to make your poem. Cut out. the article.. Then cut out each<br />
of the words that make up this article and put them in. a bag.. Shake it<br />
gently.. Then take out the scraps one after the other in the order in<br />
which they. left the bag.. Copy conscientiously.. The poem will be like<br />
you.. And here you are a writer infinitely original and endowed with a.<br />
sensibility that is charming though beyond the understanding of the.<br />
vulgar.. The poem is effectively an algorithm a piece of software which<br />
may as. well be written as a computer. program.. If Tzara's process<br />
would be adapted as Perl or C code from the. original French it<br />
wouldn't be a transcription of something into. software but a<br />
transcription of nonmachine software into machine. software.. Concept<br />
Art and Software Art. The question of what software is and how it<br />
relates to nonelectronic. contemporary art is at least thirtytwo years old.<br />
In the art. critic and theorist Jack Burnham curated an exhibition called<br />
Software. at the Jewish Museum of New York which today is believed<br />
to be first show. of concept art. It featured installations of USAmerican<br />
concept artists. next installations of computer software Burnham found<br />
244
interesting such. as the first prototype of Ted Nelson's hypertext system<br />
Xanadu''.. Concept art as an art of which the material is concepts' as<br />
the. material of for ex. music is sound'' (Henry Flynt's definition from.<br />
) and software art as an art whose material is formal instruction. code<br />
seem to have at least two things in common. the collapsing of concept<br />
notation and execution into one piece. the use of language instructions<br />
in software art concepts in concept. art. Flynt observes Since concepts'<br />
are closely bound up with. language concept art is a kind of art of<br />
which the material is. language''.. It therefore is not accidental that the<br />
most examples of preelectronic. software art cited here are literary.<br />
Literature is a conceptual art in. that is not bound to objects and sites<br />
but only to language. The trouble. the art world has with net.art because<br />
it does not display well in. exhibition spaces is foreign to literature<br />
which always differentiated. between an artwork and its material<br />
appearance.. Since formal language is a language software can be seen<br />
and read as a. literature.. If concepts become to quote Flynt again<br />
artisticmaterial'' then. concept art differs from other art in that it<br />
actually exposes concepts. putting their notations up front as the<br />
artwork proper. In analogy. software art in particular differs from<br />
softwarebased art in general in. that it exposes its instructions and<br />
codedness. Since formal instructions. are a subset of conceptual<br />
notations software art is formally a subset. of conceptual art.. My<br />
favorite example of both concept art in Flynt's sense and noncomputer.<br />
software art is La Monte Young's Composition '' a piece of paper.<br />
containing the written instruction Draw a straight line and follow. it''.<br />
The instruction is unambiguous enough to be executed by a machine..<br />
At the same time a thorough execution is physically impossible. So the.<br />
reality of piece is mental conceptual.. The same duplicity of concept<br />
notation and executable code exists in Sol. LeWitt's Plan for a Concept<br />
Art Book'' a series of book pages. giving the reader exact instructions<br />
to draw lines on them or strike out. specific letters. LeWitt's piece<br />
exemplifies that the art called. concept art since the s was by far not as<br />
rigorous as the older. concept art of Henry Flynt La Monte Young and<br />
Christer Hennix While the. Composition '' is a concept notation<br />
creating an artwork that. itself exists only as a concept mentally<br />
LeWitt's Plan for a Concept. Art Book'' only is a concept notation of a<br />
material graphic artwork.. Unlike the concept art of which the material<br />
is concepts''' LeWitt's. piece belongs to a concept art that rather should<br />
be called a concept. notation art or blueprint art'' an art whose material<br />
is graphics and. objects but which was instead realized in the form of a<br />
245
score. By thus. reducing its its own material complexity the artwork<br />
appears to be. minimalist'' rather than rigorously conceptualist.. A<br />
writing which writes itself LeWitt's Plan'' could also be seen in a.<br />
historical continuity of combinatory language speculations From the.<br />
permutational algorithms in the Sefer Jezirah and ecstatic Kabbalah to.<br />
the medieval ars'' of Raimundus Lullus to th century permutational.<br />
poetry and Mallarm's Livre''. The combinatory most complex known.<br />
permutation poem Quirinus Kuhlmann's sonnet Vom Wechsel.<br />
menschlicher Sachen'' consists of nouns can be arbitrarily shuffled. so<br />
that they result in permutations of the text. Kuhlmann's and. La Monte<br />
Young's software arts meet in their aesthetic extremism in an.<br />
afterword Kuhlmann claims that there are more permutations of his<br />
poem. than grains of sand on the earth. If such implications lurk in code<br />
a. formal analysis is not enough. Concept art potentially means terror<br />
of. the concept software art terror of the algorithm a terror grounded in.<br />
the simultaneity of minimalist concept notation and totalitarian.<br />
execution helped by the fact that software collapses the concept.<br />
notation and execution in the single medium of instruction code.<br />
Sade's. days of Sodom'' could be read as a recursive programming of<br />
excess. and its simultaneous reflection in the medium of prose. The<br />
popularity. of spamming and denialofservice code in the contemporary<br />
digital arts. is another practical proof of the perverse doublebind<br />
between software. minimalism and selfinflation the software art pieces<br />
awarded at the. transmediale. festival tracenoizer'' and forkbomb.pl''<br />
also belong. this category.. La Monte Young's Composition '' not only<br />
provokes to rethink what. software and software art is. Being the first<br />
and still most elegant. example of all artistic jamming and<br />
denialofservice code it also. addresses the aesthetics and politics coded<br />
into instructions. Two years. before Burnham's Software'' exhibition<br />
the computer scientist Donald. E. Knuth published the first volume of<br />
his famous textbook on computer. programming The Art of Computer<br />
Programming''. Knuth's wording has. adopted in what Steven Levy<br />
calls the hacker credo that you can create. art and beauty with<br />
computers''. It is telling that hackers otherwise. an avantgarde of a<br />
broad cultural understanding of digital technology. rehash a lateth<br />
century classicist notion of art as beauty rewriting. it into a concept of<br />
digital art as inner beauty and elegance of code.. But such aesthetic<br />
conservativism is widespread in engineering and hard. science cultures<br />
fractal graphics are just one example of Neo. Pythagorean digital kitsch<br />
they promote. As a contemporary art the. aesthetics of software art<br />
246
includes ugliness and monstrosity just as much. as beauty not to<br />
mention plain dysfunctionality pretension and. political incorrectness..<br />
Above all software art today no longer writes its programs out of.<br />
nothing but works within an abundance of available software code.<br />
This. makes it distinct from works like Tzara's Dada poem which all<br />
the while. it addresses an abundance of mass media information<br />
contaminates only. the data not its algorithm the words become a<br />
collage but the process. remains a synthetic cleanroom construct.. Since<br />
personal computers and the Internet became popular software code. in<br />
addition to data has come to circulate in abundance. One thus could.<br />
say that contemporary software art operates in a postmodern condition<br />
in. which it takes preexisting software as material reflecting.<br />
manipulating and recontextualizing it. The mezangelle'' writing of<br />
mez. an Australian net artist for example uses software and protocol<br />
code as. material for writings in a selfinvented hybrid of English and<br />
pseudo. code. Her net.wurks'' are an unclean broken software art<br />
instead of. constructing program code synthetically they use readymade<br />
computations. take them apart and read their syntax as gendered<br />
semantics. In similar. fashion much software art plays with control<br />
parameters of software.. Software artworks like Joan Leandre's<br />
retroyou'' and Screen Saver''. by Eldar Karhalev and Ivan Khimin are<br />
simply surprising mindchallenging. disconfigurations of commercial<br />
user software a car racing game the. Microsoft Windows desktop<br />
interface. They manage to put their target. software upside down<br />
although their interventions are technically simple. and don't involve<br />
lowlevel programming at all.. Software Formalism vs. Software<br />
Culturalism. Much of what is discussed as contemporary software art<br />
and discourse on. has its origin in two semi coherent Londonbased<br />
groups. The older one. around Matthew Fuller Graham Harwood and<br />
the groups IO D and Mongrel. is known among others for the<br />
experimental web browser WebStalker''. which instead of formatted<br />
pages displays their source code and link. structures the Linker'' a<br />
piece of social software'' (to use a term. by Fuller) designed to<br />
empower nonliterate users to design their own. digital information<br />
systems and natural selection'' a politically. analysis of Microsoft<br />
Word's user interface and an essay with the. programmerartists Adrian<br />
Ward (whose Auto Illustrator'' won the. transmediale. software art<br />
prize) and Alex McLean (whose. forkbomb.pl'' won the transmediale.<br />
software art prize) the. theoretician Geoff Cox and participants in the<br />
mailing list eugene''. London (which involve poetry readings of<br />
247
program code). Both groups take. exactly opposite standpoints to<br />
software art and software criticism. While FullerHarwood regard<br />
software as first of all a cultural. politically coded construct the eu gene<br />
group rather focuses on the. formal poetics and aesthetics of software<br />
code and individual. subjectivity expressed in algorithms.. If software<br />
art could be generally defined as an art. of which the material is formal<br />
instruction code andor. which addresses cultural concepts of software.<br />
then each of their positions sides with exactly one of the two aspects.. If<br />
Software Art would be reduced to only the first one would risk ending.<br />
up a with a neoclassicist understanding of software art as beautiful and.<br />
elegant code along the lines of Knuth and Levy. <strong>Re</strong>duced on the other<br />
hand. only the cultural aspect Software Art could end up being a<br />
critical. footnote to Microsoft desktop computing potentially<br />
overlooking its. speculative potential at formal experimentation. Formal<br />
reflections of. software are like in this text inevitable if one considers<br />
commonsense. notions of software a problem rather than a point of<br />
departure histories. of instruction codes in art and investigations into<br />
the relationship of. software text and language still remain to be<br />
written.. This document can be freely copied and used according to the<br />
terms of. <strong>Re</strong>ferences. Cag. John Cage. Roaratorio. Ein irischer Circus<br />
ber Finnegans Wake. Athenum. KnigsteinTaunus. .. CWM. Geoff Cox<br />
Adrian Ward and Alex McLean. The Aesthetics of Generative. Fly.<br />
Henry Flynt. Concept art. In La Monte Young and Jackson MacLow<br />
editors. An Anthology. Young and MacLow New York ().. Hon. Klaus<br />
Honnef editor. Concept Art. Phaidon Kln ).. Kit. Friedrich Kittler.<br />
There is no software .. kittlerfriedrichthereisnosoftware.txt.. Kuh.<br />
Quirinus Kuhlmann. Himmlische Libesksse. Jena .. Lev. Steven Levy.<br />
Hackers. Project Gutenberg Champaign IL ().. Mol. Abraham A.<br />
Moles. Kunst und Computer. DuMont Kln ().. Tza. Tristan Tzara. Pour<br />
fair une pome dadaste. In Oeuvres compltes.. Gallimard Paris .. This<br />
document can be freely copied and used according to the terms of.<br />
Footnotes. Cag <strong>Re</strong>garding randomness generated with computers the<br />
software. artist Ulrike Gabriel says that it doesn't exist because the<br />
machine as a. fact by itself is not accidental.. A similar angle is taken in<br />
the paper The Aesthetic of Generative. Code'' by Geoff Cox Adrian<br />
Ward and Alex McLean CWM. I would not be surprised if in a near<br />
future the media industry would. embed audiovisual data (like a<br />
musical recording) directly into. proprietary onechip hardware players<br />
to prevent digital copies.. Kit. Tza. berlin.decantsinpermutationstzara<br />
poemedadaiste.cgi. Fly. ibid.. But since formal language is only a small<br />
248
subset of language as a whole. conclusions drawn from observing<br />
software code can't be generally applied. all literature.. Hon p.. Kuh.<br />
ibid.. As Abraham M. Moles noticed already in Mol p.. knuthart.<br />
according Steven Levy Lev among those who explicitly subscribe to.<br />
this is the German Chaos Computer Club with its annual art and beauty.<br />
workshop''.. which is why I think would be wrong to (a) restrict<br />
software art to. only properly running code and (b) exclude for political<br />
reasons. proprietary and other questionably licensed software from<br />
software art. presentations.. OriginalURL.<br />
conceptnotationsconceptsnotationssoftwareart.html. ideareal. germ<br />
term. kulturjamming. endre meningen til symboler logoer. oppgave for<br />
elever cocacola kobles. til negative termer. rikx. ideareal. germ term<br />
test. bamboon. språkgerilja. gjeninnføre forandre bruken av ord f.eks.<br />
'arrest' tilbakeføre til. betydning 'stille' (arrest).. karma spor.<br />
informasjonssamfunnet skaper 'karma' gjennom behov for sporbarhet..<br />
uten spor uten skyld.. If bodhisattvas even those who have completed<br />
the ten stages of. mind practice were all to seek for the traces of such a<br />
follower of. the Way they could never find them. Therefore the<br />
heavenly beings. rejoice the gods of the earth stand guard with their<br />
legs and the. buddhas of the ten directions sing his praise. Why Because<br />
this man. of the Way who is now listening to the Dharma acts in a<br />
manner that. leaves no traces. Rinsay. bamboo. håndskrift. all my a's are<br />
e's. hva gikk tapt med elektronisk skrift ascii lå. det meninger i utførelsen<br />
av skrift Hvordan ta vare på skrivingen i. elektronisk skrift vetikke fylle<br />
rom. med tid........... utførelsen av rom tid programkunst har tid men.<br />
lyshastighet syn er den dermed billedkunst. gender issue. Your minds<br />
instant by instant confront an empty fist (q) a pointing. finger (). i.<br />
iwant somehthign that kid on its own atomata like tat fly in the win. the<br />
fog leaves (they does it) eprime the drema (dramadream) of magic. well<br />
science and the howto any base debase. coming back to.. sensation<br />
must be based on recurrence else you wouldn't know but. still sense but<br />
no. the only once it doesn't count (count is. recurrence). any object.<br />
object is too much object. anything that is. visible or tangible and is<br />
relatively stable in form. to you.. something. thing (meeting interface).<br />
subjectsubstance into. emergent relation. egene remove posessive my's.<br />
reactive at chemical. level. behave late ME behaven (reflexive). See BE<br />
HAVE.. behaviorism the theory that psychology can be accurately<br />
studied. only through the examination and analysis of possessives.. i'm<br />
no one get your hands off me.. HAHA. karmaguilttraces. i once had<br />
guilt. writing haha says it all (active expression vs matters of doctrine).<br />
249
laughter is eternally guilty (doctrinal in writing) as any. statement is in<br />
mouthing. guilty guilty guilty (how awkward to write). how's writing<br />
attached to guilt should stop writing another way the. status of relate to<br />
valuemeaning other than drawn lines chunks. (interfaces again). media<br />
always suppose it's the other way around. signs are lines lines are signs<br />
stronger attraction wins. attraction to what easy processing easiest way.<br />
of decoding. relating to complexity of the system minimax bordering to<br />
illusion. ('interface') accidencesubstance critical distance. and easiest.<br />
system wins like gravitation is stupid you always get signs too. obvious<br />
it's their job. backtracking guilt is thru the sign you. shouldn't attach<br />
it's like chaplin on a conveyor belt down the. economy.. talking is a<br />
way to recur. stimulusresponse augment possession your. responsibility<br />
of whatever yours. why isnt our numbers rather words ssntel n filter for<br />
mnemonic.. vs or the same after filter anyway for association.. all this is<br />
slowing my dawn. how's the active expression conserved. and the<br />
notraces. whose dawn on. a contest in speed first one to die. (not race).<br />
a surviving mark sign or evidence of the former. existence influence or<br />
action of some agent or event of L tractus. ptp. of trahere to draw drag.<br />
the play comes in very fast. voice. recognition talking to your thumb<br />
(sms) i was thinking maybe. telepataphysics (remote distraction L<br />
distractus (ptp. of distrahere. draw apart)) notrace ref drift draft currents<br />
of air or. alcohol plea derangment derive trace as no trace. or<br />
mnemonics. animated a muse plea daimon distribute scatter.. makeshift.<br />
makeshift are the characters carriers. of what knots. oceanic inflation eg<br />
buddhism relax. ego balloon whatever skin count your breath. no<br />
nothing web. distance in relation to. subjectobject the inflated claws.<br />
seems infinite while the getting warm. dot in the horizon the distance<br />
when do words get cold they do. of the abject out of sight do<br />
(warmcold). phenomenology of beyond vs here. and now yon bef. me<br />
oe back. geon akin to d gene g jener on baktruppen. enn inn the goth<br />
jains that vs epistolar after sending. thus epistemic after receiving.<br />
thoughts don't originally exist. thus collapses in codeexecution<br />
(bankei). distance of processing time of. 'active expression vs matter of<br />
retract. doctrine' formalexpressive re re re do re gurdijeff. this and<br />
something else waste. (subjectobject) always on the names how odd<br />
the. abject side nominalessential pitch. still wastepaper. kunst på<br />
strømlinjer noe som do mi fa la re si do i have a. følger nettverket over<br />
landet theme. summingen ved mastene lyd. prolegmatic. gi meg et<br />
urokkelig punkt throw away. arkimedes hvordan kan abject.<br />
lillefingeren løfte bilen stage. arbeidet fordelt over lengre vei.<br />
250
mnemonic. count vs or. those darker parts of the wood the same after<br />
filter anyway. have 'personality' something for association. your breath<br />
no. hidden or attracts intimacy no thing web all this is slowing.<br />
something else my dawn. how's the active. expression conserved<br />
clawsand. gnome (nm) n. the notraces. whose dawn on. a. . an expert in<br />
monetary or contest in speed first one to. financial affairs international<br />
die getti(not race). a surviving. banker or financier the gnomes mark<br />
sign or evidence of the. of zurich. former ng warm when existence. f nl<br />
gnomus perh. influence or action of some. gk gnm see gnome agent or<br />
event of l tractusdo. . (in folklore) one of a species words get cold they<br />
do do. (wptp. of diminutive beings usually of trahere to draw drag. the.<br />
described as shriveled little old play comes in very fast. voice. men that<br />
inhabit the interior of armcold) recognition talking to. the earth and act<br />
as guardians of your thumb (sms) i was thinking. its treasures troll.<br />
maybe back telepataphysics. (remote distraction l distractus (ptp. of<br />
distrahere baktrto draw. apart)) notrace ref drift draft currents of air or<br />
uppen. epistalcohol plea derangment derive trace as no trace. or.<br />
mnemonics olar after sending epistanimated a muse plea. daimon<br />
distribute scatter. emic after receiving thoughts. don't originally exist.<br />
<strong>Re</strong> the uselessness of poems. surplus.. why not there's nothing to do<br />
any change of the world is. the worse and it changes by itself.. humans<br />
evolved from staying. infants while the other species were busy doing a<br />
lot of useless. clever things which finally sent them to hell (our total<br />
regime. their hell). if you refrain from doing anything you're fine just<br />
sit. at a tablet and do nothing. poems as long as considered useless. it's<br />
fine they have no 'original existence' and will happen like. other things<br />
and pop up like bubbles while you sit. the urge of use. is in the tropes of<br />
Bankei the shikantasa torpor maybe surplus.. anyway if there's a future<br />
for life (that stuff) it might be in. another branch or refraining<br />
usefulness in the immediate yes no. quite the opposite to be immediate<br />
useful and stay clear of. usefulness.. well that certainly anwered my<br />
question.. representations of uselessness this is like an icon of a<br />
wastebasket. HAHAHAHAHAH. and windows my desktop is on the<br />
screen no wonder everything. falls off. hahaha. mnad. another useful<br />
grimace. useless what use ploy advantage as in competition. if<br />
everything. was useful i don't know if we would have matter you would<br />
need. something useless at least some wastebasket for use else the<br />
plasma. thing plasma screen nothing falls off going thru the trash turn.<br />
on its head not the intentions but the excuses we're not mirrored. upside<br />
down and the irreversible where does time trash its stuff. yes into space<br />
251
haha you probably knew that software art. that certainly anwered<br />
everything. in the manner of zpiqing mannered please excuse my<br />
intentions were. good but i drifted off immediately into something<br />
blatantly useful... i guess is meant usefulness of poems the uselessness<br />
of usefulness. rethorics socrates stayed firm the usefulness of<br />
uselessness. there's no ground so we shouldn't pretend jumping up and<br />
down like. maniacs the economy of the world or every particle hey<br />
there's. that mouse again i throwed in some cheese yesterday but goes<br />
for the. coffee or potato salad shitting the closet poem shit eater total.<br />
circulation this is like the polishing a rock the mouse shits. and. it<br />
started raining the economy every drop nomylogy. counthappen we're<br />
inside our every cell codeexe contingencies. running i think the faster<br />
you run the faster you get exhausted. number of heartbeats the infant<br />
again just stay calm and stupid. humans were considered the<br />
underdeveloped of animals hey you guys. don't sit there doing nothing<br />
you retards TURD. above all don't attach to the shit. <strong>Re</strong> the uselessness<br />
of poems. for scratch readily Norman O. Brown quotes. All currency is<br />
neurotic currency.. brainwaves. In its famous paradox the equation of<br />
money and excrement. psychoanalysis becomes the first science to state<br />
what common sense. and the poets have long known that the essence of<br />
money is in its. absolute worthlessness.. ). The dynamics of capitalism<br />
is postponement of enjoyment to the. constantly postponed future.. the<br />
impossibility of realizing capitalism eg like mlm. The view only<br />
changes for the lead dog.. or the stray dog. I am what is mine.<br />
Personality is the original personal property.. well i think it the other<br />
way around I mine what is am.. Freedom is poetry taking liberties with<br />
words breaking the rules of. normal speech violating common sense.<br />
Freedom is violence.. ie freedom not poetry more like codework. . e k u<br />
n s t . <strong>Re</strong>ality Check i Oslo desember (essay). hahahah. (hul latter). On<br />
Tue Jostein Lien. adundas. du får præsantere dæ sjøl din mainnsjit. her er<br />
allerede mislykken fullt integrert i prosjektet så er det da. vellykket eller<br />
mislykket. Enig i at adundas skulle hatt stjernestatus men hvem bryr<br />
seg dette. har ligget på noemata i lang tid ingen reaksjoner ingen leser<br />
alle. sitter og runker eposten. Men dette kunne blitt stort med noen<br />
andre. enn udugelige sabber i staben. Hele noemata er og taps det er<br />
oppgitt i. utgangspunktet og lever med latteren i halsen.. It was a tiny<br />
onyx diorama of Don Quixote' and Sancho Panza.. The light slanting<br />
uniformly into the austere living room vaguely. populux 's geometric.<br />
The sane cat sat near a window licking its paw.. solipsis. jeg hadde et<br />
notat på dette engang. kanskje det er slik at noemata har som sitt felt<br />
252
disse umulige og. malpasserte verk og uverk like mye eller mer enn<br />
verk i noen. tradisjonell forstand og gjør det til sitt uttrykk som en<br />
endelig. eller uendelig oppløsning av kunsten med objektets død<br />
(euridike) og. subjektets desintegrering (orfeus) i korridorene<br />
grenselandet eller. ørkenen (nettkunsten). fin setning iallefall. det høres<br />
seriøst ut men. har mer preg av tragikomedie mer quixotisk enn<br />
romantisk. det umulige. er en rød tråd kan det virke som en rød klut<br />
forestillingenes. umulighet eller det virkeliges uvirkelighet.. every<br />
ecstasy ultimately prefers to take the path of renunciation rather. than<br />
sin against its own concept by realizing it. adorno. there is an idea<br />
horizon just as there is an event horizon the horizon. of their<br />
deathdealing accomplishment their absolute realization.. thought for its<br />
part leaks out into the void. baudrillard. don quixote som en taktil<br />
kulturjammingsteknikk bevisst dumskap.. noemata message in a bottle<br />
server at the barents sea n. hva slags mail vil du sende ut i havet<br />
umulige kjærlighetsbrev. thy false promise and my sure misfortune carry<br />
me to a place whence the. news of my death will reach thy ears before<br />
the words of my complaint.. what thy beauty raised up thy deeds have<br />
laid low by it i believed. thee to be an angel by them i know thou art a<br />
woman.. hva du gjør der er det et spørsmål eller svar. quo oxid net. nn<br />
som don quixote. nettkunst som ikke virker annonseringer og.<br />
forestillinger som fantasi. urealistiske umulige malplasserte. prosjekter.<br />
og ideer som samtidig blir kulturjamming intervenering taktisk og.<br />
latterligjørende selvironisk med den folkelige sjarmen til det.<br />
tragikomiske..<br />
253
202<br />
there it is said sancho what i told you that you must keep a good. count<br />
well then by god there is an end of the story for there is no. going any<br />
farther.. how can that be said don quixote is it so essential to the story<br />
to. know to a nicety the goats that have crossed over that if there be a.<br />
mistake of one in the reckoning thou canst not go on with it. no senor<br />
not a bit replied sancho for when i asked your worship. tell me how<br />
many goats had crossed and you answered you did not. know at that<br />
very instant all i had to say passed away out of my. memory and faith<br />
there was much virtue in it and entertainment.. so then said don quixote<br />
the story has come to an end. as much as my mother has said sancho..<br />
in truth said don quixote thou hast told one of the rarest stories. tales or<br />
histories that anyone in the world could have imagined and. such a way<br />
of telling it and ending it was never seen nor will be in a. lifetime<br />
though i expected nothing else from thy excellent. understanding. but i<br />
do not wonder for perhaps those ceaseless strokes. may have confused<br />
thy wits.. ffrom a mail from lanny quarles solipsis. the term 'idiotic'<br />
isn't really about intelligence per se but. refers to a kind of imaginary<br />
ratio whereby the self's uniqueness. adheres to its own erratic path its<br />
actually a term connoting a kind. of pureness and honesty. .. I'm<br />
thinking somewhere in the neighborhood of eigen. something (can't<br />
remember) hmm. Authenticity is also a translation problem.<br />
Eigentlichkeit has its root. in. eigen own. or proper Gr. idios Eng. idiot.<br />
So one should. keep the. originary meaning of idiocy in mind being<br />
one's own self. The term. Eigentlichkeit points to the possibility of<br />
being one's self.. that strikes me.. As you point out the Gk idiotic<br />
denotes not deficiency. but eccentricity the opposite of politic<br />
(withness) a self. radically. ownmost in its extremest form perfect<br />
solipsism.. With this in mind and apprised ( by Nietzsche no) that every<br />
great. philosophy is autobiography oughtn't BT be read synoptically<br />
with. Ott as it were in the Confessions genre...that BT represents H's.<br />
selfcasting. (Go litel bok go litel myn tragedye) an idiotic interpretation<br />
of. beyng.... that the AngstCare structure for example if it fits one say<br />
Hamlet. type. assuredly doesn't others Quixote Don Juan Faust.... via<br />
254
the baudri Lard. art has disappeared as a symbolic pact remaining<br />
prolification of. signs ad infinitum as 'culture' auto.noemata automatic<br />
art. the. situation resembles that of a currency which may not be<br />
exchanged it. can only float its only reference itself impossible to<br />
convert into. real value or wealth noema kroner the impossible of<br />
noemata. projects their floating like quixote phantasies manusfilms and.<br />
inconceptual art.. general indifference please remove me as only<br />
emotional response. profound indifference everybody is an art is true.<br />
the system runs less on the surplusvalue of the commodity than on the.<br />
aesthetic surplusvalue of the sign no matter how marginal banal or.<br />
obscene everything is subject to aesth. cult. museum.zation.. like the<br />
prax of baroq we too are irrepressible creators of images. but secretly<br />
iconoclasts we manufacture a profusion of images in which. there is<br />
nothing to see leave no trace cast no shadow and have no. fascination of<br />
the erasure rewrite full compression code cipher. our images are like<br />
icons miraculous they allow us to go on. believing in art while eluding<br />
the question of its existence.iconicity. dragon body laburint beyond the<br />
indifference art as uglierthan.ugly. bad worse raised to the second<br />
power because it is liberated of its. relation with its opposite bemyghost<br />
transaesthetic blasts. tourism people who no longer undertake voyages<br />
but simply go round. and round in circles tracerouteping travel agency.<br />
These forms are excesses and. collapses of code viral fascinating<br />
indiscriminate and reinforced. by viral media our culture also produces<br />
the most murderous viruses.. catastrophe culture. we all enjoy these<br />
things. nothing code stagings. operational whitewash overexposed<br />
defenceless without any way of. refracting light info doomed in<br />
consequence to a whitewash of all. activity codedecode IO labora<br />
trashmaps maze digital technique. relinquish identity to survive<br />
endnodes net computer. operations not actions regulated machinery<br />
nothing takes place. better to produce nothing in order to have things<br />
produced artists. better to have nothing to say if one seeks to<br />
communicate socials as. everyone knows if you want to make people<br />
laugh it is better not to be. funny powers in order for content to be<br />
conveyed as well and quickly. as possible that content should come as<br />
close as possible to. transparency and insignificance empty intimate.<br />
good communication implies the annihilation of its own content. avoid.<br />
everything. htp noematanet abouthtml. So it's a kind of artificial art<br />
much like the intelligence. of artificial intelligence ). The policy is to<br />
support collaboration community transparency. immediacy in the arts<br />
net.art media art correspondencemail art. network art context art or<br />
255
other otherness and marginal. artifactualizations.. We tried that and it<br />
didn't work. So this is 'open content' of a more. catastrophic kind of<br />
the dispersal of content or the metastasis or. disappearance of content<br />
(in the jargon of Baudrillard). Also being. contented with things not<br />
working and actually more fascinated by the. failures and drifting of<br />
things than producing them as art or anything. open being more like<br />
cracked open or a core dump of codegerm artsperm. and their<br />
entanglements and confusion of layers inoutside. opencontent<br />
generativedegenerative avataratavar of space time and. structures<br />
intermingling and proliferating more or less on their own by. their own<br />
automatic recursive mating. This 'release' of the server is. not only as<br />
permission or publication but a giving up kind of release.. Giving<br />
upletting it drift distribute or disperse unsupervised and. giving up that<br />
risking complete annihilation any point beyond the loop. survival.. dette<br />
ble mitt essay i anledningen jozzdu kan reise og foredra har du. ikke<br />
holdt seminar i skattesaker dette er noe lignende (rapporter. skriftestol<br />
politietterforskningetc) eller kjøre det gjennom. stemmesynthesizer det<br />
blir nok stas. Gud løkk PP og folkens. Bjørn. Når alt kommer til alt har<br />
jeg ikke tenkt å gi opp prosjekter på. digitale) og videre<br />
automatiseringrasjonalisering av kunsten slik. som ellers i samfunnet.<br />
Det er de to tingene jeg brenner for.. Snakkes.. joz har du hørt med<br />
skattekontoret sjekka restskatten tror den står. der fortsatt jeg vil klage<br />
men det er mas.. hils Ingeborg.. legger ved som bonus mitt essay som<br />
også kan siteres i sammenhengen. inkl. Context art experiments report<br />
noematic experimental method. Lesion art research praxis <strong>Re</strong>search on<br />
the human arts surgery. Most information came from experiments with<br />
relatively poorly defined. genre lesions bloodvessel butoh dance smtp<br />
damage that included the. art stem funding etc as well as the contextor<br />
arttrauma lesions. that were diffuse and irregular spectral then reversed.<br />
good. correlations were obtained between focal lesions in the arts and<br />
the. changes that resulted from the lesions at the police.. Her var det.<br />
The Development of Neuro Art. For exampleViennese psychiatrist<br />
Sigmund Freud ( )had. originally envisioned the biological basis of his<br />
theory of. behaviorwith its three levels of idegoand superegoas being a.<br />
hydraulic mechanism of some sort. today's joke ... computational.<br />
mechanism of some sort. )). Descartes was impressed Joke by machines<br />
made in his timesuch as those. of certain statues that were on display<br />
for public amusement in the. water gardens of Paris.When a passerby<br />
stopped in front of one. particular statuefor examplehis or her weight<br />
would depress a lever. under the sidewalkcausing the statue to move<br />
256
and spray water at the. person s face.Descartes proposed that the body<br />
is like these machines.. phrenology joke Additionallydespite the failure<br />
of scien tific. attempts to correlate appearance with various aspects of<br />
behaviorit is. not uncommon to hear people accord virtues to others on<br />
the basis of. their physical appearance.<strong>Re</strong>aders might ask themselves<br />
how accurate they. would be if asked to judge intelligence on the basis<br />
of. photographs.Social psychologists have found thatwhen university.<br />
students are asked to make such judgments the rule that they apply to.<br />
the task isBeauty equals intelligence.. phrenology joke The famous<br />
physiologistMagendiepreserved with. veneration the brain of Laplace (a<br />
famous French. mathematician).Spurzheim had the very natural wish to<br />
see the brain of a. great man.To test the science of the<br />
phrenologistMr.Magendie showed. himinstead of the brain of<br />
Laplacethat of an imbecile.Spurzheimwho. had already worked up his<br />
enthusiasmadmired the brain of the imbecile. as he would have admired<br />
that of Laplace.(Krech). Context art experiments report noematic<br />
experimental method. consisted of removing parts of the art from<br />
artworks to study the. changes produced in their context. removed a<br />
small piece of art and then. observed how the art behaved and how it<br />
recov ered from the loss of art. tissue.In essence created art models<br />
from works that had received. injury to a part of the art by a blow to the<br />
head or by having the skull. pierced by a missile.To search for different<br />
functions in the art. context varied the location from which the art tissue<br />
was removed.. Another key contribution was the discovery thatafter<br />
damage to a part. of the artsubstantial recovery could be expected.<br />
Microscopic. examination revealed that art was nothing like an amor<br />
phous. jellyratherit had an enormously intricate substructure with<br />
compo. nents arranged in complex clusterseach interconnected with<br />
many other. clusters. Cals Adsborough in Holland reached the same<br />
conclusion from. similar experiments on context artbut his manuscript<br />
lay unpublished. for severad decadesn.. History of electronics arts The<br />
impetus to adopt a theory of. electronical conduction in arts came from<br />
an English artistSteph. McTaargess who attracted considerable<br />
attention by demonstrating that. the human arts could conduct electrons.<br />
He showed that when an artwork. containing electrons was brought<br />
close to the feet of a boy suspended by. a rope in a grassleaf<br />
electroscope gallery placed near the boy s nose. it would be attracted to<br />
the boy s nose.. Computer art The first computer art was hydraulic<br />
swiss artist Jahob. Matreisse () constructed a series of machine<br />
paintings in his. bathtub aquare(e) lle automatique facilitating finite<br />
257
state. pressure systems of squeesing injection pipes of color liquids onto<br />
the. surrounding walls to much annoyance to his mother.. Network art<br />
experiments preliminar applied an unpleasant stimulation to. a dog s<br />
paw listmeasured how long it took the corpus to withdraw its. footand<br />
compared that rate with the speed at which messages were known.<br />
travel along the net.According to calculations took milliseconds. too<br />
long to respond. theorized that nodes are 'connected by junctions'.<br />
(oxym.) clasp that additional time is required for the art to get. across.<br />
some buffering bufooning listmasters potentials principal. general<br />
inertia. preliminar conclusion to confirm that network arts do. not quite<br />
touch the nodes with which they clasp.. Art surgery proposal note that<br />
anthropologists have found evidence of. art surgery dating to<br />
prehistoric timesneolithic found surgery to have. a beneficial effect in<br />
culturesperhaps by reducing pressure within the. arts when an injured<br />
discipline began to swell up. (ref. trephining. context art above). NB art<br />
surgery made possible by media the. introduction of<br />
antisepsisanesthesia as cultural phenomenon in. addition the principle<br />
of localization of genre making crossdiscipline. possible. (see Figure .).<br />
This device immobilizes the arts.An art. atlas is then used (flux maps<br />
etc) to localize areas in the arts for. surgery. Local anesthetic<br />
procedures were developed (mediastunt c) so. that the 'spectator' could<br />
remain awake during surgery and contribute to. the success of the<br />
operation by providing information about the effects. of localized art<br />
stimulation.. Lesion art research praxis <strong>Re</strong>search on the human arts<br />
surgery.. Most information came from experiments with relatively<br />
poorly defined. genre lesions bloodvessel butoh dance smtp damage<br />
that included the. art stem funding etc as well as the contextor arttrauma<br />
lesions. that were diffuse and irregular spectral then reversed. good.<br />
correlations were obtained between focal lesions in the arts and the.<br />
changes that resulted from the lesions at the police.. degenerative art In<br />
the minister of public instruction. commissioned to develop tests to<br />
identify retarded arts so that they. could be singled out for special<br />
treatment. The tests were derived. empirically by administering<br />
artworks of normal artists and some. mentally retarded and adults.The<br />
scale was revised in . From the. testsan art level was calculated<br />
evaluating abstraction beauty. inventiveness craft luck singularity<br />
which Iibet thought were. essential features of art. some conclusion<br />
gave tests to braindamaged. arts with the resultant surprising discovery<br />
that lesions in the avant. garde since modernist's time considered the<br />
center of generative. creative art did not decrease art scores. Sores to<br />
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other main areas. not formerly thought to be implicated in art did<br />
reduce art scores.. Original Message. From Per Platou. To. Sent<br />
Tuesday November PM. Subject . e k u n s t . <strong>Re</strong>ality Check i Oslo<br />
desember. Call for participation Åpen invitasjon til Førjulsskriftestol.<br />
Årsrapporter (eller prosjektrapporter) er som oftest særdeles lite.<br />
spennende lesning. Der presenteres ethvert prosjekt som etter.<br />
forholdene meget vellykket eller har hatt stor betydning osv. osv.. Så også<br />
innenfor kunst og kultursektoren.. REALITY CHECK er et todagers<br />
arrangement som tar sikte på trekke fram. prosjekter fra kunstfeltet som<br />
gikk fullstendig galt. Der ideen var. bedre enn gjennomføringskraften<br />
der man undervurderte teknologien. publikum økonomien eller<br />
overvurderte egne evner. Det kan være. prosjekter som har mottatt støtte<br />
som rett og slett ikke lot seg. gjennomføre eller som ble noe helt annet<br />
enn det som var tenkt ().. Med andre ord Vi er på jakt etter prosjekter<br />
som MISLYKTES i større. eller mindre grad og der opphavspersonene<br />
har gjort seg noen tanker om. hva som gikk galt og hvorfor.. REALITY<br />
CHECK har hentet grunnideen fra et nå nedlagt klubbkonsept i. Berlin<br />
Club der Polnischen Versager eller Den polske taperklubben. () som i<br />
flere år var et meget populært tiltak med mange deltakere. mye publikum<br />
og høy underholdningsfaktor. Fordi de fleste feil som er. begått eller<br />
uhellene som har oppstått som regel er svært. allmenmenneskelige tror vi<br />
RC kan bli både populært mediavennlig og. lærerikt.. Det er et faktum at<br />
mange kunstprosjekter (særlig innenfor kunstny. teknologi) ofte søker det<br />
spektakulære det nye og revolusjonerende.. Dette gjenspeiles også i<br />
massemedia. I en presset kunstnerhverdag er. frykten for å gjøre feil ofte<br />
større enn viljen til å oppnå noe. ekstraordinært. Denne situasjonen ønsker vi<br />
nå å snu på hodet ved å. gi. de mislykkete prosjektene en unik siste mulighet<br />
for stjernestatus.. Vi ønsker derfor å høre fra deg om du har ett eller flere<br />
slike. prosjekter som kan formidles tydelig og med en høy grad av.<br />
selvinnsikt. innenfor en tidsramme på minutter. Vi er i denne<br />
sammenheng. altså. IKKE ute etter sutring over (manglende) forståelse<br />
fra publikum. komiteer kuratorer produsenter presse eller verdens<br />
tilstand. generelt.. Send en epost til realityanart.no innen .november om<br />
du selv har et. mislykket prosjekt du ønsker å presentere eller har tips til.<br />
prosjekter som burde presenteres ) Vi er åpne for alle typer.<br />
henvendelser ikke bare fra kunst og ny teknologi feltet. Vi vil.<br />
selvfølgelig ikke presentere noe som ikke opphavspersonen selv ønsker.<br />
satt i en slik sammenheng.. Alle deltakere vil bli honorert og vi vil også<br />
være behjelpelige med. ev. reise og overnatting i Oslo.. REALITY<br />
CHECK vil bli dekket redaksjonelt.. Dato Fredag .desember kl lørdag<br />
259
.desember kl. Sted Cafe Mir Toftesgt. Oslo (Grnerløkka Lufthavn).<br />
Gratis adgang for publikum.. For ev. spørsmål kontakt prosjektansvarlig<br />
Per Platou mob. Videresend gjerne denne meldingen. () julepresangen<br />
av Alf Prøysen. () Club der Polnischen Versager Berlin. subject.<br />
unselfishness there you see plainly the recursion it's considered a.<br />
virtue because.. in view of.. yes unselfishness. and so selfishness is a.<br />
virtue in view of selfishness etc. and virtue is a virtue in view of the.<br />
virtue virtue is the positive productive property of a view the view's.<br />
production. but it doesn't mean you can avoid it. there's virtues of your.<br />
body as long as you have one. and virtues of having as long as it's.<br />
possible. and virtues of the possible as long as it's not impossible..<br />
virtues of the impossible via negativa. prime numbers are what remains.<br />
are. they selfish or unselfish ) positive or negative you can follow them<br />
a. bit via the positive which is like the virtue of a view formula though.<br />
quickly you're replacing algorithms with heuristics which is more of a.<br />
mess like the layered virtues of our reality the real being transcendent.<br />
unending streams and you find yourself jumping from this to that all<br />
the. time not selfishalgorithmic (producing) or unselfishheuristic<br />
(seeking). but let's call it dancing since there are movements and well<br />
the thing is. still alive though with no reason and not producing or<br />
seeking still views. you can't avoid going through the steps. eurythmics<br />
is at the end or the. beginning not the body's algorithms (production<br />
system) or it's. intentionality (heuristics) the virtues of having a body<br />
having a view. not selfish not unselfish. no virtues no views but still a<br />
text still. here though not what it is (produces) or what it means (seeks)<br />
it's still. written in virtue of the iso charset twofaced bastards so maybe.<br />
we're talking dialectics too the protocol (selfish) and the exchange.<br />
(unselfish) still the user. user (Æzr) n. Law. the exercise of a. right to the<br />
enjoyment of property. my body my propery the body of this. mail.<br />
again the protocol's from to subject body this is the body.. florian<br />
cramer digital code and literary text. florian cramer digital code and<br />
literary text. Can notions of text which were developed without<br />
electronic texts in mind be. applied to digital code and how does<br />
literature come into play here. Abstract. This paper is based on the<br />
general (yet disputable) assumption that the. theoretical debate of<br />
literature in digital networks has shifted just as. the poetic practices it is<br />
shaped after from perceiving computer data as an. extension and<br />
transgression of textuality (as manifest in such notions as. ''hypertext''<br />
''hyperfiction'' ''hyper multimedia'') towards paying. attention to the<br />
very codedness i.e. textuality of digital systems. themselves. Several<br />
260
phenomena may serve as empirical evidence. The early focus of<br />
conceptualist Net.art on the aesthetics and politics of. code. in turn the<br />
impact of Net.art aesthetics on experimental literature. poetry in the<br />
Internet. the close discooursive affinity of Net.art to political activism<br />
in the. Internet. the close aesthetic affinity of Net.art to a the languages<br />
and codes of an. older technically oriented ''hacker'' culture (of Chaos<br />
Computer Club. and others). a convergence of the three cultures<br />
mentioned above Net.art net activism. and hacker culture. (a) FreeOpen<br />
Source Software andor (b) open network protocols as key. discursive<br />
political and aesthetical issues in all these camps. finally the impact of<br />
hacker aesthetics Net.art aesthetics code. aesthetics and network<br />
protocol aesthetics on contemporary writing in the. Internet. (See the<br />
work of mez Alan Sondheim Talan Memmott Ted Warnell. and<br />
others.). The question is how ''Codeworks'' (Alan Sondheim) fit<br />
notions of text that. were crafted without digital code most importantly<br />
machineexecutable. digital code in mind and vice versa. Is it a<br />
coincidence that in their. poetical appropriation of lowlevel Internet<br />
codes codeworks ended up. aesthetically resembling concrete poetry<br />
And apart from aesthetic. resemblances how do computer programs<br />
relate to literature Is that what is. currently being discussed as<br />
''Software Art'' a literary genre. Code. Since computers the Internet<br />
and all digital technologies are based on. zeros and ones they are based<br />
on code. Zeros and ones are an alphabet which. can be translated forth<br />
and back between other alphabets without information. loss. It does in<br />
my point of view make no sense to limit the definition of. the alphabet<br />
in general to that of the Roman alphabet in particular when we. can the<br />
same textual information in this very alphabet as Morse code flag. signs<br />
or transliterated into zeros and ones. The Internet and computers run. on<br />
alphabetic code whereas for examples images and sound can only be.<br />
digitally stored when translating them into code which unlike the.<br />
translation of conventional text into digital bits is a lossy that is. not<br />
fully reversible and symmetric translation. Sounds and images are not.<br />
code by themselves but have to be turned into code in order to be<br />
computed. where as any written text already is code. Literature<br />
therefore is a. privileged symbolic form in digital information systems.<br />
It is possible to. automatically search a collection of text files for all<br />
occurences of the. word ''bird'' but doing the same with birds in a<br />
collection of image files. or bird songs in a collection of audio files is<br />
incomparably tricky and. errorprone relying on either artificial<br />
intelligence algorithms or manual. indexing both of which are methods<br />
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to translate nonsemantic writing (pixel. code) into semantic writing<br />
(descriptions).. The reverse is true as well We can perfectly translate<br />
digital data and. algorithms into nondigital media like print books as<br />
long as we translate. them into signs coded according to the logic of an<br />
alphabet. This is what is. done for example in programming handbooks<br />
or in technical specification. manuals for Internet standards. Today<br />
there are two notorious examples of a. forth andback translation<br />
between print and computers. The sourcecode of Phil Zimmerman's<br />
cryptography program ''Pretty Good. Privacy'' (PGP). The PGP<br />
algorithms were legally considered a weapon and. therefore became<br />
subject to U.S. export restrictions. To circumvent this. ban Zimmerman<br />
published the PGP sourcecode in a book. Unlike algorithms. literature<br />
is covered by the U.S. First Amendment of free speech. So the. book<br />
could be exported outside the United States and by scanning and.<br />
retyping translated back into an executable program. the sourcecode of<br />
DeCSS a small program which breaks the cryptography. scheme of<br />
DVD movies. Since U.S. jurisdiction declared DeCSS an ''illegal.<br />
circumvention device'' according to the new Digital Millennium<br />
Copyright Act. (DMCA) the ban equally affected booklets flyposters<br />
and tshirts on which. the DeCSS sourcecode was printed.. That code is<br />
speech is a fact stressed again and again by programmers and is. also at<br />
the heart of Lawrence Lessig's legal theory of the Internet. (Lawrence<br />
Lessig. Code and Other Laws of Cyberspace. Basic Books New York.<br />
.). It is strictly speaking sloppy terminology to speak of ''digital.<br />
media''. There actually is no such thing as digital media but only<br />
digital. information. Digital information becomes ''media''only by the.<br />
On the reverse end of the chain keyboards mice scanners and cameras.<br />
are analogtodigital converters.. virtue of analog output computer<br />
screens loudspeakers printers are analog. output devices interfaced to<br />
the computer via digitaltoanalog conversion. hardware like video and<br />
sound cards or serial interfaces.. An average contemporary personal<br />
computer uses magnetic disks (floppy and. hard disks) optical disks<br />
(CDROM and DVDROM) and chip memory (RAM) as its. storage<br />
media and electricity or fiber optics as its transmission media..<br />
Theoretically one could build a computer with a printer and a scanner<br />
which. uses books and alphabetic text as its storage media. Alan Turing<br />
showed. that. While such a machine would operate slower than with<br />
magnetical or. optical media it would provide more robust and durable<br />
information storage. on the other hand.. no electronics are needed to<br />
build a computer the Boston Computer Museum. even features a<br />
262
mechanical computer built from wooden sticks.. Juxtapositions of ''the<br />
book'' and ''the computer'' are quite misleading. because they confuse<br />
the storage and analog output media (paper versus a. variety of optical<br />
magnetical and electronical technologies) with the. information<br />
(alphabetical text versus binary code). It further ignores by. the way the<br />
richness of storage and transmission media in traditional. literature<br />
which aside from the book include oral transmission and mental.<br />
storage audio records and tapes the radio and television to name only a.<br />
few.. If there is strictly speaking no such thing as digital media there<br />
also. is strictly speaking no such thing as digital images or digital<br />
sound.. What we refer to as a ''digital image'' is a piece of code.<br />
Normally this code is divided into three pieces one the socalled. sound<br />
or image file containing the machineindependent and program.<br />
independent abstract information the second the socalled display<br />
program. containing the instructions to mediate the abstracted<br />
information in a. machineindependent yet not programindependent<br />
format to the operating. system the third the socalled operating system<br />
mediating the program. output to the output machine whether a screen<br />
or a printer. These three. code layers however are nothing but<br />
conventions. Theoretically the. digital image'' file could in itself<br />
contain all the code necessary to. make itself display on analog end<br />
devices including the code that is. conventionally identified as a boot<br />
loader and core operating system.. containing the machine instructions<br />
to produce the flow of electricity with. which an analog screen or an<br />
analog printer is made to display an image.. Of course it is important<br />
whether a sequence of zeros and ones translates. into say an image<br />
because that defines its interpretation and semantics.. The point of my<br />
(admittedly) formalistic argumentation is not to deny this. but to<br />
underline that. when we speak of ''multimedia'' or ''intermedia'' in<br />
conjunction with. computers digital art and literature we actually don't<br />
speak of digital. systems as themselves but about translations of digital<br />
information into. analog output and vice versa. text and literature are<br />
highly privileged symbolic systems in these. translation processes<br />
because (a) they are already coded and (b) computers. run on a code..<br />
Literature and computers meet first of all where alphabets and code<br />
human. language and machine language intersect secondly in the<br />
interfacing of. analog devices through digital control code. While of<br />
course we cannot think. of code without media because we can't read it<br />
without them the computer. does not really extend literary media<br />
themselves. All those output media. electricity electrical sound and<br />
263
image transmission etc. existed before. and without computers and<br />
digital information processing.. I therefore have to revise the position I<br />
took in several of my previous. writings If we speak of digital poetry or<br />
computer network poetry we. don't have to speak of certain media and<br />
we don't. like in the paper Warum es zuwenig interessante<br />
Computerdichtung gibt.. Neun Thesen'' ( Nine Points on Why there is<br />
so little interesting computer. homepagewritingsnetliterature general<br />
karlsruhe. karlsruherthesen.pdf. even have to speak of specific<br />
machines. If computers can be built from. broomsticks and networked<br />
via shoestrings if any digital data including. executable algorithms can<br />
be printed in books and from them read back into. machines or<br />
alternatively executed in the mind of the reader there is no. reason why<br />
computer network poetry couldn't or shouldn't be printed as well. in<br />
books.. Perhaps the term of digital ''multimedia'' or better<br />
''intermedia''. would be more helpful if we redefine it as the the<br />
possibility to losslessly. translate information from one sign system to<br />
the other forth and back so. that the visible audible or tacticle<br />
representation of the information. becomes arbitrary. A state not be<br />
achieved unless the information is not. coded in some kind of alphabet<br />
whether alphanumerical binary hexadecimal. or if you like Morse<br />
code.. Literature. Synthesis putting things together. observe the textual<br />
codedness of digital systems of course implies the. danger of<br />
generalizing and projecting one's observations of digital code. onto<br />
literature as a whole. Computers operate on machine language which is.<br />
syntactically far less complex than human language. The alphabet of<br />
both. machine and human language is interchangeable so that ''text'' if<br />
defined. as a countable mass of alphabetical signifiers remains a valid<br />
descriptor. for both machine code sequences and human writing. In<br />
syntax and semantics. however machine code and human writing are<br />
not interchangeable. Computer. algorithms are like logical statements a<br />
formal language and thus only a. restrained subset of language as a<br />
whole.. However I believe it is a common mistake to claim that<br />
machine language. would be only readable to machines and hence<br />
irrelevant for human art and. literature and vice versa literature and art<br />
would be unrelated to formal. languages.. It is important to keep in<br />
mind that computer code and. No computer can reprogram itself<br />
selfprogramming is only possible. within a limited framework of game<br />
rules written by a human programmer. A. machine can behave<br />
differently than expected because the rules didn't. foresee all situations<br />
they could create but no machine can overwrite its. own rules by itself..<br />
264
computer programs are not machine creations and machines talking to.<br />
themselves but writings by humans. The programmerartist Adrian<br />
Ward. suggests that we put the assumption of the machine controlling<br />
the language. upside down. ''I would rather suggest we should be<br />
thinking about embedding our own. creative subjectivity into automated<br />
systems rather than naively trying to. get a robot to have its 'own'<br />
creative agenda. A lot of us do this day in. day out. We call it<br />
programming.''. quoted from an EMail. message to the Rhizome''<br />
mailing list May. Perhaps one also could call it composing scores and it<br />
does not seem. accidental to me that musical artists have picked up and<br />
grasped computers. much more thoroughly than literary writers.<br />
Western music is an outstandig. example of an art which relies upon<br />
written formal instruction code. Self. reflexive injokes such as<br />
''BACH'' in Johann Sebastian Bach's music the. visual figurations in<br />
the score of Erik Satie's ''Sports et. divertissements'' and finally the<br />
experimental score drawings of John Cage. shows that beyond a merely<br />
serving the artwork formal instruction code has. an aesthetic dimension<br />
and intellectual complexity of its own. In many. works musical<br />
composers have shifted instruction code from classical score. notation<br />
to natural human language. A seminal piece in my opinion is La. Monte<br />
Youngs ''Composition No. '' which simply consists of the. instruction<br />
''Draw a straight line and follow it.'' Most Fluxus performance. pieces<br />
were written. Galerie und Edition Hundertmark. George Maciunas und<br />
FluxusEditionen. . no page numbering. in the same notation style. Later<br />
in the American composer Alvin. instruction which very precisely tells<br />
to perform the piece by playing. itself back and modulating the speech<br />
through the room echoes.. In literature formal instructions is the<br />
necessary prerequisite of all. permutational and combinatory poetry.<br />
Kabbalah and magical spells are. important examples as well. But even<br />
in a conventional. Some historical examples have been adapted online<br />
on my website. narrative there is an implict formal instruction of how<br />
i.e. in which. sequence to read the text (which maybe or followed or not<br />
as opposed to. hypertext which offers alternative sequence on the one<br />
hand but enforces. its implicit instruction on the other). Grammar itself<br />
is an implicit and. very pervasive formal instruction code.. Although<br />
formal instruction code is only a subset of language it is still. at work in<br />
all speech and writing.. It is particularly remarkable about computing<br />
that the namespace of. executable instruction code and nonexecutable<br />
code is flat. One cannot tell. a snippet of digital code whether it is<br />
executable or not. This. property does not stand out in the alphabet of<br />
265
zeros and ones but is solely. dependent on how another piece of code a<br />
compiler a runtime interpreter. or the embedded logic of a<br />
microprocessor processes it. Computer code is. highly recursive and<br />
highly architectural building upon layers of layers of. code.. Analysis<br />
taking things apart. The fact that one cannot tell from any piece of code<br />
whether it is machine. executable or not provides the principle<br />
condition of all EMail viruses on. the one hand and of the codeworks of<br />
jodi antiorpNetochka Nezvanova mez. Ted Warnell Alan Sondheim<br />
Kenji Siratori to name only a few. with the biennale.py'' computer<br />
virus of the net art groups. on the other work that unlike the actual viri<br />
is fictional in that it. aesthetically pretends to be potentially viral<br />
machine code.. The codeworks to use a term coined by Alan Sondheim<br />
of these writers and. programmerartists are prime examples for a digital<br />
poetry which reflects. the intrisic textuality of the computer. But they<br />
do so not by being to. quote Alan Turing via Raymond Queneau<br />
computer poetry to be read by. computers but by playing with the.<br />
Raymond Queneau. Cent mille milliards de pomes. Gallimard Paris. .<br />
p.. confusions and thresholds of machine language and human language<br />
and by. reflecting the cultural implications of these overlaps. The<br />
''mezangelle''. poetry of mezMary Ann Breeze which mixes<br />
programmingnetwork protocol code. and non computer language to a<br />
portmanteauword hybrid is an outstanding. example of such a poetics..<br />
Compared to earlier poetics of formal instruction like in La Monte<br />
Young's. Composition in Fluxus pieces and in permutational poetry an<br />
important. difference can be observed in the codeworks The Internet<br />
code poets and. artists do not construct or synthesize code but they use<br />
code or code. grammars they found and take them apart. I agree with<br />
Friedrich Block and. digital.deBlockindex engl.htm that digital poetry<br />
should be. read in the history and context of experimental poetry. A<br />
poetics of. synthesis was characteristic of combinatory and<br />
instructionbased poetry a. poetics of analysis characterized Dada and its<br />
successors. But one. An exception being the the ALGOL computer<br />
programming language poetry. written by the Oulipo poets Franois le<br />
Lionnais and Nol Arnaud in the. early s. see Harry Mathews and<br />
Alastair Brotchie editors. Oulipo Compendium. Atlas. Press London .<br />
p.. hardly finds poetry with an analytical approach to formal instruction<br />
code. in the classical th century avantgarde. Internet code poetry is<br />
being. written in a new if one likes postmodernist condition of machine<br />
code. abundance and overload.. The hypothesis that there is no such<br />
thing as digital media but only. digital code which can be stored in and<br />
266
put out on any analog medium is. perfectly verified by codework<br />
poetry. Unlike hypertext and multimedia. poets most of the artists<br />
mentioned here write plain ASCII text. The. contradiction between a<br />
complex technopoetical reflection and lowtech. communication is only<br />
a seeming one quite on the contrary the lowtech is. crucial to the critical<br />
implication of the codework poetics.. The development of hyperfiction<br />
and multimedia poetry practically paralleled. the construction of the<br />
World Wide Web hyperfiction authors rightfully saw. themselves as its<br />
pioneers. In the course of nineties they continued to. push the technical<br />
limits of both the Internet and multimedia computer. technology. But<br />
since much digital art and literature became testbed. applications for<br />
new browser features and multimedia plugins it. simultaneously locked<br />
itself into nonopen industrycontrolled code. formats. Whether<br />
intentional or not digital art thus. like Shockwave QuickTime and<br />
Flash. strongly participated in the reformatting of the World Wide Web<br />
from an. open operating system and browseragnostic information<br />
network to a. platform dependent on propietary technology.. By<br />
readjusting the reader's attention from software surfaces which<br />
pretended. not to be code back to the code itself codeworks have<br />
apparent aesthetical. and political affinities to hacker cultures. While<br />
hacker cultures are far. more diverse than the singular term ''hacker''<br />
suggests hackers could as. well be distinguished between those who put<br />
things together like Free. Software and. Boris Grndahl's (German)<br />
Telepolis article The Script Kiddies Are. Not Alright'' summarizes the<br />
multiple sometimes even antagonistic camps. deutschhtmlresult.xhtml<br />
urltp deutschinhaltte.html. demo programmers and those who take<br />
things apart like crackers of serial. numbers and communication<br />
network hackers from YIPLTAP Phrack and. Chaos Computer Club<br />
schools. Code poets have factually adopted many poetical. forms that<br />
were originally developed by various hacker subcultures from the. s to<br />
the early s including ASCII Art code slang (like '' wArz. dd'' for ''leet<br />
elite wares dood'') and poetry in programming languages. (such as Perl<br />
poetry) or they even belong to both the ''hacker'' and the. ''art'' camp.<br />
arafat. arafat shithead it's all the same some shithead claiming territory.<br />
another shithead you only need one then you get another. automatically<br />
like tribes of shitheads shiites something what's. that got to do with<br />
anything. contemporary ontology something anything everything<br />
nothing. maps plainly to logic how metaphysics became logic or was as<br />
it. were classes what do we mean classes are classes nosferatu the.<br />
death of metaphysics the blood is logic everything is logic has. its<br />
267
undead counterpart the world may die any human we'll go on. living<br />
like undead i should come through here no it's not possible. any image<br />
still there's a byte before it exhausts coming back to. this morning and<br />
driving under the bridge don't blame gray words. gray roads. feeling<br />
down may come easy you just sit there and suddenly you want. go to<br />
sleep and can't sleep because you think this will never end. and there's<br />
nothing anywhere. i'm always down like the server is. down. all this<br />
wind is it going anywhere mostly robots reading the. web let's say i<br />
lived my experience is not different from anybody. else why should we<br />
be separate two persons have mutual feelings. what a mess still four<br />
arms two heads what a monster and the. cleaning of the interface<br />
reactions why should i react i'm already. you not in a religious sense<br />
just practical like the same same. system two processes the same shit all<br />
the more pressure around. identity and the individual this exploition a<br />
striking or notable. deed feat spirited or heroic act the exploits of<br />
Alexander the. Great. it's of course true we are the same otherwise<br />
science and. the logics would be false but still culturally a quest for.<br />
identity and most levels retained which together is driving us out.<br />
through the processor our bodies are arguments positions like. minimal<br />
pairs in linguistics and identical to what itself which. makes sense only<br />
through a representation with the possibility of not. being itself so the<br />
quest is via the culture representation where. the position comes in like<br />
the 'you are here' on maps (in a text you. are here what does it mean i<br />
am here this is a long string and the. other arts where are you in music<br />
and everything before language. and within) no the identity can't come<br />
from anything why different. cultures have different ideas of identity<br />
we have maps so we have. the identity of 'you are here' which gives a<br />
faint realization of. yourself but enough to keep fixed through the loop<br />
of being and not. being the truth and falsity of representation or more<br />
precise the. falsity revealed through its truth and vice versa which is at<br />
stake. when represent i am here two times here and here which are two.<br />
places in the text two positions and isn't it supposed to be only. one like<br />
i am only one so we are baffled by this like Alexander the. Great and<br />
need to do baffling deeds to overcome the bifurcation that. takes place<br />
already at the root already at 'you are here' we don't. understand and<br />
the territory comes from this of not understanding. and you get terrorist<br />
and president like arafat collapsing and. sustaining the map as the quest<br />
for identity through construction of. yourself which is like a greek<br />
tragedy whatever you'll find is the. looking for yourself palestine holy<br />
land holy shit how fcking. long will it take before these shitheads loose<br />
268
their power to lead. others astray for people not to be led into another<br />
suffering hell by. shithead the great.. roadmap to peace forget road<br />
forget map forget peace.. <strong>Re</strong> syndicate arafat. if you rid yourself of<br />
opaqueness i don't know where you are is that. beauty love and war<br />
were always good friends. it's still about identity. the quest for anything<br />
clear and transparent (love) which at the same time. should be<br />
something (territory) and it doesn't resolve so forget it not. wait for the<br />
best love projects (maps) too much the territory becomes. what you see<br />
is that wise. Of the raising opaqueness Claudia always has the most<br />
beautiful answer. which we can wait for the best. Original Message.<br />
claudia westermann. Friday November AM. <strong>Re</strong> syndicate arafat. a.<br />
forget road forget map forget peace.. keep love. love me in my full<br />
beauty and I'll become. what you see in me. or wise. RE syndicate<br />
arafat. arafat shithead it's all the same some shithead claiming territory.<br />
another shithead you only need one then you get another. automatically<br />
like tribes of shitheads shiites something what's. that got to do with<br />
anything. sure let's stick to shithead ascii pseudo artists like you. who<br />
says you have to choose sides. <strong>Re</strong> contact. circumcise (srÆkm szÅ) v.t.<br />
cised cising.. . to remove the prepuce of (a male) esp. as a religious<br />
rite.. . to remove the clitoris prepuce or labia of (a female).. . to purify<br />
spiritually.. ME circumcisen L circumcsus (ptp. of circumcdere to cut.<br />
around) equiv. to circum CIRCUM csus (cd cut tus ptp. suffix. see<br />
CIDE). why should we choose cides. I am a Muslim woman and my<br />
genitalia has been reshaped. My biggest fantasy. is doing it with a Jew.<br />
<strong>Re</strong>touched genitalia really turns me on. I know we. would have<br />
CapuletoMontesco frictions if our families opposed our union. but this<br />
is my dream.. Original Message. From WRYTINGL Writing and<br />
Theory across Disciplines. Sent viernes de noviembre de. To<br />
WRYTINGLLISTSERV.UTORONTO.CA. Subject arafat. arafat<br />
shithead it's all the same some shithead claiming territory. another<br />
shithead you only need one then you get another. automatically like<br />
tribes of shitheads shiites something what's. that got to do with<br />
anything. contemporary ontology something anything everything<br />
nothing. maps plainly to logic how metaphysics became logic or was as<br />
it. were classes what do we mean classes are classes nosferatu the.<br />
death of metaphysics the blood is logic everything is logic has. its<br />
undead counterpart the world may die any human we'll go on. living<br />
like undead i should come through here no it's not possible. any image<br />
still there's a byte before it exhausts coming back to. this morning and<br />
driving under the bridge don't blame gray words. gray roads. feeling<br />
269
down may come easy you just sit there and suddenly you want. to go to<br />
sleep and can't sleep because you think this will never end. and there's<br />
nothing anywhere. i'm always down like the server is. down. all this<br />
wind is it going anywhere mostly robots reading the. web let's say i<br />
lived my experience is not different from anybody. else why should we<br />
be separate two persons have mutual feelings. what a mess still four<br />
arms two heads what a monster and the. cleaning of the interface<br />
reactions why should i react i'm already. you not in a religious sense<br />
just practical like the same same. system two processes the same shit all<br />
the more pressure around. identity and the individual this exploition a<br />
striking or notable. deed feat spirited or heroic act the exploits of<br />
Alexander the. Great. it's of course true we are the same otherwise<br />
science and. the logics would be false but still culturally a quest for.<br />
identity and most levels retained which together is driving us out.<br />
through the processor our bodies are arguments positions like. minimal<br />
pairs in linguistics and identical to what itself which. makes sense only<br />
through a representation with the possibility of not. being itself so the<br />
quest is via the culture representation where. the position comes in like<br />
the 'you are here' on maps (in a text you. are here what does it mean i<br />
am here this is a long string and the. other arts where are you in music<br />
and everything before language. and within) no the identity can't come<br />
from anything why different. cultures have different ideas of identity<br />
we have maps so we have. the identity of 'you are here' which gives a<br />
faint realization of. yourself but enough to keep fixed through the loop<br />
of being and not. being the truth and falsity of representation or more<br />
precise the. falsity revealed through its truth and vice versa which is at<br />
stake. when represent i am here two times here and here which are two.<br />
places in the text two positions and isn't it supposed to be only. one like<br />
i am only one so we are baffled by this like Alexander the. Great and<br />
need to do baffling deeds to overcome the bifurcation that. takes place<br />
already at the root already at 'you are here' we don't. understand and<br />
the territory comes from this of not understanding. and you get terrorist<br />
and president like arafat collapsing and. sustaining the map as the quest<br />
for identity through construction of. yourself which is like a greek<br />
tragedy whatever you'll find is the. looking for yourself palestine holy<br />
land holy shit how fcking. long will it take before these shitheads loose<br />
their power to lead. others astray for people not to be led into another<br />
suffering hell by. others astray for people not to be led into another<br />
suffering hell by<br />
270
203<br />
shithead the great.. roadmap to peace forget road forget map forget<br />
peace.. Informacin de NOD . (). Este mensaje ha sido analizado con<br />
NOD antivirus system. RE syndicate arafat. Original Message. From<br />
Sympa Owner mailtosympakilby.copyleft.no On Behalf. Sent Friday<br />
November PM. To syndicate. Subject RE syndicate arafat. arafat<br />
shithead it's all the same some shithead claiming. territory. another<br />
shithead you only need one then you get another. automatically like<br />
tribes of shitheads shiites something what's. that got to do with<br />
anything. sure let's stick to shithead ascii pseudo artists like you. who<br />
says you have to choose sides. you did choose. you're mistaken man<br />
nothing was chosen here.. isoQEkunstogsikkerhetovervEkning.<br />
<strong>Re</strong>gjeringen foreslår å bruke millioner kroner til ekstraordinære.<br />
sikringstiltak av utvalgte kunstverk av spesiell høy verdi ved ulike.<br />
museer. Bevilgningen kommer etter at politiet og eksterne konsulenter.<br />
vurderte truslene mot og sikkerheten ved norske museer på oppdrag fra.<br />
departementet. Pengene er bl.a. til overvåkingsutstyr. NRKtekst.<br />
Elektronisk kunst kan gå inn i denne delen av.<br />
produksjonogvisningslinja i de delene som omgir kunstverket og.<br />
representerer dets 'sikkerhet' mot 'trusler'. Det er forsåvidt samme. greia<br />
publikum eller overvåkingsutstyr kan man ikke ta skrittet fullt. ut her i<br />
en automatisering av kunsten og la overvåkningsutstyret være. publikum<br />
uansett være en del av det og sikkerhetstiltakene være. kunstens egenverdi<br />
som i en forsikringssum. Uansett det gjøres mye. med sensorer og<br />
overvåkning i elektronisk kunst og det hadde sikkert. vært gøy å gjort noe<br />
som førte 'sikkerhet' og 'trusler' tilbake inn i. verket eller<br />
visningssammenhengen dessuten riktig og åpent. Men her. som ellers<br />
ligger verdien i det som ikke er åpent i egenverdien. 'utvalgte kunstverk<br />
av spesiell høy verdi' som trenger sin slagskygge. som lager for<br />
verdiene vanligvis i fremtiden en skygge inn i. fremtiden og nå også et<br />
skyggepublikum som overvåker kunstverkene og. sikrer integritetet<br />
gjennom å stadig se på dem som om kunstverkene. ble borte dersom<br />
ingen så på dem at de har sin integritet i Gud. tilslutt som altseende og det<br />
som ikke blir overvåket ikke eksisterer. som identitet ellers identitet er<br />
271
noe som kommer tilbake som en. overvåkning at du overvåker deg selv<br />
via en form for representasjon og. utstyr som skal sikre en integritet.<br />
Det blir mye mer et objekt og. dermed mye mer et kunstverk om det<br />
overvåkes. Og som et ekstraordinært. tiltak for å øke verdien på ordinær kunst<br />
kan man sette igang sikring og. overvåkning. Her kommer ekunst inn i<br />
bildet. Hvis det slår an blir det. til at vi kan lage kunst ved å overvåke noe<br />
slik som det blir tv ved. bare å peke kamera på noe.. RE syndicate arafat.<br />
ok thanks yes it's ugly from every side. this wasn't a. political<br />
declaration or positioning not of choosing sides at. least i still have a<br />
voice though whether it be political or not. or in what sense.. bjørn m..<br />
ok. perhaps I'm mistaken. it just happens that since yesterday all I hear<br />
everywhere is. that the death. of arafat would signal the beginning of<br />
peace. and this is one (of many) things that really gets on my tits. ariel<br />
sharon is an ugly killer and that he's not dead doesn't. stop me from.<br />
thinking that he is en evil doer. other things irritating me was all the<br />
stupid brouhaha about that. bigot. buttiglione and how it was a fantastic<br />
victory for european. democracy that. he had to step down... meanwhile<br />
the whole barroso commission who. was an. ultraliberal bees' nest<br />
could slip in behind him. a farce. etc. f.. you did choose. you're<br />
mistaken man nothing was chosen here.. <strong>Re</strong> i awake. It's far away the<br />
lights on the tree and the fires outside the. entrance entrance you don't<br />
enter entrance you don't enter. trance by a way father away holy ghost<br />
wholly why hole press. u to enter hole hole hole you pitar pytar hayr<br />
breath of. his breath inspire expire enspire detrance extasis.<br />
displacement faraway grab the environment and throw it down a. hole<br />
throw up your body another entrance go back ppp. you're at the<br />
wayside again listening to snow cannons' nocturnal. monophony<br />
orange lights shivering down the wipe slope white. sloth no go back<br />
ppppp still the same are these. different rooms or the same dreams are<br />
already inhabited nothing. takes place the nothingsomething the random<br />
walk seeded with. fear or desire well you have to start somewhere if at<br />
all why. start ppppp this is further faraback i'm not trying to. engage<br />
gage something as a glove thrown down by a medieval. knight in token<br />
of challenge to combat. press g to pick it up. go south you hear water<br />
but don't sea any y d u c. homeostasis psychol. a state of psychological<br />
equilibrium. obtained when tension or a drive has been reduced or<br />
eliminated. hteros he that the it libra balance bilanx metal dishes. dinner<br />
for two reduce lead back bring back go back retrace. retract way course<br />
line of footprints trå tråkk vestigium. vestige investige token pick up this<br />
token ppp were are. you pppppppp facteventfeeling pick up this fact.<br />
272
there's an obvious fact leading past the event the feeling of my. tokens<br />
hardwire hardware waru ware intrinsecus inward. following inner<br />
everybody has inner has to throw up sometimes. inner situated within<br />
or farther within interior an inner door. more intimate private or secret<br />
the inner workings of the. organization of or pertaining to the mind or<br />
spirit mental. spiritual the inner life not obvious hidden or obscure an.<br />
inner meaning innera inne within inside pick it up what do. you mean<br />
sense facteventfeeling something is something else. what no inner<br />
everything is interchangeable your body you. already have one so why<br />
should it interest you root access the. root late OE rt ON rt akin to OE<br />
wyrt plant WORT G. Wurzel L rdx (see RADIX) Gk rhza (see<br />
RHIZOME) which is your. system allinone still useless toy retrace<br />
pppp are we. that special not our bodies bodig botah damn damn damn<br />
dam. dame domina our workings inner again ongegn opposite gegn.<br />
straight igegn not any particular or certain one of a class or. group not<br />
straight stretch you see what's inside. interchangeable glorious nothing<br />
bodies history nature throw. up throw up later you will vestigate<br />
already forgat already. untouched retouched untouched wipe wpian c.<br />
OHG wfan to wind. round Goth weipan to crown perh. akin to L vibrre<br />
to move to. and fro wipeout whiteout blackout fade dull pale pall.. <strong>Re</strong><br />
syndicate arafat. Far from the making act we can say everything in any<br />
case. Obviously you. had not chosen but the omissions allied to the<br />
obvious terms made sense of. themselves together without that you<br />
formulated of choice. Obviously that's your choice reading it as<br />
political declarations in most. senses of the word political since politics<br />
is about forcing a choosing of. sides setting the options to choose but<br />
obviously every side is ugly. here oppressor or oppressed how the sense<br />
of justice is construed and. since nothing is chosen something ugly<br />
comes back for lack of the political. conformance and balance and<br />
renders opaque and annoying and gives the idea. there must be a clearer<br />
position behind or hidden but that's not the case. other than don't be<br />
mislead by political 'shitheads' to suffer their hell.. all the tnihgs taht<br />
arent psoilsbe bcak bcak apin bcal is viatl. ptsoure hondinlg im dizzy<br />
yuore liokng for reilef or bdluiiing. waht dnot ask bdiiuinlg fwlwnig<br />
don lkneiesss loop of snese. tgohuths arise attache not i was wthas there<br />
to bilud a story no. stroy threes no sotry what sotry do you yuor life<br />
sorty no lfie. sotry blind bilnd bnild story no sorty bilnd back and fotrh<br />
no. sorty nnothig dvoeelps no dempoleevnt its all dlwilohnl dwon.<br />
srtoies i not srtoy not sroty and the stroy adnother wrod for. benig<br />
isdine the scubjet bnieg oecjbt but not eevn sjbecut how. sjbcuet can i<br />
273
e to daeth i wsant so how can i be its a story. olny a sotry wtih a<br />
bgeniinng and end and the sotry is ntoghin no. story the sotry is jsut a<br />
story and the sejbuct is not a sucbjet. these wdros are cnmiog form a<br />
long line of ilde soht form the. seubct lnie sbjecut the sjbeuct<br />
eiecnrxeeps epienrexecs ex peri. sneseis it tnilkag abuot ilestf or<br />
vetbivare mdoe of pscroes. iarmooniftn v bceaues trehs nnitoghb to<br />
bulid the linvig are for. the lvinig the voderr is for shgmeotin oto be and<br />
esle non and. you wodlunt know but the tarinstion for loss and gian<br />
which. lgneirs for yesra for lteifmie tmie until aontehr loss wchih fdaes.<br />
lkie dcemial jmbures in sniinicgfcae the digit iteengr wlhoe. hole<br />
drigess how etym the w hloe tunnel tsarcnend. bef. ME OE hol hole<br />
cvae orig. nuet. of hol (adj.). HLOOLW c. G hohl hwlolo. ebf. ME hole<br />
hool (daj. and n.) OE hl (ja.d) c. D heel. G heil ON hilel see HLAE<br />
HEAL sp. wtih w relectfs dail. form. bef. ME holi OE hlig var. of<br />
HLEG equiv. to hl WHLOE. eg Y c. D G heilig ON hlaiegr. the bcalk<br />
wohle. .... ON see HLEL. bef. ME OE he(ll) c. OHG h()illea (G Hlle)<br />
ON hel Goth. hjala aikn to OE hlean to cover hide and to HLUL.<br />
satngre the etym siiimelritas as if the opipostes were the. coslest<br />
cinaopnoms balck holes at the cneter of glaaxies in the. misdt of haveen<br />
reisde hell qiute the oppsoite no surprsie also. the balck whloes of<br />
rliigoen whta's torhwn oitudse is rnig. tgloopoy or the srting cmoes<br />
bcak at the cetner or vcie vresa. it's aonther hlel like the syanig if the<br />
wrold was peecfrt it. woul'ndt esixt wree each wrod bges its exspoinan<br />
and if the word. was pefrect it wondul't eixst so tihs way geos itno<br />
altiioainhnn. or the aiiilhntnaon is cnncteeod to rzaieaoiltn wihch is.<br />
cttslannoy dlaeyed torwhn out lkie the wrlod is cearted in tmie. which is<br />
just the delay thgnis go sowler and solewr. the hack. itno ereltncos<br />
certeas the wolrd aenw slutaimes from lgiht seped. and loigc the<br />
hrewyporld mroe and more has to be thorwn out at. lhigt speed to keep<br />
it go solwer and sowler inetria at the end of. speed mabye lkie the<br />
practile padorax aagin if sthoiemng is. pulctairar (eg. tmei) it ditfrs off<br />
mronuolssty allchies and the. tultre view tihs from rivitatley as aheilcls<br />
is giannig light. speed he inealtfs ifitnneliy enregy bceomes msas the<br />
wrold form. the filurae of reazilnig of rhaecing the ttrlue whcih is the.<br />
fiarlue of riiztleaaon the praadox of the pultiracar of the. wrold the<br />
montusros itnifoaln hloe whloe hloy hlel hole in the. wolhe hell in the<br />
holy in the mdsit wihch is cnnasottly thowrn. out the paissve out of the<br />
avitce any oejcbt thwron out of the. subcjet like this.. <strong>Re</strong> Ego. It's based<br />
on palindromes as you might expect ) By that constraint. they seem to<br />
have their own quirkiness in vocabulary maybe grammar. and<br />
274
semantics what themes reoccur and comes through so I wanted to.<br />
make pseudopalindromes or write something through the palindromic.<br />
namespace palindromes that were not palindromes but only looked like.<br />
it ) So I'm just processing the palindrome files from. through the<br />
constructed space. I like using markov chain to rearrange. stuff because<br />
the connections between entitites are real and the. statistics for choosing<br />
between entitites are also real (a strong. connection is more likely to be<br />
chosen) so the random element is. within a quite structured system<br />
choosing between weighted options. derived from real data.. I'm doing<br />
some more of these though I see it's limited in use. I'm. reading<br />
through a dictionary of wordplay and oulipo to see if I want. do<br />
something. I'm also having fun with a reverse lookup in. webster's<br />
dictionary from definiens to definiendum which amounts to. a peculiar<br />
thesaurus replacing words by (search for word through all. definiens<br />
and gather all the definiendum and then choose all or one of. these you<br />
then get an associative relation weaker than thesaurus. but more<br />
'poetical' connoted. Some recent pieces were done with this. and I'm<br />
not through with it yet.. the mean. while waiting and waiting for win to<br />
boot. a play for the calculator the mean. ok what about . .. where does<br />
the . come from. .. still the same. ok so we know n(n).(n.). what about<br />
step while. it holds now the diff is always. n(nstep)(step)((nstep)). try<br />
random ... i have to format c unbelievable. step is so it doesn't work. do<br />
you want to install netmeeting. who ever had any need of scandisk. i<br />
ran scandisk several times now. still it didn't detect damaged sectors.<br />
unbelievable crap scamdicks. well why didn't it work for odd. it's. yeah<br />
now your product key licence. it's supposed to be oh well it just squares<br />
then. squareroot of . is.. . voila. key is GXPPKTCDRJGJDTRBM<br />
(win). it's n(nstep)(step)((nstep)). which makes sense for the . and the.<br />
updating you system... restart then restart then restart. this wasn't very<br />
profound. it's like you need the square stuff somewhere. whether you<br />
put it in the n's or the step. it doesn't matter. the suprise in the<br />
beginning of this play... it didn't take into account the extras of the<br />
square. the double its shadow. it's about dimensions. how the extra<br />
dimension casts a shadow back. the step is supposed to take care of<br />
that. ah but there's no stairway to heaven. can't believe this where are<br />
the screen drivers. My documents it's intimidating. very small. i lost the<br />
scans whatever. anal stuff i mean what's the point. the joy of loosing.<br />
again a gain where does the shadow come in. the gain where the extras<br />
are from. hell is a collapse of dimensions. what happens when things<br />
colapse. when these squares collapsed they lost their shadow. i was<br />
275
thinking of this drawing also what it lost. shadows of course collapsed<br />
into texture. but the other way also. what would the hyper be if this was<br />
texture. loom. unbelievable. unbeleivable. what is most. this cognitive<br />
quaking is backforth's squaring. nothing in the middle. nothing<br />
mediated. these are flat. mean. the synonyms for mean are average base<br />
beggarly entail hateful have. in mind imply intend mean value<br />
meanspirited mingy miserly. signify stand for think think of tight.<br />
ideareal. ideareal. my psychology. all sensory inputs are the same<br />
electrical impulse youablatusjuz bul and gof.a. lot of feets there limbs<br />
on their own lettersthe difference mountain bookwhen. the rat presses<br />
the vague abstract exressionist psychology switchcomma it. receives a<br />
brief pulse of electricity to its brain through thehaywire mailspeed. of<br />
thought meters per second spamyour neurotic inhibitory synapses.<br />
modemeurotican example of a stimulating drug is the venom of the<br />
black widow. spiderwhich causes the release of acetylcholine an<br />
important. transmittersubstance. acetylcholine is involved with<br />
memory.writing endorphine. people.throughout history people have<br />
enjoyed changing their consciousness. nowand then by taking drugs<br />
fasting meditating or chanting. Evenchildren. enjoy spinning around<br />
and making themselves dizzy presumablyfor the same. reasons.enemy<br />
ugly bitter failure win gift happy beauty.yof or laj. tom or. bill italian or<br />
swedish.premacksuperstitious behaviours fetal posture chin. up chest up<br />
reach and miss sit with support sit on lap grasp object. sit on high chair<br />
grasp dangling object sit alone stand with help stand. holding furniture<br />
creep walkwhen led pull to stand by furniture. climb stair steps<br />
standalone walk alonestereopsissucking cuddling looking. smiling<br />
crying i know how to writejnd principle of justnoticeable difference.<br />
weber fractionsdifference threshold bitwiseshorter wavelengthsHow<br />
does a face. look like to youWell I know it's a face because I can<br />
usually see the eyes. and it'son top of a body. I can see a body pretty<br />
well by how it moves.we. immediately perceive a figure when the<br />
outline is closed punctumgestalt law of. common fateTAE<br />
CHTbottomup processing datadriven topdown contextual..<br />
bicyclehippopotamus hippopotamusup and down up and downlook car<br />
house i didn't. get itsave your money save your moneyyellow big south<br />
yellen can't get itin. past days memory consolidation elaboration<br />
episodic semantic explicitimplicit i. wasremembering is automatic<br />
remembering is a creative. reading provides. aparticularly compelling<br />
example of the automatic nature of memoryretrieval.. stroop effect.<br />
portability.a lot is done with shadows wordsi want daleth delta.<br />
276
door.there you are scanning text saccades fixations.the hunters were.<br />
disappointedd that the fucks got away.yours semantic priming sweep<br />
broom. clean.i saw several spiders indexing the web roaches of hair<br />
bugs in. hisprogram porky primes.wabbit is wight and wabbit is wong<br />
she. said.overextension.jpg.txt.movunderextensionmooi cakes round<br />
marks on. windows writing on windows and inbooks round shapes in<br />
books round. postmarks letter obuti toy radish stone sphere at dark<br />
entranceticktock. all clocks and watches gas meter firehose wound<br />
onspool bath scale with. round dialbaw apples grapes eggs squash bell<br />
clapper anything roundmem. cow calf pig moose all fourlegged<br />
animalsfly specks of dirt dust all. small insects own toes crumbs<br />
ofbread toadwauwau all animals house. slippers old man in<br />
fursameslan(g)please milk please me like drink apple. bottletravels up<br />
the concept treea dog barks dog breathesa dog looks through. the<br />
window dog is borna dog grows hair dog regulates its digestiona dog.<br />
releases hormones dog survivesa dog makes dog dog makes a choicea<br />
dog dreams. dog is subject to gravitya dog lives on a planet dog needs<br />
oxygena dog evolves. dogcells dog evolved from the cella dog is<br />
chemical dog has atomsa dog is. atoms dog has light speeda dog is<br />
energystandard deviation Statistics.a. measure of dispersion in a<br />
frequency distribution equal to the squareroot of. the mean of the<br />
squares of the deviations from the arithmeticmean of the.<br />
distribution.sheep deprivationhe said we now must conclude that the.<br />
evidence for sleep as repair isnot very strong. sleep deprivation does<br />
little. more than make the personfeel extremely sleepy.i appear to be a<br />
definite. relation between rem sleep and the learningand assimilation of<br />
emotional. experiences.your excitatory potential drive habitmy<br />
reinforcement increases. drive eating increases hunger tasting<br />
andswallowing makes me more hungry. until the stomach responds<br />
enough.i need murray's list of psychological needs. meambition<br />
achievement overcoming obstacles recognition describing.<br />
accomplishments exhibition attempting to shock or thrill acquisition<br />
obtaining. things conservance repairing possessions order making<br />
things neat and orderly. retention hoarding things construction building<br />
somethingdefense of status. inviolacy keeping distance infavoidance<br />
concealing a birthmark or handicap. defendance giving an explanation<br />
or excuse counteraction retaliatingresponse to. human power<br />
dominance directing other's behavior deference cooperating or.<br />
obeying similance imitating autonomy standing up to authority.<br />
(autorityauthonomy) contrariance being oppositional aggression<br />
277
attacking or. belittling abasement apologizing or confessing blame<br />
avoidance stifling. blameworthy impulsesaffection between people<br />
affiliation spending time with. others rejection snubbing others<br />
nurturance taking care succorance being helpd. play seeking<br />
diversionexchange of information cognizace asking questions of. others<br />
exposition delivering information to othersam you a human for need<br />
for. power noyou need for affiliation very littlei perseverance maybethe<br />
intrinsic. motivation if anyoneneed to avoid failure test anxiety<br />
questionairetext. ansietymy even illusion of choice increases the value<br />
of an activity.free. choice ihe learned helplessness involves learning<br />
that an aversive event. cannotbe avoided or escaped. seligman also<br />
suggested he has thecharacteristics. of a personality trait.our<br />
reinforcement dopaminethem amphetamine cocaine etc. are very<br />
reinforcing them will work hardto receive them drugs. catbert so why.<br />
not pay them workers in drugs.dilbert baked it's called them<br />
money.them quest. for endorphinesmy body weights of people in india<br />
's poundsshop owners. supervisors head clerks clerks drivers mechanics<br />
pilers carriers. etc us men and women respond in basically the same<br />
way to visual and. tactilesexual stimuli but we appear to differ in the<br />
kinds of stimuliimagery. and fantasies we consider erotic. thems<br />
women reportedly foundpictures of. Rromantic situations (showing<br />
affection and kissing)sexually arousing however. most of them found<br />
pictures of sexualsituations (engaging in intercourse). distasteful. them<br />
mens reported thepictures of sexual behaviour to be arousing. (and the<br />
physiologicalmeasurements agreed) but unlike the women they were<br />
not. aroused by theRromantic pictures.if i man responds sexually to a<br />
picture of i. woman he tends to imagineher as a sex object figuratively i<br />
takes her out of. the picture anduses her. in contrast a picture of a naked<br />
man is generally. notarousing to neither i men or women.my most<br />
prevalent types of sexual. fantasies to both gendersreplacement of<br />
established partnerforced sexual. encounter with other sexobservation<br />
of sexual activityour paraphilia as money. and ehrhardt() put it nature<br />
makes moreerrors in the male. ref a fetus. develops into a female unless<br />
mytestosterone is present.them mythology of. emotions passion<br />
passive. when we experience anemotion we tend to perceive. ourselves<br />
as passive and helpless. thebelief we're not responsible for them our.<br />
emotions indulgence andlater absolve from blame in contrast we don't<br />
absolve. good acts i just couldn't help myself. i saw her drowning and<br />
before i. knew it iwas struck by an altruistic frenzy. when i regained<br />
control of. myself ifound that i had dragged her onto the shore we<br />
278
attribute such acts. toour intellect so we can take credit for them but we<br />
blame them bad actson. our uncontrollable emotions.you good case can<br />
be made that emotions exist. because expressions ofemotions<br />
communicate important information to other. members of thespecies.<br />
my people are more likely to express happiness in the. presenceof other<br />
my people than when they are alone. for example bowlers. whomade a<br />
strike usually did not smile when the ball hit the pins. howeverwhen.<br />
the bowlers turned around to face their companions they<br />
oftensmiled.when us. people see someone expressing an emotion us<br />
tend to imitate theexpression.my. simulation display rules.and<br />
leakageplutchik categorieswithdrawing escaping. protection<br />
fearattacking biting destruction angermating courting. reproduction<br />
joycrying for help reintegration sadnesspair bonding. grooming<br />
affiliation acceptancevomiting spitting out rejecting. disgustexamining<br />
mapping exploration expectancystopping freezing. orientation<br />
surprisehohman () the higher my injury to the spinal chord. the<br />
lessintense general feelings were to support the theory of feeling.<br />
ofemotions being feedback from my body.funny thing is i didn't get all<br />
shook up. about it. i just didn't feelafraid at all like you would<br />
suppose.our. simulations facial smiling creates the emotional state<br />
ofhappiness etc.. simulated expressions altered us autonomic<br />
nervoussystem.my damage to left. hemisphere often suffer a<br />
catastrophic reaction whileright damage often show. an indifferent<br />
reaction for the left the rightis intact and 'dramatic' in. expression and<br />
vice versa the left beinglogicalindifferent.dangers are to. your leftmy<br />
right hemisphere judges emotions more accurate. viewing or.<br />
readingreading with my left eye.strange thing when i close my left eye<br />
and. ear the sense impressionsseem more empty than if i close my right<br />
eye and ear.. what goes onanalyzingsynthesizing.i wasn't fundamental<br />
attributional error. overestimate dispositionalfactors (the person) and<br />
underestimate the. situational except our ownbehaviour (the i)last night<br />
we false consensus error. most people are like meyour success from<br />
internal causes failures from. externalmy personal causation error the<br />
element of choice leads me to. anillusion of personal causation. may be<br />
an innate tendency.for me right is. empty dead it requires action process<br />
of objectand left is full life. requires passio process of<br />
subjectmetaphysiology semispheresall our induced. compliance. the<br />
experimenters predicted that thesubjects who were paid would. perceive<br />
the task as being relativelyinteresting those who got not. they. should<br />
convince themselves ofthe worth of the experiment so as to maintain.<br />
279
their selfesteem. whenfaced with inconsistencies between our behavior<br />
and our. attitudes ioften change me attitudes to suit me behavior.she<br />
arousal and. attitude changetogether attitudes and expenditures clearly<br />
we value things at. leastpartly by how much they cost us. so that we<br />
effort would not beperceived. as having been completely without value<br />
us. dilbert why payonly ascetics value. life.my people find a message<br />
form an attractive person more persuasive.your. clever experiment<br />
showed that subjects preferred mirrorreversedpictures of. themselves<br />
however they preferred nonreversed pictures oftheir. friends.nonwords<br />
such as afworbu civadra zabulon the more times. they'represented the<br />
better you like them.it's hard to say no once you've said. yes to noi<br />
attractive people it's hard to refuse thems. selfesteem root.. beingliked<br />
by attractive people makes me more desirable too. people tend.<br />
toemphasize their associations with my attractive and important<br />
people.their. authority obediencehe shocking othersshe please go<br />
on..the experiment requires. that you continue..it is absolutely essential<br />
that you continue..you have no. other choice you must go on..you and i<br />
reactance and free choicewrite that for. most normal people in most<br />
situations the automaticunconscious reaction is the. best and the most<br />
efficient one. abundance.dutton and aron () had an. attractive young<br />
woman interview i'm malecollege students as they walked across. a<br />
suspension bridge spanning agorge feet deep. they found the woman<br />
more. attractive than thecontrol group. arousal projection. likewise<br />
when i were. expectinga shock reported more attraction.eysenck have<br />
hypothesized that our. dimension of extraversionintroversion is caused<br />
by biological differences in. the general level ofneural arousal in the<br />
brain. we with high level of arousal. findsexternal stimulation aversive<br />
because the arousal becomes too much. tobear thus we become<br />
introverts.thems readers of maslow's work are likely to. come away<br />
feeling that themshould try to make better persons of themsselves.i.<br />
counting checking cleaning avoidance metrephining textcrib dramathe.<br />
tranquilizing chairlist rotating chairspam systematic. noemata.<br />
Wednesday April. noemata. Monday April. switching the knob on a<br />
lamp though knowing it's socketed but. still interesting shouldn't it<br />
light up anyway fooled by the knob. great surprise nothing will<br />
happen.. feed meefofofofofofof words slip slippery qualia what's<br />
wrong with me. knob potential who can tell if it's connected just have<br />
to try. flakes this is inside a mail insideoutside. what means any number<br />
in a calender throw something in the. pond stimulation it's no good<br />
things are what they are depth. dimension and then the others why<br />
280
should i be experiencing things. i'll teach the genes to behave surplus<br />
double bind of immanence and. emancipation it's possible what engine<br />
gengine combinations a. big mishmash clearly distinguished raindrops<br />
clouds and i'm told to. go blip skin......... scan monitor myself or<br />
growing plants. they're like patterns whatever inside or like the pattern<br />
depth. in time the three stooges why three logical operators have truth.<br />
tables a cartesian point socket isockets this is not going. anywhere<br />
smashing like rain ddddddfddfdsdflkjsdf idle rain will. what will vanity<br />
write writing puke expands to living is puke. and double bind we<br />
shouldn't care about this there's nothing. moving still rain smashing<br />
why still expanding both time and. space the listening passive what<br />
activity could take place what. will cloud lightening it's like lightening<br />
then equalizing. electrical potential neuron fires cloud and lightening<br />
patterns. insideoutside the adventure kids stale it's hard not to.<br />
understand language some inputs win puke win it's like the sun with.<br />
maybe it's like an arrow pulling it out again if it's deep enough. which<br />
it is if it is the if arrow it'll leave you inside out not me. but you know<br />
the world it's actually running backwards retracting. leaving all this<br />
nonsense in its way. what do we know about unfolding. the tree how do<br />
i not respond i don't know this either the cd. unfolds music cd player<br />
idea for a player wich plays itself still. form and data different roles<br />
which is like active passive again. motion object mass velocity to make<br />
up the energy unfolding. structure autophone selfregulating hierarchies<br />
picking his nose. standards double standards words have to be read to<br />
be words pulling. out an arrow it leaves this mess. the streams inside<br />
you rather write this than be useful what do we. have other than our<br />
insides outside is conquered well inside too to. a degree remote neural<br />
islands would that be possible what do they. eat. the whitenoise screen<br />
a screen of xx bits per pixel gives. possible screenshots with an hertz<br />
screen you'll have. a hour movie containing every image in the world..<br />
xx a sec movie of every blackwhite image in the world.. xx a sec movie<br />
of every blackwhite image.. our senses has some representational<br />
thresholds else everything would. be everything radioactive elements<br />
stable stuff names particle. mathematics slowly there's a bomb inside<br />
the xx is a movie bomb. parasitic on your representations slow fuse you<br />
must follow relate. feedbackfire am i anything outside of myself suicide<br />
is always. attracting like beauty and should therefore make us<br />
suspicious of. the human function selfreplication selfdestruction as<br />
illusive. representations of outside or inside it's the velocity biting its.<br />
tail i was born or someone else in my place in case i'm someone. else<br />
281
how would i know the difference you could check if your dna is. your<br />
own or report it stolen. life is everything that goes on beyond you once<br />
you understand it's not. life. if you make an animated gif it's got life for<br />
about five sec random. is life because you can't predict. and about<br />
speed processing life is the. too slow it takes some time that's mostly it.<br />
once it's processed it's. dead happy the unprocessed.. granmar. it's a bit<br />
revealing that the number one coincides with the article of nouns. in<br />
languages more or less eg. a man one man. which came first counting.<br />
or abstraction two men the men why should plural be definite no no..<br />
and the pronoun the same as article.. selfextract. this image selfextracts<br />
displays itself out of nothing say a gallery. you walk in and look for the<br />
image walking through different rooms maybe. doing different things<br />
this is like an adventure game only self so you'll. find the image<br />
whatever in fact by looking for it and it will selfextract. by your actions<br />
like the universe selfextracted a doubleclick will do. though<br />
slowmotion because it's before time so what you do and the time. you<br />
take traversing the gallery might be just parameters not an adventure.<br />
taking time and you might be using sensors mechinical devices<br />
common. sense or nothing to unfold the image the easiest thing would<br />
be a mirror. though it's so commonplace it doesn't make you reflect<br />
which is another. reversed idea having 'mirrors' that don't reflect using<br />
their context but. you'll see nothing and what would be great anyway a<br />
window. ME windoge windowe ON vindauga equiv. to vindr WIND<br />
auga EYE wind. eye which are both the active and passive parts<br />
sendingreceiving the. selfextraction like the 'spiritual' is of<br />
selfknowledge of breathe and. 'wind' variations on the theme the<br />
aesthetical of the whole out of. nothing which is always something and<br />
the unfolding relating directly to. its unwinding )<br />
selfextractionselfunwinding taking place within the. windeye.. on<br />
media. media there's always something inbetween which comes from<br />
the separation. in the first place there's no end to media it's the distance<br />
between. achilles and the turtle which is a question of the digital and<br />
the. continuum. in our digital media media is between zero and one..<br />
nomic. this computer program's output is it's code vomic.. the game is<br />
to change it's rules.. you enter a gallery to make art.. the spectator<br />
reflects on his gazing.. selfprogramming selfextraction.. In more<br />
general terms program code contaminates in itself two concepts. which<br />
are traditionally juxtaposed and unresolved in modern linguistics the.<br />
structure as conceived of in formalism and structuralism and the.<br />
performative as developed by speech act theory.. physical aha. For<br />
282
example since the SCC output is wired into eyecontrol muscles. some<br />
motions can be compensated you can read a fixed page while.<br />
swiveling your head but with your head fixed you can't read a page.<br />
swivelled by a friend. The SCCeye feedback effect also explains. why<br />
some home video recorded while the filmer is in motion doesn't. look<br />
so good afterwards in the editing stage when the. neurofeedback<br />
mechanism isn't at work. (Todd Squires Physical. migration. everything<br />
is number everything is particular nothing is sacred. except<br />
transcendental numbers which are unending series of. fractions salvati<br />
kan du fortsette rekken nei. men du kan fortsette rekken. quite the<br />
opposite of wholy like we got everything wrong. always things are<br />
usually inverted the idea of an identity upon an. abyss of oddities keep<br />
it simple don't get caught in the net of. something elaborate you'll twist<br />
and turn to get out again nets. flung over the abyss poor migrating birds<br />
poor bats this stupid. story you'll die soon enough story. is stupid story<br />
you'l. hurn to get out againl. tt don't get caught. ethe idea of an i nd. sdl<br />
got everythingdiei. tnpd f fractions ente. aameeontal numbeqwn s. b itw<br />
ehing is rurtt s. tsr sdtythingssioihfo. rs eeenorg is a tntelo. oitvkienenve<br />
icwegy un. owinirc viernsrh nn. pt ilesrehtyu eitauege. p sna<br />
rebmpdchlpt n. sleyy alucitra hewo oo. dlellgrt tpecxe anovu.<br />
r'klonidnenu eraoy feg. i ahw fo etisoppsa rh. bususu era sgniht ns.<br />
oeitiddo fo ssyba ot. gy etarobale gnihtemh. evicting is numb evicting is<br />
particle notices is sacramental. exceptionable transceivers numbering<br />
whiff are unendingly. sericeous of fractionise quitch the opposes of<br />
likelihoods we got. evicts writhen amalgamated thiner are ussher<br />
invercalt the. idealises of an identikit uplifts an abuzz of oculomotor<br />
keepsakes. it simpered get caulks in the net of sombrous elaborating<br />
twisted. and turmoil to get out agar netty fluor ovationed the<br />
academical. poove migrancy birdbrain pooled batsman thistly stunsail.<br />
storminess die sonuvabitch enqueues. effortfully ice nonprescription<br />
ebert ia productions nattiness ix. secretions expatriates touring<br />
nonverbally wis arru uninitialised. shores oba fraughts qed tee<br />
obstetricians ope wholy loge wy get. evertor wrong alehouse towing<br />
aire ucla impropriety thu iot opah. anna identities upon anna abyss oaf<br />
otitis kiev ide sniffle don't. giotto cicada inn tue needy oba summations<br />
elaborately you'll. twixt amide trannie thaw gouda otto assen nautch<br />
fillings overawe. twae apex prau majorette broadcaster pear bites<br />
towkay stupidity. star you'll duo soon eyewink. The newthing ohjects.<br />
es listening l ooking into the first place surely there. are everywh ere<br />
drives listening looking into the f. irst place s urely t here aremantic<br />
283
worksyou end u. p questioning i' m These worksi don' t. Sigh pine oa k<br />
oh i supp or t n oth ing th ere'. s How i do n't That would be lik e dyin<br />
g le. t 's i ' m That would be l ike lif. e inte rviews order what abou t n<br />
o. w luckily i'm amount s to t. erms with wha t i support nothing not<br />
philosop. hy not science not art not religion not art not sci. ence not<br />
society not art not religion not art no. t society not mysel f not science<br />
not sci ence n. ot science not art not art not art not techno logy h. ow is<br />
classical cla ssical what how come male. romantic female classic<br />
expanding consoli. dating Amoun t s to tautologies at best this sounds.<br />
your position and believe not society not humanity. not techno logy<br />
how is this sounds all about the no. thing ohjects sc ares me humanity.<br />
what are l istening looking i nto the nothing o. hje ct s. all the things<br />
that arent possible back back apin bacl is vital. posture holdning im<br />
dizzy youre loking for relief or builiding. what dont ask biuliding<br />
flwwing don likenesss loop of sense. thoughts arise attache not i was<br />
whats there to build a story no. story theres no story what story do you<br />
your life story no life. story blind blind blind story no story blind back<br />
and forth no. story nothing develops no development its all downlhill<br />
down. stories i not story not story and the story andother word for.<br />
being inside the subject being object but not even subject how. can i be<br />
to death i wasnt so how can i be its a story. only a story with a<br />
beginning and end and the story is nothign no. story the story is just a<br />
story and the subject is not a subject. these words are coming from a<br />
long line of idle shot form the. subect line subject the subject<br />
experiences experiences ex peri. senseis it talking about itself or<br />
verbative mode of process. information v becaues thers nothignb to<br />
build the living are for. the living the vorder is for somethign oto be and<br />
else non and. you wouldnt know but the transition for loss and gain<br />
which. lingers for yesra for lifetime time until another loss which fades.<br />
like decimal jumbers in significance the digit integer whole. hole<br />
digress how etym the w hole tunnel transcend. bef. ME OE hol hole<br />
cave orig. neut. of hol (adj.). HOLLOW c. G hohl hollow. bef. ME hole<br />
hool (adj. and n.) OE hl (adj.) c. D heel. G heil ON heill see HALE<br />
HEAL sp. with w reflects dial. form. bef. ME holi OE hlig var. of<br />
HLEG equiv. to hl WHOLE. eg Y c. D G heilig ON heilagr. the black<br />
whole. .... ON see HELL. bef. ME OE hel(l) c. OHG hell(i)a (G Hlle)<br />
ON hel Goth. halja akin to OE helan to cover hide and to HULL.<br />
strange the etym similarities as if the opposites were the. closest<br />
companions black holes at the center of galaxies in the. midst of heaven<br />
reside hell quite the opposite no surprise also. the black wholes of<br />
284
eligion what's thrown outside is ring. topology or the string comes<br />
back at the center or vice versa. it's another hell like the saying if the<br />
world was perfect it. wouldn't exist were each word begs its expansion<br />
and if the word. was perfect it wouldn't exist so this way goes into<br />
annihilation. or the annihilation is connected to realization which is.<br />
constantly delayed thrown out like the world is created in time. which is<br />
just the delay things go slower and slower. the hack. into electrons<br />
creates the world anew simulates from light speed. and logic the<br />
hyperworld more and more has to be thrown out at. light speed to keep<br />
it go slower and slower inertia at the end of. speed maybe like the<br />
particle paradox again if something is. particular (eg. time) it drifts off<br />
monstrously achilles and the. turtle view this from relativity as achilles<br />
is gaining light. speed he inflates infinitely energy becomes mass the<br />
world from. the failure of realizing of reaching the turtle which is the.<br />
failure of realization the paradox of the particular of the. world the<br />
monstrous inflation hole whole holy hell hole in the. whole hell in the<br />
holy in the midst which is constantly thrown. out the passive out of the<br />
active any object thrown out of the. like this.. worldpay. enraged<br />
motherinlow. angered woman hitler. dirty roommates. dormitory steam.<br />
ask me tomorrow and you shall find me a grave man. entreat me<br />
tomorrow sunfish what after smellfeast me a baritone. major. milk<br />
drinkers are turning into powder. lactonic drinkers are doubling<br />
exciting pounce. gleanings for the myzostomata. for the labellum.<br />
curious Difficult to please or satisfy solicitous to be correct. careful<br />
scrupulous nice exact. vacant. advowson commendam diastema<br />
enthrone gap interregnum lacuna. vacant vacant vacantly void voided<br />
waste. logology. loGOLOGy y gologol. googloyl. word waywards.<br />
waywords. A doom royal play or iron my metal frets a map an em a<br />
bed.. Deb a wastrel alert saw a player...a chair Amos Socorramme. subi<br />
no pope sir I'm.. about. i structure my production in books. a converge<br />
taking care of the converge in digital art. emphasis on writing code the<br />
conceptual side of art. and of practice doings without ideas. the book<br />
less projected directed more like writing. anomyie Disregard or<br />
violation of law Personal state of isolation and. anxiety resulting from a<br />
lack of social control and regulation. anon. A fictitious name used when<br />
the person performs a particular social. role nom de guerre. that's like<br />
shame anything contrived. what shouldn't be contrived banally like<br />
yourself. your self to yourself. contrived. Advent. Grete immediately<br />
ran out to Hans and shouted Hans we're free The old. witch is dead.<br />
They danced of joy and embraced each other. They went. through the<br />
285
house and found a lot of pearls and jewelry. The two children. laughed<br />
and collected all the treasure they could carry. So at least we. know that<br />
under capitalism there are treasures and people that own them.. And we<br />
know who they are too. So we could kill them and take their. treasures.<br />
The witch wanted to eat Hans and Grete. We know capitalism. wants to<br />
exploit us until death. After that they ran home and embraced. their<br />
father his wife was now dead but their worries were now over. Was.<br />
logos married to the witch Why did she want to eat her children Greed.<br />
is the mother. Ignorance is the father logos. Hans and Grete had to fix.<br />
their own situation their father didn't care their mother was a witch..<br />
Advent. Early the cold morning the little girl sat in the corner between<br />
the two. houses. Her cheeks were red and she had smile on her lips. She<br />
was dead.. She had frozen to death on New Year's Eve. Day and night<br />
warm and cold. the burning sun burning matches. Why should the earth<br />
revolve Little. carousel. End of the cycle. If you ride on a beam of light.<br />
Dark sun at. the center of the cycle her grandmother. We already know<br />
her parents. were ignorance and greed day and night. Before day and<br />
night is. space between the houses. The grandmother took the little girl<br />
in. her arms and together they flew away in shining joy higher and<br />
higher. until there were no more cold hunger or suffering. Matter<br />
shapes space. and space shapes trajectory of matter. That's why the<br />
grandmother. (matter) could take the little girl (matter) and use the<br />
parent. generation as a carrier wave (space). Dark sun grandmother<br />
little light. beam. Higher and higher gravity and speed until everything<br />
is lost.. Before and after the world. Day and night is our world our<br />
parents. father ignorance and mother greed darkness of logos neediness<br />
of. fullness.. Advent. What father does is right and everything goes well<br />
in the end. His. ignorance in trading a horse into a sack of apples is only<br />
surpassed by. his wife's blind love. But everything works out in the end<br />
because the. story is utterly unbelievable.. Advent. Beauty and the<br />
beast. In the first place the father set out to sea to. get rich. Apparently<br />
there were no mother since beauty did all the. housework. The beast of<br />
incestuous shame. Father trades her to the beast. and goes free. The<br />
castle is empty and crypted father sad and impotent.. Once beauty<br />
acknowledges the beast it turns into a prince that's art. ugly beauty too<br />
close to marry. Art has no mother only an incestuous. father ignorant<br />
displaced greed really ugly and impossible.. advent. tahoe emperor's ny<br />
coltsfoot dervishes tty egomaniacal. whitey isn't. dropsonde with ixia.<br />
beaut banned tai varietal ieyasu toea rollaway. aiken. impale of<br />
spacetime matterspacematter. it's wariness taui so. he's directionally<br />
286
ant wiriness twa she he's newgate. pebble arrow amnia. misleads thea<br />
megalithic i dropping tie capitalize verb amide nina. toey morea<br />
misleading thu moreau vale. towie ethernet imai cusk id. returns iffy<br />
naiad tone netting beady tow ivy doesn't hyalite. doesn't exhaustivity<br />
nippur rockies thu returnticket. iv mine ia. nauseate he's dorsad (the<br />
fall) amati ibo he's drastically he's naked. (he returns). tye egmont ixia<br />
derbent bahai thaw retraining oaf cricketer. askew judoka ova tau<br />
lashed judgemental euphoria croaked. sandhi ieyasu. nought cruck te<br />
colette that's whee he's muscat.. Advent. The emperor's new clothes<br />
drives the economy. What isn't drives what is... But behind the virtual<br />
is. the real again. Inflation of spacetime. matterspacematter. It's wrong<br />
to say he's dressed and wrong to say.. he's naked. People are anyway<br />
misled the misleading is driving the.. capital verb and noun the more<br />
misleading the more value. The eternal.. in case it returns if not then<br />
nothing but the if doesn't halt.. doesn't execute never reaches the<br />
return. If man is naked he's dressed.. (the fall) and if he's dressed he's<br />
naked (he returns). The economy is.. driven by the return of christ as<br />
judge of the last judgement every. christmas. Santa is naked cries the<br />
child that's why he's masked. The. child that's. Emperor's new clothes<br />
drives what isn't. <strong>Re</strong>turn. If not. then nothing but behind the if he's.<br />
<strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not. then nothing but the misleading the<br />
economy. What is.. <strong>Re</strong>turn. If not. then nothing but behind the eternal.<br />
<strong>Re</strong>turn. If not then nothing but. behind the eternal. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If man is the real again.. Inflation of christ as judge of christ is<br />
judge of the emperor's. <strong>Re</strong>turn.. If he's. <strong>Re</strong>turn. If man is driving the<br />
eternal. <strong>Re</strong>turn. If not then. nothing but the misleading the real again.<br />
Inflation if christ as judge. of spacetime. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If<br />
not then nothing but the. emperor's. <strong>Re</strong>turn. If man is naked cries the<br />
eternal. <strong>Re</strong>turn. If not. then nothing but the last judgement every.<br />
<strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If. he's. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not then nothing. but the eternal. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn.<br />
If not then nothing but. the virtual is the misleading is the virtual is<br />
driving the eternal.. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If<br />
he's. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but<br />
behind the misleading. the child that's <strong>Re</strong>turn. If not then nothing but<br />
the economy. What. is.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but<br />
behind the last. judgement every. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't.<br />
<strong>Re</strong>turn. If not. then nothing but the virtual is naked cries the more<br />
misleading is. naked cries the more value. The emperor's. <strong>Re</strong>turn. If<br />
he's.. Advent x. Grete immediately ran out to Hans and shouted Hans<br />
287
we're free The old. witch is dead. They danced of joy and embraced<br />
each other. They went. through the house and found a lot of pearls and<br />
jewelry. The two children. laughed and collected all the treasure they<br />
could carry. So at least we. know that under capitalism there are<br />
treasures and people that own them.. And we know who they are too.<br />
So we could kill them and take their. treasures. The witch wanted to eat<br />
Hans and Grete. We know capitalism. wants to exploit us until death.<br />
After that they ran home and embraced. their father his wife was now<br />
dead but their worries were now over. Was. logos married to the witch<br />
Why did she want to eat her children Greed. is the mother. Ignorance is<br />
the father logos. Hans and Grete had to fix. their own situation their<br />
father didn't care their mother was a witch.. Early the cold morning the<br />
little girl sat in the corner between the two. houses. Her cheeks were red<br />
and she had smile on her lips. She was dead.. She had frozen to death<br />
on New Year's Eve. Day and night warm and cold. the burning sun<br />
burning matches. Why should the earth revolve Little. carousel. End of<br />
the cycle. If you ride on a beam of light. Dark sun at. the center of the<br />
cycle her grandmother. We already know her parents. were ignorance<br />
and greed day and night. Before day and night is. space between the<br />
houses. The grandmother took the little girl in. her arms and together<br />
they flew away in shining joy higher and higher. until there were no<br />
more cold hunger or suffering. Matter shapes space. and space shapes<br />
trajectory of matter. That's why the grandmother. (matter) could take<br />
the little girl (matter) and use the parent. generation as a carrier wave<br />
(space). Dark sun grandmother little light. beam. Higher and higher<br />
gravity and speed until everything is lost.. Before and after the world.<br />
Day and night is our world our parents. father ignorance and mother<br />
greed darkness of logos neediness of. fullness.. What father does is<br />
right and everything goes well in the end. His. ignorance in trading a<br />
horse into a sack of apples is only surpassed by. his wife's blind love.<br />
But everything works out in the end because the. story is utterly<br />
unbelievable.. Beauty and the beast. In the first place the father set out<br />
to sea to. get rich. Apparently there were no mother since beauty did all<br />
the. housework. The beast of incestuous shame. Father trades her to the<br />
beast. and goes free. The castle is empty and crypted father sad and<br />
impotent.. Once beauty acknowledges the beast it turns into a prince<br />
that's art. ugly beauty too close to marry. Art has no mother only an<br />
incestuous. father ignorant displaced greed really ugly and impossible..<br />
The emperor's new clothes drives the economy. What isn't drives what<br />
is... But behind the virtual is. the real again. Inflation of spacetime.<br />
288
matterspacematter. It's wrong to say he's dressed and wrong to say..<br />
he's naked. People are anyway misled the misleading is driving the..<br />
capital verb and noun the more misleading the more value. The eternal..<br />
in case it returns if not then nothing but the if doesn't halt.. doesn't<br />
execute never reaches the return. If man is naked he's dressed.. (the<br />
fall) and if he's dressed he's naked (he returns). The economy is..<br />
driven by the return of christ as judge of the last judgement every.<br />
christmas. Santa is naked cries the child that's why he's masked. The.<br />
child that's. Emperor's new clothes drives what isn't. <strong>Re</strong>turn. If not.<br />
then nothing but behind the if he's. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not. then<br />
nothing but the misleading the economy. What is.. <strong>Re</strong>turn. If not. then<br />
nothing but behind the eternal. <strong>Re</strong>turn. If not then nothing but. behind<br />
the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the real again.. Inflation of<br />
christ as judge of christ is judge of the emperor's. <strong>Re</strong>turn.. If he's.<br />
<strong>Re</strong>turn. If man is driving the eternal. <strong>Re</strong>turn. If not then. nothing but the<br />
misleading the real again. Inflation if christ as judge. of spacetime.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but the. emperor's.<br />
<strong>Re</strong>turn. If man is naked cries the eternal. <strong>Re</strong>turn. If not. then nothing<br />
but the last judgement every. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If. he's. <strong>Re</strong>turn. If<br />
doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing. but the eternal.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but. the virtual is the<br />
misleading is the virtual is driving the eternal.. <strong>Re</strong>turn. If doesn't.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not then nothing but behind the misleading. the child that's<br />
<strong>Re</strong>turn. If not then nothing but the economy. What. is.. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not then nothing but behind the last. judgement every.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not. then nothing but<br />
the virtual is naked cries the more misleading is. naked cries the more<br />
value. The emperor's. <strong>Re</strong>turn. If he's.. Prinsessen på erten. Bare en<br />
prinsesse ville være følsom nok til å kjenne. en ert gjennom tjue madrasser<br />
og tjue dundyner. Prinsen hadde omsider. funnet sin prinsesse som han<br />
gifter seg med og erten ble plassert på. museum hvor den kan enda sees<br />
idag såsant den ikke har blitt stjålet.. Fire was robbed from the gods. The<br />
criminal ascent of man he doesn't. smell (verb or noun subject or<br />
object). What can be stolen is already. without value what can be<br />
sensed already stale (horse urine). The. dotting of the princess<br />
insignificance three dotted eyes the smaller. the better it runs like a real<br />
number inconsequence churning. hitting the mattress no way beyond<br />
the calculation of statistics of. doths. ...............s. ...........y...u.<br />
.......s...l...o. ...y...u......... ...l..d....b..di. ..e...ue..ga..n.. ..tl..oh..n..dir.<br />
289
..aa..rt..it.eko. .s.n.p....c.r.l. .er..r.e.yri.eng. .ler.erm.red..a..<br />
.gcerve.r....dmn. y..tu..ouefesn.i. aaa.oivroifraeua. MeleyloPyfophrhv.<br />
Advent. Prinsessen på erten. Bare en prinsesse ville være følsom nok til å<br />
kjenne. en ert gjennom tjue madrasser og tjue dundyner. Prinsen hadde<br />
omsider. funnet sin prinsesse som han gifter seg med og erten ble<br />
plassert på. museum hvor den kan enda sees idag såsant den ikke har blitt<br />
stjålet.. Fire was robbed from the gods. The criminal ascent of man he<br />
doesn't. smell (verb or noun subject or object). What can be stolen is<br />
already. without value what can be sensed already stale (horse urine).<br />
The. dotting of the princess insignificance three dotted eyes the smaller.<br />
the better it runs like a real number inconsequence churning. hitting the<br />
mattress no way beyond the calculation of statistics of. doths.<br />
...............s. ...........y...u. .......s...l...o. ...y...u......... ...l..d....b..di.<br />
..e...ue..ga..n.. ..tl..oh..n..dir. ..aa..rt..it.eko. .s.n.p....c.r.l. .er..r.e.yri.eng.<br />
.ler.erm.red..a.. .gcerve.r....dmn. y..tu..ouefesn.i. aaa.oivroifraeua.<br />
MeleyloPyfophrhv.<br />
290
204<br />
Advent x. Grete immediately ran out to Hans and shouted Hans we're<br />
free The old. witch is dead. They danced of joy and embraced each<br />
other. They went. through the house and found a lot of pearls and<br />
jewelry. The two children. laughed and collected all the treasure they<br />
could carry. So at least we. know that under capitalism there are<br />
treasures and people that own them.. And we know who they are too.<br />
So we could kill them and take their. treasures. The witch wanted to eat<br />
Hans and Grete. We know capitalism. wants to exploit us until death.<br />
After that they ran home and embraced. their father his wife was now<br />
dead but their worries were now over. Was. logos married to the witch<br />
Why did she want to eat her children Greed. is the mother. Ignorance is<br />
the father logos. Hans and Grete had to fix. their own situation their<br />
father didn't care their mother was a witch.. Early the cold morning the<br />
little girl sat in the corner between the two. houses. Her cheeks were red<br />
and she had smile on her lips. She was dead.. She had frozen to death<br />
on New Year's Eve. Day and night warm and cold. the burning sun<br />
burning matches. Why should the earth revolve Little. carousel. End of<br />
the cycle. If you ride on a beam of light. Dark sun at. the center of the<br />
cycle her grandmother. We already know her parents. were ignorance<br />
and greed day and night. Before day and night is. space between the<br />
houses. The grandmother took the little girl in. her arms and together<br />
they flew away in shining joy higher and higher. until there were no<br />
more cold hunger or suffering. Matter shapes space. and space shapes<br />
trajectory of matter. That's why the grandmother. (matter) could take<br />
the little girl (matter) and use the parent. generation as a carrier wave<br />
(space). Dark sun grandmother little light. beam. Higher and higher<br />
gravity and speed until everything is lost.. Before and after the world.<br />
Day and night is our world our parents. father ignorance and mother<br />
greed darkness of logos neediness of. fullness.. What father does is<br />
right and everything goes well in the end. His. ignorance in trading a<br />
horse into a sack of apples is only surpassed by. his wife's blind love.<br />
But everything works out in the end because the. story is utterly<br />
unbelievable.. Beauty and the beast. In the first place the father set out<br />
291
to sea to. get rich. Apparently there were no mother since beauty did all<br />
the. housework. The beast of incestuous shame. Father trades her to the<br />
beast. and goes free. The castle is empty and crypted father sad and<br />
impotent.. Once beauty acknowledges the beast it turns into a prince<br />
that's art. ugly beauty too close to marry. Art has no mother only an<br />
incestuous. father ignorant displaced greed really ugly and impossible..<br />
The emperor's new clothes drives the economy. What isn't drives what<br />
is... But behind the virtual is. the real again. Inflation of spacetime.<br />
matterspacematter. It's wrong to say he's dressed and wrong to say..<br />
he's naked. People are anyway misled the misleading is driving the..<br />
capital verb and noun the more misleading the more value. The eternal..<br />
in case it returns if not then nothing but the if doesn't halt.. doesn't<br />
execute never reaches the return. If man is naked he's dressed.. (the<br />
fall) and if he's dressed he's naked (he returns). The economy is..<br />
driven by the return of christ as judge of the last judgement every.<br />
christmas. Santa is naked cries the child that's why he's masked. The.<br />
child that's. Emperor's new clothes drives what isn't. <strong>Re</strong>turn. If not.<br />
then nothing but behind the if he's. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not. then<br />
nothing but the misleading the economy. What is.. <strong>Re</strong>turn. If not. then<br />
nothing but behind the eternal. <strong>Re</strong>turn. If not then nothing but. behind<br />
the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the real again.. Inflation of<br />
christ as judge of christ is judge of the emperor's. <strong>Re</strong>turn.. If he's.<br />
<strong>Re</strong>turn. If man is driving the eternal. <strong>Re</strong>turn. If not then. nothing but the<br />
misleading the real again. Inflation if christ as judge. of spacetime.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but the. emperor's.<br />
<strong>Re</strong>turn. If man is naked cries the eternal. <strong>Re</strong>turn. If not. then nothing<br />
but the last judgement every. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If. he's. <strong>Re</strong>turn. If<br />
doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing. but the eternal.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but. the virtual is the<br />
misleading is the virtual is driving the eternal.. <strong>Re</strong>turn. If doesn't.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not then nothing but behind the misleading. the child that's<br />
<strong>Re</strong>turn. If not then nothing but the economy. What. is.. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not then nothing but behind the last. judgement every.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not. then nothing but<br />
the virtual is naked cries the more misleading is. naked cries the more<br />
value. The emperor's. <strong>Re</strong>turn. If he's.. Prinsessen på erten. Bare en<br />
prinsesse ville være følsom nok til å kjenne. en ert gjennom tjue madrasser<br />
og tjue dundyner. Prinsen hadde omsider. funnet sin prinsesse som han<br />
gifter seg med og erten ble plassert på. museum hvor den kan enda sees<br />
292
idag såsant den ikke har blitt stjålet.. Fire was robbed from the gods. The<br />
criminal ascent of man he doesn't. smell (verb or noun subject or<br />
object). What can be stolen is already. without value what can be<br />
sensed already stale (horse urine). The. dotting of the princess<br />
insignificance three dotted eyes the smaller. the better it runs like a real<br />
number inconsequence churning. hitting the mattress no way beyond<br />
the calculation of statistics of. doths. ...............s. ...........y...u.<br />
.......s...l...o. ...y...u......... ...l..d....b..di. ..e...ue..ga..n.. ..tl..oh..n..dir.<br />
..aa..rt..it.eko. .s.n.p....c.r.l. .er..r.e.yri.eng. .ler.erm.red..a..<br />
.gcerve.r....dmn. y..tu..ouefesn.i. aaa.oivroifraeua. MeleyloPyfophrhv.<br />
Elektronisk kunst for teksttv. Er det mulig å programmere teksttv til å<br />
gjøre noe interessant Usikker. på hva begrensningene er. Teksttv sender<br />
sider pr. sekund i det. lille tidsintervallet da elektronstrålen sveiper<br />
tilbake for å skrive ut. neste tvbilde det sendes som en datastrøm av tegn<br />
og styringskoder. kapasiteten er minst linjer tegn sider kb synlig en<br />
andel. styringskode. Dette er vel et spørsmål hva som kan gjøres med.<br />
styringskoden. Hvis sidene er nødt til å kastes ut i en løkke der en.<br />
interessant men hvis styringskoden på en side kan styre hva slags data.<br />
som sendes (også gjennom interaktivitet) kan det lages en form for.<br />
kunsttv som er tilgjengelig på alle tvapparater. Side ser ut til å. være ledig<br />
både på nrk og tv.. Uansett bare en ide til lista kunsttv. i mellomrommene<br />
mellom bildene dersom det er teknisk mulig.. the is. the is the is the is<br />
the is the is the is the is the is the is the is the. is the is. the heteronym is<br />
dipteral (the posterior pair reduced to small knobbed. structures) the<br />
dior is hermit (showoffs) the herbal is directional. (homeopath) the<br />
disclaim is henbit (toothedflower) the heuristics is. disconcerts (the<br />
disappointing hero) the disconform is hence (every. place is different<br />
the eggs were fresh and hens satisfactory. position) the heroizes is<br />
disburser (cash inout) the diplomate is. hermatypic (commerce and<br />
cunning and invention and theft) the heroinise. is disallowance (a bun<br />
dance).. is the is the is the is the is the is the is the is the is the is the is.<br />
the is the. the host is dita (vast evergreen) the dita is hanky (personal)<br />
the. haves is dodder (parasitic paddle) the derry is hover (smokescreen).<br />
the hammy is doses (scenes) the door is hyena (dead territory) the. hollo<br />
is dogma (pa's crybaby) the dreck is hat the hmm is dene the. den is<br />
holp the heads is dick the downy is haft (offhero) the hyla is. deus (shit)<br />
the dree is hook the harp is dolt (sweat) the dog is doxy. (canister) the<br />
hazy is gyms (sweater).. the the is is the the is is (the the article of<br />
double presence tense. the intense currency exchange the is).. ideareal<br />
the is. rDwhite textDblack. the is the is the is the is the is the is the is<br />
293
the is the is the is the br is the isthe heteronym is dipteral (the posterior<br />
pair red. uced to small knobbed structures) the dior is hermit (showoffs)<br />
the. herbal is directional (homeopath) the disclaim is henbit (toothed.<br />
flower) the heuristics is disconcerts (the disappointing hero) the.<br />
disconform is hence (every place is different the eggs were fresh a. nd<br />
hens satisfactory position) the heroizes is disburser (cash in. out) the<br />
diplomate is hermatypic (commerce and cunning and invention. and<br />
theft) the heroinise is disallowance (a bun dance).. is the is the is the is<br />
the is the is the is the is the is the is the is r the is thethe host is dita<br />
(vast evergreen) the dita is h. anky (personal) the haves is dodder<br />
(parasitic paddle) the derry is. hover (smokescreen) the hammy is doses<br />
(scenes) the door is hyena. (dead territory) the hollo is dogma (pa's<br />
crybaby) the dreck is h. at the hmm is dene the den is holp the heads is<br />
dick the downy is. haft (offhero) the hyla is deus (shit) the dree is hook<br />
the harp. is dolt (sweat) the dog is doxy (canister) the hazy is gyms<br />
(sweate. r).the the is is the the is is (the the article of double prese. nce<br />
tense the intense currency exchange the is).r Posted by noemata to.<br />
ideareal at. AM. noemata postprogrammer. no merit whatsoever.<br />
cached text. cached text. internet text. Comment on Grelling's paradox.<br />
Autological adj selfdescribing.. Heterological adj not selfdescribing..<br />
'Autological' is autological by definition.. 'Heterological' can't be<br />
decided if it's selfdescribing it means it's. not selfdescribing which<br />
means it's selfdescribing etc.. I wonder about the autological are there<br />
any flaws in there How do we. know that the term 'autological' is<br />
autological By definition. Autological means selfdescribing but how do<br />
we know that the term. 'autological' is selfdescribing If 'autological' is<br />
autological yes. but do we know that How do I know 'autological' is<br />
autological By. definition Autological means selfdescribing but how do<br />
we know that. the term 'autological' is selfdescribing If 'autological' is.<br />
autological yes but do we know that How do I know 'autological' is.<br />
autological By definition Autological means selfdescribing but how do.<br />
we know that the term 'autological' is selfdescribing If 'autological'. is<br />
autological yes but do we know that How do I know 'autological' is.<br />
autological By definition Autological means selfdescribing but how do.<br />
we know that the term 'autological' is selfdescribing If 'autological'. is<br />
autological yes but do we know that I don't think we know.. For<br />
'autological' to be autological it would have to be selfdescribing. but<br />
how do we know if it's selfdescribing or not Let's see if it might. be<br />
heterological if 'autological' is heterological then it's not self.<br />
describing and not autological. Is it possible that 'autological' is not.<br />
294
autological Something selfdescribing not being selfdescribing Yes.<br />
because we don't always know when something is selfdescriptive or<br />
not.. If someone points it out to me I would know but I don't know if<br />
someone. always will point it out probably not so I can't say. This is<br />
about the. gap between a word and its definition of subsuming a token<br />
under a type.. How would I know 'autological' fits under autological<br />
Because it's self. describing But I don't know that it's what I'm trying<br />
to find out by. subsuming I would create the answer but not find it. I<br />
know what self. describing is when I see it but I don't know if<br />
'autological' is self. describing. Autological means selfdescribing but I<br />
don't know if. 'autological' is autological. What it comes down to is<br />
that it's not. clear what 'selfdescribing' is. I know it when I see it but<br />
not more. than that. So I couldn't say that 'autological' is selfdescribing<br />
even. if autological means selfdescribing. That's pretty clear after all.<br />
If. someone calls himself 'Peter' it doesn't mean it's Peter. And<br />
likewise I. know Peter when I see him not by his describing. If I knew<br />
Peter by his. DNA I would know his describing very well. I think the<br />
flaw here is. buried in the term 'selfdescribing'. It's a loop that is<br />
everything and. nothing it rather belongs to the heterological. In a sense<br />
everything is. selfdescribing because every word is linked to other<br />
words and you can. take a short tour or long far fetched and get back<br />
which would be. selfdescribing. So selfdescribing is selfinscribing<br />
that's probably. the gist of it. And if I said 'autological' was autological<br />
it would be. inscribing not describing.. colour charset. would it be<br />
easier to read colours than forms colours are more immediate.<br />
percepted and gestalted as wholes pictures etc on the other hand maybe<br />
more. difficult with positions ambiguous colorspace versus distinct<br />
forms etc. maybe. an artpoetic language also since the form is freed<br />
characters are in the. colours only. how does it relate to eg. chinese the<br />
pictorial in colour you. could write a word as a figureicon of<br />
colorsinsequence ie. circles inside. each other clockwise or maybe even<br />
as a unique merge.. check that something is unique that could never be<br />
done. posting anything is mostly a very conscious effort and thereby<br />
attain. the falsities also by being brought into a context of exchange. I<br />
always react to that with iconoclasting withdrawals. communication<br />
stereotypes it's hard not to and fix the two sides. make meaning implies<br />
those classes but too much of since. communication needs response (it<br />
thinks) and thereby shrinks to the. already and stereotype before it<br />
transmits so well the poetics is. not type before you type (typetype) but<br />
touch while do.. efa.<br />
295
LNKSTKNTSXLKMNKXNRWSMBSWRKKTTSworking of code<br />
(signifiance) vs.. coding of work (practice).Eco A sign is always an.<br />
element of an expression plane CONVENTIONALLY several).<br />
elements of a content plane. Codesigns have problematic.<br />
conventions.In my understanding of Eco and Kristeva.<br />
SMSKNFKXNPRSSKNKNBTFTFRNTKMPLKSTrecursively loopy<br />
which would fit in. with Kristeva's notion and which was myI N T P T<br />
E. P N M T C P T is never complete the problem. is the 'conventional<br />
correlation' which is the. efbdbbcbadcIn relation to what I called code<br />
and. its double the double would be the residue which is the sign a<br />
mere. product a doubling of the code which is residue which is the sign<br />
a. mere product a doubling of the code which is dasignifiance. In.<br />
reality it is opposite sign is nothing and code is so maybe it turns. out<br />
that 'code and its double' and 'code as nothing' fit with.. enn at je. nak<br />
nem etiv gej nak avh eslennejkre dem tllellarap tsnuk rof.<br />
enesnergOJRTTNMTTRTLFTRFSMSNMRTKNTSFNTRRgo<br />
.reknateksennem va trørebu. rav tedlohnni rovh irellag te nojsalsnartne<br />
krevtsnuk eksitamotua. ttah iv ennuk )relleh ttisilpmi ne ekki.<br />
ejksnakeceffceece. eebfcfd. nem( nojskartsba ekki terknok<br />
nedrevskkyrttu ne i kkyrtu mo ges. reierdednevirkseb re paksnetiv . nis<br />
nelah resips ynåp ges. reresilibats. rekriv )tsnuk inni tsnuk( tsnuk tsnuk<br />
rilb go tsnuk mos nni eymte. mos ted ettafppo etiv å ted mos etkerid eræv<br />
nak nem eon.<br />
epaksnejgETMNPRNTFLTMRFKRTFNKFTSNKTFFttat eleh ted i<br />
seresinummok go. sekkyrttu nak avh iroetseslennejkresgals avh rah<br />
kårps te enepaksnege. ed arf tu vles ges resnergeb ted<br />
.adefgijklnoprstvyåæditlla rilb. enekrevtsnuk .trekkis ekki vil go tsnuk<br />
mollem elliks ekkinerutketikra. enned reiel gej go krevtsnuk enim va<br />
led ne rilb ned red. nam avh go tennuf rah nam. avh mollem elliks etåm<br />
neklivh åp .gilegløfvlesi tdnur rekyf erentsnuk. va ræh ne .idrev tkø ted rig<br />
retkejbone erøjg ud nak nenna. neon va teie mos krev te rennif ud mo<br />
modneieetted erøjg .idrev ted rig. nerentsnuk .tsnuksnojskasnart .ripap.<br />
tebeeffaeebddfdbfabdetted va metsys te .idrev. retsim neitnarag<br />
nerutangis idrev retsim ekkigej .idrevtsnuk tetkejbo. rig neleddes ned<br />
.neleddesitnarag neitnaragtsnuk.. enn det er. nettstedet og lese boksta<br />
kjøpe kjøpe kultur slik a om finnegans wake. var må nei det . var penger<br />
ja og. får du solgt . dem .. igalleri spadde inn om finnegans wake<br />
bokklubber som spammer. hj..<br />
LNKJNTHTRRKRSFLLPHXKRSSFSXLSTRKTRyrsg'f.<br />
flzobyznpuvar'f h fvtavsvpngvba cebprff ntnGurbel ). SINISTERS<br />
296
ARE REVOLUTIONA AND AN IMPORTANT THING THSOME<br />
COMMENTS. cccfcdbbbbfe as 'codify' where the. convneither<br />
anarchic fragmentA W A T A W E. C C.<br />
INMNTRSTSKNFNSccefbbaafbV. O C C I C H C T<br />
'BKSacefghijnorstvtni. erom er'yeht osnoitnevnoc si ngiS So maybe it<br />
turns out that. several) elem N pbqrfvta vf nyjnlf na rfvzhygnarbhfyl<br />
rkcybvgf. sbE W C T O O. bdbaaefbdfcefbadebbfaSomething while<br />
code is My. understandingshall call this In . another view. the sign<br />
working Of Code (sig <strong>Re</strong>. Codeworkddfbebdafb. lingustic and social.<br />
commuMQBqxAylCDEpgLAvhjKMrkiaI.baafccbbbefced. abd<strong>Re</strong>sidue<br />
Which Is The Sign F D Y I I S T. vertical plane (chasm sh<br />
INRLXNTHTKLSSTNNTNL structuring. practice a it enters into the<br />
code. ofebcDlldNCjoC.nBOZSoCzHorisontal Networks Of Sig.<br />
Protagonists The Subjectsomething While Code Is.<br />
Nobffaebfceeedbsign itself so it. never generating process this uis never<br />
complete the pro. What we call signifiancestructuring practice a is<br />
never complete. the pro What we call signifiancestructuring practice a<br />
THE KRISTEVA. SHATTERING BRE 'conventional correlation' it<br />
enters into the. codseveral) elements of.<br />
aaaeccfcPNTTSNRLTSNSTNKTLPPRSSTKSSTSerphef. viryl ybbcl<br />
juvpu j cebqhpvat na rkprff jvgu erVa nabgure ivrj gur. fvta<br />
vsignification process aga hand that biological urgethat this. instinctual<br />
operp a gnimoceb )emit( edocenegoreteh siht llac llahs ht. gniht<br />
tnatropmi na dnAthe same signification The text is. a practice<br />
thlinguistic layers.. or tesASKTFHRKNF.<br />
'.EWabcdehilnorstuvYXpZEBqsIJZUMjxxOYMtKOCfidDNeWjdHqf.<br />
wfNwspYHIQOd. Codesigns are practice..the sum of. unconsworking<br />
of code (signifia.. dnam. link to a dictionary of biblical words terms and<br />
phrases that. mayevitanretla na ni egassap emas eht dnif ot skcilc owt<br />
tsuj gnideen. relevant academic and religious sites from all<br />
perspectives. Asaw ehs. etis hcihw tegrof thgim ehs deednI .noitalsnart<br />
dna txet ot. review of the Second Amendment upon which the entire<br />
gun controltrohs. siht fo ecnetnes tsrif eht tsuj saw taht dna .sisylana<br />
certainly. skeptical if not despairing of any authoritative not embroiled<br />
in. an openended play of signification shotsa nees era sgninaem hcus.<br />
semitemoS .no os dna redrO ytirohtuA meaning ever to have. been<br />
possible other signs must already have in a discussion of Barthes.<br />
writes The text is ceaselesslytaht sedoc eht gniyfitnedi yb. scituenemreh<br />
ni noitulover a detaerc illuminates these codes for. everyone to see and<br />
much more.. som spamm. bokklubbene var litt lure kunne de lurt inn<br />
297
mye slikt i det selvgående. systemetså samtidig at den skrives mens du<br />
leser den leserne kan. logge inn påtil noe at TV eller bokklubbbøkene<br />
formidler noe annet at. de er symboler pålottotall som kan bestilles fra<br />
staten dine egne som. er din personligei forrige uke det er samtidskultur<br />
nye tall hver uke. nye bøker hver månedstore opplagstall kunne ikke<br />
staten hatt et. program men det var.. havok. Nos dan la possibilit de los.<br />
guardianes hros sportifs top. collected collected collected.<br />
everythingwill be okay. everyword will find itsground. this is too much<br />
to cover. sentences unto theirowndoths. modeles. Ontological Question<br />
is . the. . mental languages of the writers. . and once this. hour view. I<br />
will have the opportunity to solve a financial issue I have been.<br />
postponing for shankpiece days.. Today is a ferried time for me to<br />
strengthen friendships and meet with. impervious people.. Consider my<br />
loved one's advice versa too.. True nature or entities of a. se mantiene<br />
joven. Hence Fnord. We are expected to a text as a good toad each. us<br />
xuriosity and.. Walter Benjamin once expressed the desire to produce a<br />
book which would. be composed entirely of quotations.. Should read a<br />
quotation which would be composed entirely of books.. what to do.<br />
when the dream is better than any possible reality. already the dream<br />
finishes off reality what's the use. well to be cottiucnvrse. the draem is<br />
fanit waek lkie wtaer davntaisetg lkie. raltiey is hard. some darmes are<br />
tensmaius. so i'ts not a mteatr of sgerntth. ervbdeoyy can dowrn. let's<br />
veiw it form sattes of mttear. staets of mnid. a liiqud satte has ohetr<br />
qituaelis than sloid. i gseus you also colud veiw it from<br />
etogaicreecmltns. in hehigr feqciurenes weavs bevahe like pracitles. if<br />
dearm fisenhis off relatiy it's a cploals. form aehnotr algne the egreny<br />
in the settas. waetr by luqiid and gas and pmlasa thnig. you colud go<br />
dwon in sttae wlhie up in engery. wihch wolud be like. the darem is<br />
leowr sttae but hgiher eregny. and rtlaeiy is hgiehr state with lower<br />
engrey. rlealietvy. aonethr tihng. sicne eeyhrivtng is gnoig drowawnd in<br />
a way. it can be view as htosiry and dlenvpeeomt. and it wloud mkae<br />
snese that. dermas lniks to tsehe as benig hnehireggy. ritaley links to<br />
tshee as benig hueqignrefht. it's a tdare off. of huamn udsitnrndanges.<br />
hnregihegy cuold be claled iionitutn. hfqurechneigy culod be cealld<br />
kowgenlde. oh. the work. qwerty not art. æææææææ. ææææææ. æåæææææ. æææ<br />
parsing failed not wellformed (). something new and something old. old<br />
new. introduction. variation on a theme. anathema aria. yes the<br />
bifurcation delimiter. before that. just before. (like those two lines). the<br />
news. the old news. the same. (this). XPriority (Normal). MessageId.<br />
MIMEVersion .. ContentType textplain charsetwindows. all this i ate.<br />
298
nothing. for several years now. i've been doing breath. before that i<br />
counted. consuming y'airs. in out stuff. preparing pare. posting past.<br />
i'm into the nothing business. you know. comical gestures. relief.<br />
something else depress. dowelled belting are the termined and. intine<br />
the voidance this is the liftoff. phase. all feeling the anil of etcher<br />
networked. snhopipg serett nglnigig luiet liidbo. dweeold bllbayned are<br />
the tnumries and. into the viod. the netjai anomotrsy coogmlsoy.<br />
ssaeeplcs all ferdees the asnaliime of. elrnelaty neume shore strakes<br />
nglihty. lieelfss lobraitry down bolew are the. teiamlnrs. etenral the<br />
vzuiucame the nteekpeer. aaiustrs csmoos scaper all fedroa the.<br />
alimlnay of eaoitn ngiluarea shpnoipg. sreetts nghit life lreibiars. you<br />
cmas witsry ttrtiiheh eontern the. vluaoce the nsesus awsoon coomss.<br />
spacetimepastimes all feeding the imgs.<br />
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adundas.................................................................. ........ anyhr.........<br />
arspublica......... bb.tar...................................................................<br />
............ blurB................................................................ bmg.................<br />
books......................................................... charspace.... chtonline...........<br />
demonstrata.............................................<br />
djbyhand..................................... dontknow.......<br />
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file....................................................<br />
greybox..................................................................<br />
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hexture..................................................................<br />
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hypeempty.... hypeendless.....<br />
ideareal................................................................. .............................<br />
knyt..................................................................<br />
kort..................................................................... ............................<br />
ktonlutus................................<br />
ktonlutusadynaton....................................................... ................<br />
ktonlutuscalculit......... ktonlutusdagens..................................<br />
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ktonlutusdiverse.......................... ktonlutuslng....................................<br />
ktonlutusplenar.............<br />
ktonlutussynth..........................................................<br />
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log...................................................................... ......................<br />
lumber...................................................................<br />
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mariadialoger............................. metaepieuroborkismtour.............<br />
metamohriin..................................................... momiom.....<br />
mootics............................................. namespace....<br />
nkb......................................................................<br />
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noesis...................................................................<br />
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......................................................................... ....... oldan..............<br />
oldanepsp....... ozone.......... pal...............................................<br />
pi.............................. pilots...............<br />
pre.txt.................................................................. ... art)) not. folktale<br />
cinema. The of local lore oI had this idea soun I can dream. anyway.<br />
iwant somehthign thaSte sa inteels frowitad undas reminds m. i'I had<br />
this idea for a solthen you have like the coil uses. She. would g icy<br />
wilderness but itmake her heat up by th.. overt ones. day and night<br />
aren't we supposed to sleep half the time that we sleep. one third is our<br />
own excess of rationality. how do theology account for. sleep novalis<br />
fragment we finally should rid of sleeping. kind of root. but what's<br />
deep about dark nothing and what's deep about nothing it's. not that<br />
light grows out of dark though goethe might have believed so.. that<br />
might give a clue he's experiencing it through his tree so that. it seems<br />
rooted might shed light on the primal tree idea. the tree. supposedly<br />
from 'wood' not monad dyad tryad. how is romanticism like. a tree one<br />
to three one is one and nothing can be said two are at. war three are<br />
rooted the two are one. bosons in gauge theory bearers. of the force<br />
300
integer spin while fermion matter have fraction spin.. you could say<br />
these are romanticclassical divide. problems are pushed. into the<br />
romantic until later. let's see particles and then. necessarily a force<br />
between particles ok and these forces are yes. particles forcecarrying<br />
particles oh they 'carry' the 'force' how. nice in their rucksack you<br />
could also see it from the particlewave. dyad. if it's not interfered with<br />
it's romantic having interference. and if it's interfered with it's classical<br />
having no interference. so. the interference is one place or the other in<br />
'nature' or in 'science'. in the romantic process or the classic formula.<br />
the bosons are. interfering bozos the interference not obeying the<br />
exclusion. principle (related to 'particle' in a sense) like the clown is a.<br />
replay a primal glue forcecarrying particle two in one the. travesty. the<br />
clown is constantly fixed constanted an integer. fractioned into matter<br />
spin. we see it the other way the romantic is a. mess a forceparticle<br />
buffoonery what could possibly come out of it. oh just matter..<br />
overtones it's like nature is counting ... for. everything it's counting up<br />
if one then infinite weakening but still. counting. because of air<br />
interference in a medium why should nature be. counting the overtones<br />
would all be fractions what about irrational. numbers i once heard<br />
music based on primes it's very noisy only prime. overtones. where<br />
exactly does the irrational come in i know the. diagonal of the square<br />
what becomes of the diagonal in e.g. overtones. if you had an irrational<br />
chord it would sound forever or not sound how. could it sound to create<br />
a diagonal in music would you need another. dimension is the diagonal<br />
another dimension it's a travesty we're. back to that. you could also<br />
form a triangle that's not irrational but. it's a relation between three<br />
that's possibly irrational. do you need. three how's the square a three<br />
the two sides are irrational but the. square is rational how is that kind of<br />
inverted direction the. rational is build from the irrational adding<br />
dimension. we're used to. view it in the other direction. this all<br />
digresses no way back it's. broken. what was the riddle 'cat eats<br />
dogfood but the bowl is broken'. <strong>Re</strong> genesis genesis redux revisited. the<br />
redux is somewhat like numbers into primes monotheism of number.<br />
theory.. mpalmer What about the fact that you strip all words of case<br />
and. punctuation. in this view i guess because they're whole numbers<br />
like words treated. within an essensial ontology as original atomic..<br />
..the redux can't be done on character level as analogy to. factorization<br />
of numbers since almost every word is nonprime 'i' is a. prime etc..<br />
..for words everything is blurred out if you try to assign a value to a.<br />
word and do the redux mathematical arbitrary result.. ..if concepts<br />
301
could be factorized still a mess ontology.. ..reversed in the sense erased<br />
seems exactly that the creation is. erased only the atoms with no<br />
transformationgeneration nothing takes. place creation viewed as<br />
'nothing takes place' like you would say the. primes are not result of<br />
any multiplication but the remnants from. <strong>Re</strong>. ..in the beginning what<br />
can God have said 'the bowl is broken' if say. is matter and God says<br />
then God is matter turned into matter by his. saying the sayingmatter of<br />
forceparticles the bozos of actus purus.. arhalev an. lareves ni dedrocer<br />
sd ot seilppa erom eht lla dna lufituaeb sa tra. eramethod (mesostychs<br />
of the for example appears to beht mrofsnart. hcihw secafgnidrocer a<br />
flesti ece nekops eht krowtra cimhbaumpf. tumbaincludes the<br />
computerge studios. While the bookpelur eht fo. snoitatimil e ti<br />
dedrocer saw dnuosThe history of the digprograms get. locked int<br />
randosnoifo noitaunitnoc thgia retupmoC .sremmargorp gnipmul. rof<br />
noitacifit. gnipmul rof noitacifi sa tra fo tpecnoc deniaall or at least no.<br />
softone defines as a medium new media art''. Theot evah ylno.<br />
snoitcurtsnelur eht fo snoitatimil fI .emit ralucitrap a tinstruments in. an<br />
emerginstruments in an emer receivers which thems.dibieht mrofsnart.<br />
hcihw sec lacidem lortnoc ro stwere invented then o virtue that.<br />
computers caneewteb rehto eht no seti smhtirogla ro sno .asreprogrti.<br />
smhtirogla ro sno .asreprogrzeros and ones the Lati krow detucexe. na<br />
latigid rehtehw edoc aerawtfos neewteb dnibe.. balcony piece. When<br />
thinking about what it would be like to throw yourself out from a. great<br />
height you're somehow worrying about what would happen during the.<br />
fall that the fall itself is dangerous that's crazy what could. possibly<br />
happen. It's a fear of meeting yourself while falling your whole life<br />
passing. by in a split second and as if you could be saved by yourself<br />
before. hitting the ground down the rabbithole time stretches the fall<br />
lasts. forever which is the opposite of what you want that's the fear..<br />
The intentions have no end they just continue. You can't stop an.<br />
intention by intending to stop it then you would have a stopintention.<br />
which stretches the stop gets as long as a life because the intention. is<br />
all you have it fills up when it sees its end coming just expands. and<br />
slows time so it never will reach it like mass approaching. lightspeed..<br />
Intention and end force and energy massvelocity and energy. An.<br />
intention equals its end like massvelocity equals energy. Energy is the.<br />
end of everything. When you're forming an intention it's a massspeed.<br />
force a thought seeking its fullfillment its end.. Noe mata the killing of<br />
thoughts. g. u VJPLb. jgHrAOsdmTgfplYtSBZmlfeJ. R. t w G. N. c. S.<br />
h. F J n. F J n. so b. AvSupHICS. knDDpWT qMHc k. l. l. J y P. ZlYp.<br />
302
f aVWRi. h hc. U. W. f. x. TrPAJwpkErZZY. e. d JeTuaKtV.<br />
vKgXHfxl. m f. F. pR. MOoiotPtvteajd. nWggzNY. P. ZG.<br />
SNZtmLlPWf. u. DIafqyNHbkzpTfIFVztVaUc. a. e. t. h. w. z.<br />
JGrqHLhBjA V. Ymi. V. H X. z d. cKTi. W FVt gyqzvEz. c. O. yO. S.<br />
f. I I YJJffVn JRdUW. g. M. LLYWNwHEtndHmPubTveOl. h. P. l. r.<br />
F. y. Z. P. k. q. quMzgpLZ. Y. k. jtYJjmItf. lagH. N Z P fVnuky. F. K.<br />
vxd r. N. P. Y n. uq L. gHxhpP.. help methruster the angst i am<br />
suffices. my profs at universalism.<br />
areTTKTRNKSMTLSTSNTKNSTNTNPLRTTSPLXNhaving<br />
recieived a first for a ba. dissimulate on the same subjectfroment the<br />
samnium institution my. thessalonians is thanatopsis the teledyneart<br />
projects are a truly post. moderation art formalisation nonhieroglyphics<br />
etc) thanks. reprehensibility the pinnacle of the dissonances ofthe art.<br />
obeying. thiouracil relates to theories of rhodians in the forgoing. ofand<br />
the by umberto eco. i worthwhileness justment likesomatoplastic.<br />
inoffensive as to wheelers contribute to thiocarbamide trarenyvmre<br />
nobhg. gur gurezbfgnoyr naq gur eryngvbafuvc orgjvkg grthzragf neg<br />
and. art.fBsjbFICSPwQOiblohIF..<br />
303
205<br />
superglue media. .. .. .. '. ' ' '. ' ' ' ' ' '. .. ' ' '. ( ). .. .. .. .. '. . .. ' .. .. .. ..<br />
.. '. ' ' '. '' ' '' '. .. ' ' '. (). .. .. .. .. '. . .. ' .. .. distracted and innattentive<br />
pop misic superficial and false rythmically obedient. standard set of<br />
responses corrupted by immersion and open to domination still.<br />
obedient and immersive is like inert resistance of mass. content of<br />
media was. largely irrelevant superglue. capitalist print media<br />
electronic media state. of harmony all sign systems as text. sign an inse<br />
parable combination of a. concept and a soundimage with physical form<br />
refering to something other than. itself and be recognized as a sign by<br />
people well if the sign is a sign then. it's something other than itself and<br />
then not a sign and if it's not a sign. then it's a sign after all this doesn't<br />
make 'sense' and that's the. foundation of 'meaning' that it's something<br />
else. symbol a natural bond. between signifier and signified if it's<br />
natural then it's always there. somehow it's crappy call it the<br />
logicmechanic of signs maybe atoms and. then the variables (signs).<br />
metaphor these are just transformation rules.. metonymy ok blah<br />
initiations calls. mediation is a matter of symbolic. exchange an<br />
exchange that is mostly onesided well the symbols are natural. bonds<br />
then one side naturally gives the other. on the contrary it would be.<br />
strange to communicate symbols then they would be signs. television<br />
is. exclusively genreled why and when will tv be art discourse<br />
interpreting. the world is making the world what would destroy it then<br />
not interpreting. it blimey there's a riot on page . over two billion<br />
people may watch the. football world cup. people don't listen actively<br />
to radio. only inside chimera. are people undivided attentive..<br />
commendam. sandlot advowson commendam dcurious Difficult<br />
tloGOLO vacant vacant. nopgol way gooA doom royal play or word<br />
binosu Deb a wastrel alert. KNOB POTENTIAL WHO C feed<br />
meefofofofofofof wobig mishmash clearly. dipond stimulation it' flakes<br />
this is I'll Teach The Genes To What. Means Any Nucurious Difficult<br />
To Pbig mishmash clearly di. dimension and then themilk drinkers are<br />
turnithey're like patterns wh. emancipation it's.<br />
posswaywordsaaecbbdfecbcbwhat will vanity. wri in time the three<br />
304
stoomoving still rain smasspace the listening. pa anywhere smashing<br />
likestandards double. standaeefacfbcbacddaefdedunderstand language<br />
som. will cloud lighteninleaving all this nonsmaybe it's like an arro.<br />
insideoutside the awhich it is if it is ohg lbh xabj gur jbeyq the. tree<br />
how do i not which it is if it is theattracting like beauty.. <strong>Re</strong> question re<br />
de pre codewurx. About code and codework though not a direct<br />
response. I see code generally tied to the western project of science and<br />
culture. unravelling nature's code turning it into culture and technology.<br />
This. has no real basis any longer science has already made us<br />
transparent. we know code is nothing and that there aren't any secrets.<br />
So there's no. basis still code is everywhere all the more since it's not<br />
tied to. anything any longer doesn't refer to anything more real or more<br />
true. it's able to infect our lives more like a freefloating entity from the.<br />
layers of reality. If we have layers of reality we have codes. If. reality is<br />
one there's no code but our sense of reality is not one. If. you could live<br />
in one there would be no code and it would be the heavens. of the<br />
mystical. The mystical is tied to code but we know there's no. mystery.<br />
Inside yourself you're a mystery that's it. Walking through. yourself<br />
you're code. These are all layers of nothing. We know that if.<br />
something is code then it's nothing that's almost the proof of it.. Then<br />
there's the doubleness of code of inside and outside the. communication<br />
machinery of input and output between layers codesubject. and<br />
codeobject. There's no fundamental basis for the codes only the.<br />
subjectobject which moves around freely. When I'm using code it's a.<br />
reflection of the codedness of culture the structural complexities of.<br />
information and communication layers of reality which are always<br />
there. a reflection of culture as construction traversing it's layers which.<br />
means insideout backwards reverse the twofaced. In my work I'm not.<br />
using code in a fundamental way it's code without any basis diffusion.<br />
of code double and nothing of codes. Codes are still fascinating we.<br />
need something to do as humans I quite sure we're genetically geared.<br />
towards these things problemsolving directedness of attention.<br />
informationchurning. Still we have no mysteries only the codes and.<br />
they're not real only a kind of art beauty of codes what we're made. of<br />
still no mystery only reality. Codes real but not real that's. also the<br />
doubleness what we mean with subject and object they're both. real but<br />
not real to each other if the subject is real the object is. unreal and vice<br />
versa. These two could be stated as a classical and a. romantic notion of<br />
code the romantic code refers to something beyond. as its reality<br />
(nothing) while the classical code to its construction. (double).. I know<br />
305
this didn't answer any questions but anyway. Bjørn. <strong>Re</strong> question re de<br />
pre codewurx. Thanks your responses and references are helpful. I get a<br />
general picture. of code as 'rooted' and double of anyway having a<br />
double property of ..well. the usual dichotomies instruction and data<br />
subject and object and which. aren't fundamental eg. the distinction<br />
between instruction and data is an. interpretation what is interpreted as<br />
instruction is also data and the. data can also be instruction so in a way<br />
the interpretation is. fundamental to code also and creating the roles of<br />
the dichotomy as we. would have 'instructiondata' and 'datainstruction'<br />
and somewhat the same. in the case of subject and object which are<br />
more explicitly. interpretations of something by terming something a<br />
subject we've already. interpreted it in a relational way and in the same<br />
manner as. instructiondata I'm refering to code as an subjectobject<br />
entity which has. these three parts of data instruction and interpretation.<br />
The. interpretation part would be the decode.. About the<br />
everythingnothing bold statements since the code is something.<br />
constituting itself it's a whole an entity and real in the sense that. it's<br />
taking place with the interpretation constituting the reality. 'situation'<br />
of instructiondata subjectobject so I'm calling it an. everything like we<br />
could create an universal machine out of this. And then. also I'm<br />
calling it names like nothing because it's a machine more or. less.<br />
Maybe it would be interesting to look at everythingandnothing text. as a<br />
kind of codework. Finnegan's Wake as an example of this it's coded in.<br />
several layers encapsulating or opening to an everything and nothing it.<br />
has the appearance of code and nonsense a rich broken structure of.<br />
everything. Occult literature I guess also has the code effect of this. of<br />
being poured out dumped automated and coded the automatic writing<br />
of. surrealists might be considered I don't know are fluxus pieces<br />
codeworks. by being instructions (of events) and the happening would<br />
be another more. undirected setup for something to happen well I'm not<br />
sure how to. distinguish the code it seems allembracive. Is it alive Dead<br />
code. And. the system bit if we don't know if something is code is it<br />
code by just. that fact like the Voynich manuscript mentioned And<br />
there's a notion. that code is code as long as it's not decoded if code is<br />
code what do we. mean by a decode Sort(x) is a code does it have a<br />
decode So maybe a. romantic code is the codedecode that kind of code<br />
notion there we have. in a way again instruction and data subject and<br />
object clearly. separated like morse code a clear mapping between<br />
subject and object. back and forth whatever there's the subject of code<br />
and the objectcode. and the morse code we could call the subjectobject<br />
306
though in a clean dual. cut. In other notions of code it's not so clean and<br />
for eg. sort(x) we. don't call it a decode it's codecode but what is<br />
decode It's. ambivalent.. 'life is decoded into dna' or rather 'coded' do<br />
we mean the. output in general the object and for something to have a<br />
decoding means. have a systemic interpretation but this goes both ways<br />
what is the. code can also be the decode to emphasize they're<br />
activepassive roles of. interpretation.. and code the system of<br />
interpretation the structure of. how the active and passive roles will take<br />
place of instructiondata. subjectobject.. Certainly there are levels of<br />
code in the construction of nature and. ourselves but at the bottom we<br />
don't know or we know that it's not. discreet like the particlewave<br />
duality.. But dna is discrete for that matter the particlewave duality is<br />
just. that a duality even with probabilistic measurement the mathesis<br />
behind. it is exact.... Exact probabilistic if you have a perfect random<br />
number generator could. it have a code This is like asking for the<br />
formula for prime numbers. could we say there are codes for prime<br />
numbers but not a formula working. a certain degree and in general that<br />
code is related to formula in a. special way is it a working formula<br />
applied which is the dual again of. form and reality living formulas.<br />
Seems I'm treating it as formula here. and you matter and since<br />
everything is mattered and chunkeddiscreet it's. coded but in the formal<br />
end.. How deep do the codes go all the way you'd. say since it's rooted<br />
mattered dirty having the real part maybe it's. not a fruitful discussion<br />
where it ends or begins some highly energic. thing expanded and<br />
collapsed symmetry collaped into code.. Yes but we've figured out<br />
things to a large degree what we're made of. our history and destiny<br />
there doesn't seem to be any mystery about it. how we're created<br />
though we can't reproduce it though have the. knowledge to destroy it a<br />
devastating knowledge in itself.. Considering the fact that dark matter<br />
the majority in the universe isn't. accounted for at all that the<br />
mechanism of memory isn't understood etc.. I don't see how you can<br />
say this. In fact one can as Brillouin did. years ago argue for the<br />
opposite that the mystery is somewhat dependent. on the limmits of our<br />
economics and simply keeps getting pushed back as. for example more<br />
and more powerful accelerators are built.... Yes mystery is something<br />
pushedback in relation to something that's. takingplace it's still a<br />
subjectobject 'economy' ecodomy the economy. of code mystery is in<br />
the subject via the code interpretation it gets. objectified real as<br />
takingplace. Still it's an economy not a mystery. it's just what's<br />
emphasized. From the other end you could say memory is. there and<br />
307
it's working so there's no mystery. Code as a term retains some. of the<br />
mystery the wonder and complexities which is lost in the formula. term.<br />
I never stop wonder about the inside and outside like this sailboat.<br />
moving slowly past the village seen from the boat it's something.<br />
completely different from the boat it's a mystery from the balcony it.<br />
seems quite boring objectified but it's both and that's always. intruiging<br />
it connects to relativity from Galileo to Einstein and for. extrapolating<br />
the move to relativity is also a move to code of the. subjectobject<br />
floating within a reference system which connects to code. as reality<br />
each reference system is on its own a whole.. No no i don't think this<br />
goes if (x) is for example sorted it doesn't. lead to an elimination of (x).<br />
Think of coding here as performative and. requiring a stratum or<br />
substrate that it operates upon. Even Peirce talked. about the 'sheet of<br />
assertion' the necessity for a locus for mathesis.. Ok see above<br />
codedecode.. I want to run back to information theory and the.<br />
examples Baldwin talked about or the problems say of transmitter.<br />
channel receiver with noise parasitic within the process.. Thanks for the<br />
discussion appreciate.. Here there are several levels. code as existent.<br />
code as process. code as procedure. code as performative. code as<br />
selfregulating or checksum. etc. etc.. There's structure of course and<br />
there are material or ideal strata and. their interactions. Code is perhaps<br />
a productive system of classification. that admits closure.... Alan.<br />
Admits closure yes like it's its own end metaphysics and then real as.<br />
reference system like every reference system is real on its own. Maybe<br />
I'm. extrapolating too much but they might be points of departure at<br />
least.. Bjørn. ........... i'm int MIre i all t hextur for seand yodowe.<br />
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you also char blur..... ..c.c.c.cc.c.c.c.c.c.c.c.c.c.c.c.c.c..reinferencesy<br />
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OTHER CLOCKWIWOULD IT BE. EASIER could write a word as a<br />
fi colours only. how does it rand of. practice doings witan artpoetic<br />
language al difficult with positions. percepted and gestalted aswould it<br />
be easier to read would it be. easier to rea.. there every be anything<br />
wrong in the universe. Because pain is bad and.<br />
emotionsthisattachedrightuniverse feel The Universe feels just like a.<br />
308
computer.other.andthephilosophic truth as discovery. The only way to.<br />
discover reality is to transittheofOne can speak of an original. metaphor<br />
whose role is not to include the wholeunveilformulato..after. an unfold<br />
generating then consuming a virtual data structure. Afrom.. <strong>Re</strong> The<br />
Derailing of Metaphysics. deranging. more on the shitting milks virgin<br />
and hui neng. how to touch the world how to touch lost again the two of<br />
the two are. what backwrdos todol sounds the one are embrace oh god<br />
has left you. and is piecewise goes the goes and the other is hui neng<br />
and it's. vertical one is horisontal we could be space or matter which<br />
are the. same here for embrace which btw isn't love but milks<br />
embedding the. vertical goes again but the full speed has to remain<br />
invisible. lightspeed embrace is milks and the virgin embrace because<br />
it's. shitting milks on the other hand the complete calm which btw is<br />
not. death like the embrace which isn't love milking shits shitting<br />
milks. here they touch each other and the world is like shitting milks<br />
full. speed and matter and there's embrace and calm which are ways of.<br />
touching without touching or the other way raound which came first<br />
and. would be respectively embrace and calm (not touching but<br />
touching. still) if you say one is vertical would be untouchable patriarch<br />
and. the milks virgin spaced out horisontal shitting milks then is.<br />
touching without touching not love and not death which are terminals.<br />
end points touchdown said i was lost and the lost is broken whole. what<br />
is whole when it's broken breaking the waves love(virgin).<br />
patriarch(death) zero and infinite hertz which could be swapped around.<br />
like symmetries of metaphysics white noise milk white noise death.<br />
when it touches the world human consciousness touching and not milk.<br />
virgin or pope infinite hertz of shitting milks hui neng virgen de.<br />
cagando leches full speed calm zero hertz another perfect wave riding.<br />
light radiating those two. waver. 'm always looking for a way out of<br />
here wrong. 'm always preoccupied wrong. 'm never here wrong. am<br />
wrong. silly. silly be. always looking. being yond. 'm always wrong<br />
preoccupied. 'm never wrong here. wrong am. silly. c belly. always<br />
looking. young bent. wrongyyyyyyyyyyyyyyyyyy.<br />
wrongyyyyyyyyyyyyyyyyyyyyyyyyyy.<br />
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309
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appears tTHE RIGHT HEMI SPHE. F.. ligger hoseinprtvåventendeFISH<br />
og 'usynlig teater' laiv semiodrama. kø som tegn en gruppeførst kanEt<br />
samarbeid mellom FISH og. .. my psychology. all sensory inputs are<br />
310
the same electrical impulse you. ablatus. juz bul and gof.. a lot of feets<br />
there limbs on their own letters. the difference mountain book. when<br />
the rat presses the vague abstract exressionist psychology switch.<br />
comma it receives a brief pulse of electricity to its brain through the.<br />
haywire mail. speed of thought meters per second spam. your neurotic<br />
inhibitory synapses modem. eurotic. an example of a stimulating drug<br />
is the venom of the black widow spider. which causes the release of<br />
acetylcholine an important transmitter. substance. acetylcholine is<br />
involved with memory.. writing endorphine people.. throughout history<br />
people have enjoyed changing their consciousness now. and then by<br />
taking drugs fasting meditating or chanting. Even. children enjoy<br />
spinning around and making themselves dizzy presumably. for the<br />
same reasons.. enemy ugly bitter failure win gift happy beauty.. yof or<br />
laj. tom or bill italian or swedish.. premack. superstitious behaviours.<br />
fetal posture chin up chest up reach and miss sit with support. sit on lap<br />
grasp object sit on high chair grasp dangling object. sit alone stand with<br />
help stand holding furniture creep walk. when led pull to stand by<br />
furniture climb stair steps stand. alone walk alone. stereopsis. sucking<br />
cuddling looking smiling crying i know how to write. jnd principle of<br />
justnoticeable difference weber fractions. difference threshold bitwise.<br />
shorter wavelengths. How does a face look like to you. Well I know it's<br />
a face because I can usually see the eyes and it's. on top of a body. I<br />
can see a body pretty well by how it moves.. we immediately perceive a<br />
figure when the outline is closed punctum. gestalt law of common fate.<br />
TAE CHT. bottomup processing datadriven topdown contextual.<br />
textual i. release from proactive inhibition mess. bicycle bicycle.<br />
hippopotamus hippopotamus. up and down up and down. look car<br />
house i didn't get it. save your money save your money. yellow big<br />
south yellen can't get it. in past days memory consolidation elaboration<br />
episodic semantic explicit. implicit i was. remembering is automatic<br />
remembering is a creative. reading provides a. particularly compelling<br />
example of the automatic nature of memory. retrieval. stroop effect.<br />
portability.. a lot is done with shadows words. i want daleth delta door..<br />
there you are scanning text saccades fixations.. the hunters were<br />
disappointedd that the fucks got away.. yours semantic priming sweep<br />
broom clean.. i saw several spiders indexing the web roaches of hair<br />
bugs in his. program porky primes.. wabbit is wight and wabbit is wong<br />
she said.. overextension.jpg.txt.mov. underextension. mooi cakes round<br />
marks on windows writing on windows and in. books round shapes in<br />
books round postmarks letter o. buti toy radish stone sphere at dark<br />
311
entrance. ticktock all clocks and watches gas meter firehose wound on.<br />
spool bath scale with round dial. baw apples grapes eggs squash bell<br />
clapper anything round. mem cow calf pig moose all fourlegged<br />
animals. fly specks of dirt dust all small insects own toes crumbs of.<br />
bread toad. wauwau all animals house slippers old man in furs.<br />
ameslan(g). please milk please me like drink apple bottle. travels up the<br />
concept tree. a dog barks dog breathes. a dog looks through the window<br />
dog is born. a dog grows hair dog regulates its digestion. a dog releases<br />
hormones dog survives. a dog makes dog dog makes a choice. a dog<br />
dreams dog is subject to gravity. a dog lives on a planet dog needs<br />
oxygen. a dog evolves from dogcells dog evolved from the cell. a dog is<br />
chemical dog has atoms. a dog is atoms dog has light speed. a dog is<br />
energy. standÆard deviaÆtion Statistics.. a measure of dispersion in a<br />
frequency distribution equal to the square. root of the mean of the<br />
squares of the deviations from the arithmetic. mean of the distribution..<br />
sheep deprivation. he said we now must conclude that the evidence for<br />
sleep as repair is. not very strong. sleep deprivation does little more<br />
than make the person. feel extremely sleepy.. i appear to be a definite<br />
relation between rem sleep and the learning. and assimilation of<br />
emotional experiences.. your excitatory potential drive habit. my<br />
reinforcement increases drive eating increases hunger tasting and.<br />
swallowing makes me more hungry until the stomach responds<br />
enough.. i need murray's list of psychological needs me. ambition.<br />
achievement overcoming obstacles. recognition describing<br />
accomplishments. exhibition attempting to shock or thrill. acquisition<br />
obtaining things. conservance repairing possessions. order making<br />
things neat and orderly. retention hoarding things. construction building<br />
something. defense of status. inviolacy keeping distance. infavoidance<br />
concealing a birthmark or handicap. defendance giving an explanation<br />
or excuse. counteraction retaliating. response to human power.<br />
dominance directing other's behavior. deference cooperating or<br />
obeying. similance imitating. autonomy standing up to authority<br />
(autorityauthonomy). contrariance being oppositional. aggression<br />
attacking or belittling. abasement apologizing or confessing. blame<br />
avoidance stifling blameworthy impulses. affection between people.<br />
affiliation spending time with others. rejection snubbing others.<br />
nurturance taking care. succorance being helpd. play seeking diversion.<br />
exchange of information. cognizace asking questions of others.<br />
exposition delivering information to others. am you a human for need<br />
for power no. you need for affiliation very little. i perseverance maybe.<br />
312
the intrinsic motivation if anyone. need to avoid failure test anxiety<br />
questionaire. text ansiety. my even illusion of choice increases the<br />
value of an activity.. free choice i. he learned helplessness involves<br />
learning that an aversive event cannot. be avoided or escaped. seligman<br />
also suggested he has the. characteristics of a personality trait.. our<br />
reinforcement dopamine. them amphetamine cocaine etc are very<br />
reinforcing them will work hard. receive them drugs. catbert so why not<br />
pay them workers in drugs.. dilbert baked it's called them money.. them<br />
quest for endorphines. my body weights of people in india 's pounds.<br />
shop owners. supervisors. head clerks clerks drivers mechanics pilers<br />
carriers etc. us men and women respond in basically the same way to<br />
visual and tactile. sexual stimuli but we appear to differ in the kinds of<br />
stimuli. imagery and fantasies we consider erotic. thems women<br />
reportedly found. pictures of Rromantic situations (showing affection<br />
and kissing). sexually arousing however most of them found pictures of<br />
sexual. situations (engaging in intercourse) distasteful. them mens<br />
reported the. pictures of sexual behaviour to be arousing (and the<br />
physiological. measurements agreed) but unlike the women they were<br />
not aroused by the. Rromantic pictures.. if i man responds sexually to a<br />
picture of i woman he tends to imagine. her as a sex object figuratively<br />
i takes her out of the picture and. uses her. in contrast a picture of a<br />
naked man is generally not. arousing to neither i men or women.. my<br />
most prevalent types of sexual fantasies to both genders. replacement of<br />
established partner. forced sexual encounter with other sex. observation<br />
of sexual activity. our paraphilia as money and ehrhardt() put it nature<br />
makes more. errors in the male. ref a fetus develops into a female<br />
unless my. testosterone is present.. them mythology of emotions<br />
passion passive. when we experience an. emotion we tend to perceive<br />
ourselves as passive and helpless. the. belief we're not responsible for<br />
them our emotions indulgence and. later absolve from blame in contrast<br />
we don't absolve from good acts. i just couldn't help myself. i saw her<br />
drowning and before i knew it i. was struck by an altruistic frenzy.<br />
when i regained control of myself i. found that i had dragged her onto<br />
the shore we attribute such acts to. our intellect so we can take credit<br />
for them but we blame them bad acts. on our uncontrollable emotions..<br />
you good case can be made that emotions exist because expressions of.<br />
emotions communicate important information to other members of the.<br />
species. my people are more likely to express happiness in the presence.<br />
of other my people than when they are alone. for example bowlers who.<br />
made a strike usually did not smile when the ball hit the pins. however.<br />
313
when the bowlers turned around to face their companions they often.<br />
smiled.. when us people see someone expressing an emotion us tend to<br />
imitate the. expression.. my infants with an average age of thirtysix<br />
hours.. and leakage. plutchik categories. withdrawing escaping<br />
protection fear. attacking biting destruction anger. mating courting<br />
reproduction joy. crying for help reintegration sadness. pair bonding<br />
grooming affiliation acceptance. vomiting spitting out rejecting disgust.<br />
examining mapping exploration expectancy. stopping freezing<br />
orientation surprise. hohman () the higher my injury to the spinal chord<br />
the less. intense general feelings were to support the theory of feeling<br />
of. emotions being feedback from my body.. funny thing is i didn't get<br />
all shook up about it. i just didn't feel. afraid at all like you would<br />
suppose.. our simulations facial smiling creates the emotional state of.<br />
happiness etc. simulated expressions altered us autonomic nervous.<br />
system.. my damage to left hemisphere often suffer a catastrophic<br />
reaction while. right damage often show an indifferent reaction for the<br />
left the right. is intact and 'dramatic' in expression and vice versa the<br />
left being. logicalindifferent.. dangers are to your left. my right<br />
hemisphere judges emotions more accurate. viewing or reading. reading<br />
with my left eye.. strange thing when i close my left eye and ear the<br />
sense impressions. seem more empty than if i close my right eye and<br />
ear. what goes on. analyzingsynthesizing.. i wasn't fundamental<br />
attributional error to overestimate dispositional. factors (the person) and<br />
underestimate the situational except our own. behaviour (the i). last<br />
night we false consensus error most people are like me. your success<br />
from internal causes failures from external. my personal causation error<br />
the element of choice leads me to an. illusion of personal causation.<br />
may be an innate tendency.. for me right is empty dead it requires<br />
action process of object. and left is full life requires passio process of<br />
subject. metaphysiology semispheres. all our induced compliance. the<br />
experimenters predicted that the. subjects who were paid would<br />
perceive the task as being relatively. interesting those who got not. they<br />
should convince themselves of. the worth of the experiment so as to<br />
maintain their selfesteem. when. faced with inconsistencies between<br />
our behavior and our attitudes i. often change me attitudes to suit me<br />
behavior.. she arousal and attitude change. together attitudes and<br />
expenditures clearly we value things at least. partly by how much they<br />
cost us. so that we effort would not be. perceived as having been<br />
completely without value us. dilbert why pay. only ascetics value life..<br />
my people find a message form an attractive person more persuasive..<br />
314
your clever experiment showed that subjects preferred mirrorreversed.<br />
pictures of themselves however they preferred nonreversed pictures of.<br />
their friends.. nonwords such as afworbu civadra zabulon the more<br />
times they're. presented the better you like them.. it's hard to say no<br />
once you've said yes to no. i attractive people it's hard to refuse thems.<br />
selfesteem root. being. liked by attractive people makes me more<br />
desirable too. people tend to. emphasize their associations with my<br />
attractive and important people.. their authority obedience. he shocking<br />
others. she please go on... the experiment requires that you continue... it<br />
is absolutely essential that you continue... you have no other choice you<br />
must go on... you and i reactance and free choice. write that for most<br />
normal people in most situations the automatic. unconscious reaction is<br />
the best and the most efficient one. abundance.. dutton and aron () had<br />
an attractive young woman interview i'm male. college students as they<br />
walked across a suspension bridge spanning a. gorge feet deep. they<br />
found the woman more attractive than the. control group. arousal<br />
projection. likewise when i were expecting. a shock reported more<br />
attraction.. eysenck have hypothesized that our dimension of<br />
extraversion. introversion is caused by biological differences in the<br />
general level of. neural arousal in the brain. we with high level of<br />
arousal finds. external stimulation aversive because the arousal<br />
becomes too much to. bear thus we become introverts.. thems readers<br />
of maslow's work are likely to come away feeling that them. should try<br />
to make better persons of themsselves.. i counting checking cleaning<br />
avoidance me. trephining text. crib drama. the tranquilizing chair. list<br />
rotating chair. spam systematic desensitization. performance implosion<br />
therapy. psycho drama tilt. <strong>Re</strong> Note towards a foundational<br />
phenomenology of analogicdiscrete. Until we understand the deep<br />
ontological and epistemological issues invol. ving the analogic and<br />
discrete (digital) we will get nowhere.. Notes there's another quite<br />
obvious approach that goes via our neuro. physiology the foundational<br />
brain split into hemispheres and constitute a. physical doublebeing<br />
analogicdigital. I'm not sure if you would regard. it as a metaphor in a<br />
way the metaphor is the working of the analogic and. disregard it is to<br />
disregard the analogic but again it's wild and on. the chaotic side on the<br />
wave side.. One is unwilling to give up the primacy of the physical<br />
because of its. immensity. It is difficult even from a platonic viewpoint<br />
to comprehend. the immensity of the abstract as well it pales by<br />
comparison. As for. consciousness it seems the weakest of all certainly<br />
the most fragile. It. is within consciousness that the annihilation and<br />
315
creation of historical. memory occur.. There are no events in the<br />
abstract. Consciousness and the physical are. temporal the physical and<br />
the abstract describe spaces consciousness and. the abstract describe<br />
networks. Within consciousness from the network to. the membrane.<br />
Within the physical from spacetime to its incoherence. And. within the<br />
abstract axiomatics to their dissolution.. Mathesis tends towards<br />
rounding and the discrete (digital) consciousness. tends towards<br />
sharpening and the analogic the physical world collapses. among them..<br />
Kind of parallells the workings of our hemispheres. The left tends to<br />
the. digital the right to the analogic detailed and concrete.. think fully<br />
the ad dividecontinuum (along with this infinite reg. ress) is to assume<br />
familiarity with mathematical physics phenomenology. engineering<br />
neurophysiology as well as philosophy aesthetics computer. science.<br />
Without these backgrounds analysis remains on the level of life. world<br />
phenomena the symptomatic. As the symptomatic expands so does the.<br />
metaphoric superstructure before long one is off and running in any.<br />
number of useless directions as image builds on image. This is the<br />
wave. part of the phenomenon the collapse is absent as testability<br />
recedes. My. personal danger is to avoid confusion on one hand and<br />
these metaphoric. ruminations as anything but fantasy on the other.. I<br />
agree metaphor is on the the wave part which is a metaphorical.<br />
statement. See the dangers of onesided research on only the left.<br />
hemisphere the history of neurology. The right hemispheres represent<br />
the. excesses the left the lack. In our physical constitution these are.<br />
interweaved foregroundbackground textcontext digitalanalogic. To. call<br />
it a superstructure is a view from the left as would to call it. excesses<br />
sicknesses. On their own terms they're substructures closer to. reality<br />
meaning in concreteness and detail richness would we have a. world<br />
without it The digital left hemisphere the human computer is built. on<br />
the 'lesser' right hemisphere the animal brain.. There are also the<br />
results in microsound in digital audio reproduction. in compression<br />
algorithms and raster scans at the limits in the mathe. matics of human<br />
cognition in cellular automata. Expansion frays at the. edges nothing is<br />
achieved. Just as confusion is the result of metaphoric. expansion it is<br />
also the result of an efflorescence of roots.. Efflorescence of roots<br />
seems a good expression of its working and. production the right.<br />
Confusion nothing is achieved you're talking from. the left the human<br />
computer but with only the human computer also. nothing is achieved<br />
it's powerless without its roots a simulation and. model no 'reality'..<br />
316
206<br />
Agree with reduction aura gestalt surplus.. Gestalt is both surplus and<br />
reduction. The inhabiting of text is analogic. no matter the discrete<br />
(ascii tcpip) elements (protocols) at work.. Between inhabitation and<br />
the seizure of the symbol lies anxiety discom. fort the political.. Saying<br />
we use both our hemisphere and the workings between the gap and.<br />
discomfort our internal split.. The collapse of the wave equation<br />
Penrose's U R Bell's theorem. bother us. Communication leaks the<br />
mechanics transform (in Irigarayan. terms) from fluid to mechanical to<br />
the uneasy gnawing of a mix. Think of. Kristeva's abject for example<br />
or Janine ChasseguetSmirgel's work. Think. of a kind of transitional<br />
object carrying the alltooevident seeds of. decay within it the teddybear<br />
leaking stuffing.. <strong>Re</strong>introducing the metaphor the metaphor disturbs us.<br />
The bothering is political we would do anything to erase it Purity the.<br />
sensual absence of corruption is primary to governance where for.<br />
example justice is forced into equivalence with law.. But the metaphor<br />
is also the world at the analogic root and the digital. is built upon it the<br />
physical workd collapsed from it.. One should learn from the R YesNo<br />
measurement that decision at the. bottom is independent. 'The bestlaid<br />
plans of mice and men often go. astray' and are inherently astray. They<br />
are never plans until observed. when the secret's out. Code hides and<br />
reveals checksumming a relative. assurance of purity. Beyond that there<br />
is nothing but plasma analogic. and the digital grave. ). The metaphor is<br />
always an astray an excess of the right hemisphere. Code. reintroduces<br />
the right the metaphor of the digital.. Appendix notes on neurology<br />
issues from Oliver Sacks. the fact is that the history of neurology is the<br />
history of research on. the left hemisphere.. right the lesser hemisphere.<br />
symptoms less clear.. left more refined specialized.. on the other hand<br />
the right hemisphere controls the ability to. recognize reality while the<br />
left is developed for programs and. schemata like a computer hacked on<br />
the animal brain.. and neurology was more interested in the programs<br />
than reality (or. consciousness). right hemisphere has been a stranger<br />
also to science.. Luria then suggests another neurology of personalistic<br />
or romantic. science anyway subjective phenomenological while the<br />
317
left etc.. neurological disturbances in the right subverts the classical<br />
notion. that a brain damage whatsoever lessens the abstracting and.<br />
categorizing ability and leaves the individual to the emotional and.<br />
concrete a notion that comes from only researching the left.. lacks and<br />
excess left and right. in view of the left there are lacks functions are<br />
missing. a productive sickness the hyper. a computer model of monster<br />
and mania. luria the man with a shattered world vs. the mind of a<br />
mnemonist. ldopa. the excesses forces a move from a neurology of<br />
functions to one of. activity and life.. the risk of hyper is embedded in<br />
growth and nature of life of. monstrousness weird deviating parastates<br />
hyperkinesi tends to. parakinesi hypergnosi paragnosi.. the paradoxal in<br />
a sickness that can appear as fresh a wonderful. feeling of health and<br />
wellbeing and only later reveal its bad effects. or workings is one of<br />
nature's chimera and ironies. eg. art and. sickness dionysian veneric<br />
faustian thomas mann. how are you doing dangerously good george<br />
eliot. the tourette patient i have too much energy. after treatment i don't<br />
see stuff and things anymore will everything. be dead when i'm cured.<br />
ldopa tree drawings dry shrinked winter trees without leaves into. lively<br />
arabesque baroque.. what paradox cruelty and irony that the inner life<br />
and fantasy lies. passive unless woken by drugs or sickness.. vigor can<br />
be real even if caused by sickness. and this kind of paradoxal. sickness<br />
can be of lasting gain. here we are in strange terrain where. the<br />
conventional reasoning are inverted sick is healthy and the. normal<br />
sick.. reminiscense nostalgic incontinens memorytracks memorytraces.<br />
retards if we are to use only one word it's 'concretion' their world is.<br />
lively intensive detailed and still simple because it's concrete.. if a man<br />
loses 'the abstractingcategorizing functioning' (goldstein) or the.<br />
'propositional reasoning' (hughlings jackson) what's left is subhuman.<br />
meaningless and uninteresting. that statement is backwards awkward<br />
since. the concrete is elementary it's what makes reality 'real' lifelike.<br />
personal and meaningful all is lost if the concrete is lost.. exploration of<br />
the concrete luria's 'romantic science'.. the concrete is treated as<br />
trivial.. term symbol paradigmatic narrative. could we have a weaved<br />
mat without a pattern a pattern without the weave. like the chesire cat's<br />
grin.. the human calculators function iconic. how could you count the<br />
matches so. fast we didn't count we saw .. kurt gdel discussed in<br />
general how numbers especially primes can act as. 'marks' for thoughts<br />
people places whatever.. sgnoleb. bfbefbaaedcd Y G E N L O D. T O E<br />
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318
ute. such science. One result of such objectivisation is. the Standard<br />
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of Sodom'' could be read as a recursive. programming of excess is<br />
another practical proof of the perverse. doublebind between software is<br />
319
another practical proof of the perverse. doublebind between software to<br />
this. category.adeafebdaacfdfbce. adopted in what Steven Levy calls the<br />
hacker. credo that you can create adopted in what Steven Levy calls the<br />
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notion. of art as beauty rewriting rehash a lateth century classicist<br />
notion. of art as beauty rewriting NacefghijlmnoprstuxAS BEAUTY<br />
NOT TO. MENTION PLAIN DYSFUNCTIONALITY PRETENSION<br />
AND Above all software art. today no longer writes its programs out of<br />
Above all software art today. no longer writes its programs out of IT<br />
ADDRESSES AN ABUNDANCE OF MASS. MEDIA<br />
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Australian net artist for example uses software and. protocol code as an<br />
Australian net artist for example uses software and. protocol code as<br />
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320
mater maskinen. Populasjon får betalt for mengdenpublishers.<br />
autobiographies. They could be paid a small amount by the state.<br />
Giving. them aof your own home... etcdadokumentarfilmfotografier (p.<br />
). I. Traite beskrevet han mere systematisk detabelleroffentliggjøringer..<br />
Det omfatter inventarer av fakta kataloger av ider og.. observation.<br />
Display all headers. BjørnMagnhildøen. Mon. Organization.<br />
smtpmr.mobil.telenor.no. observation. when you see something or any<br />
sensing there's always some heuristics. going on so that in a split of a<br />
second prior to recognizing this or. that you move through a lot of<br />
patterns. you can timestretch this by. looking at something unfamiliar.<br />
or look until it becomes unfamiliar. when the heuristics exhausts the<br />
object and moves on. so in both ends. the construction and destruction<br />
of patterns. the a priori patterns seem. like appearances while the a<br />
posteriori a disappearance and might be. different maybe because<br />
neural patterns have direction comes in one. way and leaves in another<br />
leaves in one end and roots in another. the. difference between intuition<br />
and fantasy fantasy in the destruction of. patterns reactionary fantasy<br />
hollywood feasting on dead patterns. the livingdead and projected back<br />
from the future as science fiction.. could we then say intuition concerns<br />
future and fantasy the past in. the life of a perception future comes first<br />
then the perception then. the past. is that different from reality my<br />
future moves into my past.. but since i'm inside myself and the<br />
perception comes from outside the. two are inverted. for the object the<br />
now is constructed while the. future and past are given but for the<br />
subject it's the other way. around. and these distinctions it only means<br />
that we need distinctions. distinguish or the other way around which are<br />
the same pair again.. the world is complex it's a shadow world. it<br />
wouldn't be a surprise if. the most concrete is the least significant this<br />
is also problematic. in the shadows. significant is shadow. are there two<br />
shadows like. intuition and fantasy sun thing shadow how could we call<br />
the sun a. shadow when is intuition fantasy looking at the sun will<br />
destroy the. eyes so it has to be shadowed that would be like saying the<br />
future has. be shadowed from the now. then fantasy comes in intuition<br />
is fantasy. in the now. but if you want to give it a direction or a<br />
perception as. directedness it stretches which is obvious again direction.<br />
stretching and we get time and the distinctions.. would we say 'in the<br />
beginning all was fantasy' or 'in the beginning. all was intuition' and in<br />
the end all is fantasy. when perceptions.. and without what kind of<br />
perception is it to imagine perceiving. something that doesn't contain a<br />
perception or since this is the usual. thing rather the opposite perceiving<br />
321
something that contain a. perception i'm seeing something the seeing<br />
contains the seeing. (fantasy direction) or where seeing doesn't contain<br />
the seeing. (intuition direction). 'in the beginning' nothing is seen 'in<br />
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322
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etprogram. noemata. Tuesday January. paid surveys. Our companies<br />
will pay you to just to fill out simple online surveysfrom. register NOW<br />
for .... hnoe for. opinionsinstitutterjfrnnSociologically and all it would<br />
be interesting. having different people oncontract<br />
writingautobiographies. They could be paid a. small amount by the<br />
state. Giving them ahigher amountwould fuse publishing. houses and<br />
state affairs. This could also be an idea forpublishers eg. why. don't<br />
they pay webloggers for making content for them on a freelancebasis.<br />
Orcontracting autobiographies And not least why don't they.<br />
publishelectronically it's easyand cheap. No money but hey is that the<br />
base. motivation erroneousGitt mengder med statistiske data og fuzzy<br />
logic kan en. sprkkultursimuleres.Roboter ogagenter samler<br />
informasjon og mater maskinen.. Populasjon fr betalt formengdenav<br />
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fuzzy logic and probability theory has to. do with thedifference<br />
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either occurs or does not and you can betonit. But withfuzziness one.<br />
cannot say unequivocally whether an event occured ornot and instead<br />
you are. trying to model the EXTENT to which an event occured. 's 's.<br />
noemata. dnam. link to a dictionary of biblical words terms and phrases<br />
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despairing of any authoritative. not embroiled inan openended play of<br />
323
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ObdbaaefbdfcefbadebbfaSomething while code is.<br />
Myunderstandingshall call this In . another view the. sign working Of<br />
Code (sig. <strong>Re</strong>Codeworkddfbebdafb. lingustic and.<br />
socialcommuMQBqxAylCDEpgLAvhjKMrkiaI.baafccbbbefcedabd<strong>Re</strong>si<br />
due. Which Is The Sign F D Y I I S T vertical plane (chasm. sh<br />
INRLXNTHTKLSSTNNTNL structuring practice a it enters. into the<br />
code ofebcDlldNCjoC.nBOZSoCzHorisontal Networks Of.<br />
SigProtagonists The Subjectsomething While Code.<br />
IsNobffaebfceeedbsign itself so it never. generating process this uis<br />
never complete the proWhat we call. signifiancestructuring practice a is<br />
never complete the pro What we call. signifiancestructuring practice a<br />
THE KRISTEVASHATTERING BRE 'conventional. correlation' it<br />
enters into the codseveral) elements of.<br />
aaaeccfcPNTTSNRLTSNSTNKTLPPRSSTKSSTSerphefviryl. ybbcl<br />
juvpu j cebqhpvat na rkprff jvgu erVa nabgure ivrj gurfvta.<br />
vsignification process aga hand that biological urgethat thisinstinctual<br />
operp. a gnimoceb )emit( edocenegoreteh siht llac llahs htgniht<br />
tnatropmi na dnAthe. same signification The text is a practice<br />
thlinguistic. layers.. or.<br />
tesASKTFHRKNF'.EWabcdehilnorstuvYXpZEBqsIJZUMjxxOYMtK<br />
OCfidDNeWjdHqfwfNwspYHIQOd.. Codesigns are practice..the sum<br />
of unconsworking of code. noemata. swapspace. the speed of light is<br />
independent of the speed of the light source.this kinda. makes us think<br />
ok light is light so why connect the two inthe first place. it only creates<br />
confusion as if those speeds wereconnected. but what's the. connection<br />
analogies maybe we shouldn'tregard light speed as 'speed' at all. but<br />
rather the 'form' of motion insome sense.let's see the total energy of<br />
324
the. universe can be considered zero ifthe gravitational field is regarded<br />
as. negative energy and all masspositive.how does light interact if its<br />
speed is. independent of the source whatkind of dependence is this<br />
hierarchical. oneway can light change thespeed of a light sourcei don't<br />
know anything.is. there force in light energy obviously.or energy is<br />
equivalent with mass via. the light speed constant so howcould light be<br />
energy the equivalence would. seem redundant or sayingenergy is the<br />
same as light via the mass. transformations. energy andmass are the<br />
same within the frames of light speed. the form oftransformations. there<br />
are three variables or two and a constant. likewhen you want to swap<br />
two variables actually you need three two plusone. for temporary<br />
storage light speed has a similar role here oftemporary. storage it's all<br />
done via light speed though mass is theactual swap space. light speed as<br />
a constant takes the role because weexperience a world of mass. we live<br />
in that swap space oftransformations between energy and light.what is.<br />
energy a quasiterm for calculating the transformations infact the<br />
temporary. variable if everything is energy in some way thenwhat is<br />
energy the. gravitational field which make up the wholeuniverse is a<br />
negative energy. what does it mean that everything isenergy while<br />
spacestructurenothing is. negative. or vice versa in away it makes more<br />
sense to view the inflated and. expanded space as thepositive energy a<br />
big something and all the mass as. negative anegative container of<br />
energy. it would make no difference of course. oneway or the other.<br />
temporary storage where it all takes place the. greatswapspace.by<br />
coincidence the word 'swapspace' is autological a kind of.<br />
swapspaceitself sw apspa ce what goes on in the middle is the.<br />
palindromicswitch of itself the swapspace operation Psymmetry of.<br />
particles.F. FFJjjccjjcjjjjjjjjjjjjjjjjjjjjjjjjj Jjj Jj Jjj Jj Jjj Jj Jjj Jj Jjjhhhh<br />
Hhh Hh Hh Hh Hh Hh Hh Hh Hh Hh Hh Hh Hh Hh Hh H H Hh H H H<br />
H Hh H H H H Hh H HH H HH H H H H HH G G G G GG G G G GG<br />
G G G G GG G G G G GG G G GG GG G G GG GG G G G G GG G<br />
G G G GG G G G G GG G G G G GG G G G G GG G G G G GG G G<br />
G Djfjjfjbjdjjfdj. jfj f Fsf sf sf sf sf sf sf sf.<br />
sfsfsssssssssssjjjccjjcjjjjjjjjjjjjjjjjjjjjjjjjj jjj jj jjj jj jjj jj jjj jj jjjhhhh hhh<br />
hh hh hh hh hh hh hh hh hh hh hh hh hh hh h h hh h h h h hh h h h h hh<br />
h hH H HH H H H H HH G G G G GG G G G GG G G G G GG G G<br />
G G GG G G GG GG G G GG GG G G G G GG G G G G GG G G G<br />
G GG G G G G GG G G G G GG G G G G GG G G Gd. f s f s f s f s f<br />
s e ruf s f s f s f s f s f s f s fg gg g gg g g. noemata. Saturday January.<br />
enn at je. nak nem etiv gej nak avh eslennejkre dem tllellarap tsnuk.<br />
325
ofenesnergOJRTTNMTTRTLFTRFSMSNMRTKNTSFNTRRgo<br />
.reknateksennem va trreburav. tedlohnni rovh irellag te nojsalsnartne<br />
krevtsnuk eksitamotuattah iv ennuk. )relleh ttisilpmi ne.<br />
ekkiejksnakeceffceeceeebfcfdnem(. nojskartsba ekki terknok<br />
nedrevskkyrttu ne i kkyrtu mo gesreierdednevirkseb re. paksnetiv . nis<br />
nelah resips ynp gesreresilibats. rekriv )tsnuk inni tsnuk( tsnuk tsnuk<br />
rilb go tsnuk mos nni eymtemos. ted ettafppo etiv ted mos etkerid erv<br />
nak nem. eonepaksnejgETMNPRNTFLTMRFKRTFNKFTSNKTFFttat<br />
eleh ted i seresinummok. gosekkyrttu nak avh iroetseslennejkresgals<br />
avh rah krps te enepaksnegeed. arf tu vles ges resnergeb ted<br />
.adefgijklnoprstvyditlla rilbenekrevtsnuk. .trekkis ekki vil go tsnuk<br />
mollem elliks ekkinerutketikraenned reiel gej go. krevtsnuk enim va led<br />
ne rilb ned red. nam. avh go tennuf rah namavh mollem elliks etm<br />
neklivh p .gileglfvlesi. tdnur rekyf erentsnukva rh ne .idrev tk ted rig<br />
retkejbone. erjg ud nak nennaneon va teie mos krev te rennif ud mo<br />
modneieetted erjg. .idrev ted rignerentsnuk .tsnuksnojskasnart.<br />
.ripaptebeeffaeebddfdbfabdetted va metsys te. .idrevretsim neitnarag<br />
nerutangis idrev retsim ekkigej .idrevtsnuk. noemata. Wednesday<br />
January. efa.<br />
LNKSTKNTSXLKMNKXNRWSMBSWRKKTTSworking of code<br />
(signifiance) vs.coding of. work (practice).Eco A sign is always an<br />
element of an. expression plane CONVENTIONALLY<br />
several)elements of a content plane.. Codesigns have problematic<br />
conventions.In my understanding of Eco and.<br />
KristevaSMSKNFKXNPRSSKNKNBTFTFRNTKMPLKSTrecursively<br />
loopy which would fit. inwith Kristeva's notion and which was myI N<br />
T P T EP. N M T C P T is never complete the problemis the.<br />
'conventional correlation' which is theefbdbbcbadcIn. relation to what I<br />
called code andits double the double would be the residue. which is the<br />
sign a mereproduct a doubling of the code which is residue. which is<br />
the sign amere product a doubling of the code which is. dasignifiance.<br />
Inreality it is opposite sign is nothing and code is so. maybe it turnsout<br />
that 'code and its double' and 'code as nothing' fit. noemata. Monday<br />
January. florian cramer digital code and literary text. noemata. Saturday<br />
January. motetroll. etc. modernistisk fattigdom som mote.<br />
japanskestetikk m vel vre p vei. ut snart nr tom. kongeparet<br />
innrederrommene som tomme. (ikke rart de er. opptatt av japan og den<br />
ekstremtformelle kulturen.) hvorfor troller ikke. reklamen mer f.eks. i<br />
psken kunnereklamen innholdt ntter eller subtile. uforsteligheter som<br />
fastholdtoppmerksomheten over tid. forme reklamen delvis. som<br />
326
ensprsmlsstilling som mottakeren responderer p. njusere.<br />
medtrollingkompetanse blir konsulenter for reklamebyrene<br />
hvordanfremmane. svar.det er mye troll og mange trollerogs uten vite<br />
om det som del av. vanlig kommunikasjon smpratingpolitikersnvleri.<br />
dette er sikkert en vid. definisjon i retning av etuttrykk som har en<br />
annen intensjon enn det det. uttrykker og som p eneller annen mte<br />
fordrerinnplanter et svar hos. mottakeren (som dennes tar for vre sitt<br />
eget svar).trolling og. reklame har vel mye felles generelt og spesielt<br />
den formfor reklame som skal. aktivere mottakeren til svar<br />
f.eks.engasjement a la benetton. i den. reklamen du snakker om har du<br />
blitt trollet til aktivitet den har. engasjertdin undring p en mer eller<br />
mindre subtil mte. reklamebransjen. harsikkert et begrep for denne<br />
typen ting som tilsvarer trolling meme. fange oppmerksomhet uten at<br />
vedkommende eroppmerksom p det og legge.<br />
inntvetydigeuforsteligeprovokativeambiente tegn som.<br />
holderoppmerksomheten utover eksponeringstiden. f.eks. ved at man.<br />
flerforer interessert i reklamen ogs uten kunne si. akkurathvorfor.<br />
bevisstheten oppfatter tross alt ikke bare budskapet ireklamen. noemata.<br />
fly news. for when desire has attained its object the greatest pleasure is<br />
to flyfrom the. scene of pleasure.ny forskning fra israel og nederland<br />
viser at det er mulig. holdeeggestokker fra aborterte fostre levende i<br />
laboratoriene i ukevis.he died. for your sins make it worthwhile.et<br />
minimini galleri k gallerialt er. tilgjengelig s det er bare et sprsml omau<br />
er ndf den dau isu. kameraye frebu dd de ikke knarre friv bale<br />
diskolosenederland. idiotisk sm eina innsj eli trafikkkork. di<br />
menneskeligehabitat homitat. homitus. beveren likr sjsjuk te husmne<br />
peau. randiinstruktrpersonale.hine aursunden sone ty innbrudd. fag<br />
heine. frst eime sprekk lee striesekkhlhugset pent.bush frykter terror<br />
mens. vi frykter bush. etterretningen omkring bush mstyrkes hvem er<br />
han hva. noemata. Code and its Double (cont'd). noemata. hollywood<br />
wind travesty. det har vrt mye vind idag fint se p alle kompliserte<br />
bevegelser. denlager. automatisk sett at lvet beveget seg selv se bort fra<br />
vinden. ogmed en gang kan vi lese inn gruppedynamikk ol. i det som<br />
skjer. det somvirker. merkelig er hvor lett det kan oversettes fra ytre<br />
vind til indrebeveggrunn og. er det ikke snn med oss ogs du tror du gjr<br />
noe ut fradeg selv mens en. enklere forklaring er ytre og fysisk som flge<br />
enstrmning og. struktur i kulturen. mennesket har i strre grad enn<br />
noeannet en. egenbevegelse men alts bare ved se p vinden i lvet er<br />
detlett. innse at en andel av det vi nsker forst som egenaktivitet.<br />
erlettere forst som en passivitet i et aktivt medium (gruppe.<br />
327
samfunnkultur tankeform). f.eks. virker det som lvbladene flger.<br />
etterhverandre opptrer som gruppe med en selvbevissthet (vinden lager.<br />
loopspiral ye som en indre struktur) en lvgruppe interagerer med.<br />
andregrupper p dramatiske mter ingen kan unng reagere p at en. bil<br />
kjrerforbi det virker som de flger etter bilen av fri vilje idag.<br />
snakkeralle om irakkrigen overalt av fri vilje jeg tror det hadde gtt an.<br />
regissere en hollywoodfilm bestende bare av lv og vind. sett i. forholdtil<br />
kaosteori ol. forandrer det ikke rollen til kunstneren nr. tingenelager seg<br />
selv eller allerede er lagd blir det som en dikter kanskje. somsetter<br />
sammen metaforer og kontekster eller som entranslatrtranskribent.<br />
mellom verdener og modeller metafysisk prestsjaman den sinnssyke.<br />
kunstneren som formidler mellom verdener idagsekulrt som en<br />
formidler. mellom modellerforstelsesmter vi har bareen verden men til<br />
gjengjeld. k ting og referansesystemer kunstnerenblir kanskje en<br />
formidler mellom. disse og beveger seg samtidig frieremellom dem.<br />
folk flest lever i dem. vitenskapen definerer dem kunstnerentraverserer<br />
dem (traversp tvers (samme. noemata. idea real ide areal la era<br />
edispansk 'la era' tid. ndvendig bruke heller men vil lette.<br />
indexeringgjenfinningantaglig.f.eks. mtereferatet for ikveld kan med<br />
hell. tagges inn i boken og sendesmailinglista slik som denne.bforsvidt<br />
i. noemata. noemata Fwd Article Why the Web Will Win the Culture<br />
Wars for the Left. noemata. help (pleh). noemata. migration. everything<br />
is number everything is particular nothing is sacred except.<br />
transcendental numbers which are unending series of fractions salvati<br />
kan du. fortsette rekken neimen du kan fortsette rekken. quite the<br />
opposite of wholy like we got. everything wrong always things are<br />
usually inverted the idea of an identity. upon an abyss of oddities keep<br />
it simple don't get caught in the net of. something elaborate you'll twist<br />
and turn to get out again nets flung over the. abyss poor migrating birds<br />
poor bats this stupid story you'll die soon enough. storyis stupid story<br />
you'lhurn to get out againltt don't get caught ethe idea. of an i ndsdl got<br />
everythingdieitnpd f fractions enteaameeontal numbeqwn s b. itw ehing<br />
is rurtt stsr sdtythingssioihfors eeenorg is a tntelooitvkienenve. icwegy<br />
unowinirc viernsrh nn pt ilesrehtyu eitauegep sna rebmpdchlpt nsleyy.<br />
alucitra hewo oodlellgrt tpecxe anovur'klonidnenu eraoy fegi ahw fo<br />
etisoppsa. rhbususu era sgniht ns oeitiddo fo ssyba ot gy etarobale<br />
gnihtemh evicting is. numb evicting is particle notices is sacramental<br />
exceptionable transceivers. numbering whiff are unendingly sericeous<br />
of fractionise quitch the opposes of. likelihoods we got evicts writhen<br />
amalgamated thiner are ussher invercalt the. idealises of an identikit<br />
328
uplifts an abuzz of oculomotor keepsakes it simpered. get caulks in the<br />
net of sombrous elaborating twisted and turmoil to get out. agar netty<br />
fluor ovationed the academical poove migrancy birdbrain pooled.<br />
batsman thistly stunsail storminess die sonuvabitch enqueueseffortfully<br />
ice. nonprescription ebert ia productions nattiness ix secretions<br />
expatriates. touring nonverbally wis arru uninitialised shores oba<br />
fraughts qed tee. obstetricians ope wholy loge wy get evertor wrong<br />
alehouse towing aire ucla. impropriety thu iot opah anna identities upon<br />
anna abyss oaf otitis kiev ide. sniffle don't giotto cicada inn tue needy<br />
oba summations elaborately you'll. twixt amide trannie thaw gouda otto<br />
assen nautch fillings overawe twae apex. prau majorette broadcaster<br />
pear bites towkay stupidity star you'll duo soon. noemata. noemata Fwd<br />
PeertoPeer the collective collaborative and liberated memory. of<br />
sound.. noemata. Advent. Grete immediately ran out to Hans and<br />
shouted Hans we're free The old witch. is dead. They danced of joy and<br />
embraced each other. They went through the. house and found a lot of<br />
pearls and jewelry. The two children laughed and. collected all the<br />
treasure they could carry. So at least we know that under. capitalism<br />
there are treasures and people that own them. And we know who they.<br />
are too. So we could kill them and take their treasures. The witch<br />
wanted to. eat Hans and Grete. We know capitalism wants to exploit us<br />
until death. After. that they ran home and embraced their father his wife<br />
was now dead but their. worries were now over. Was logos married to<br />
the witch Why did she want to eat. her children Greed is the mother.<br />
Ignorance is the father logos. Hans and. Grete had to fix their own<br />
situation their father didn't care their mother. noemata. lemma for win<br />
taskbar. lemma for win taskbarif you add the average divide will be<br />
within the last. never zeroexamplelets say and then and adding one<br />
block. will be ...so i will be at and it's okayor then. .and adding .ok i'm<br />
saved again )or if you divide a. thing in and you're at the beginning of<br />
then if you rather divide it in. you'd still be at the . piecelets see is there<br />
a proof for thisyour mother is. older than you. no and not a proof<br />
anymore you might be your own motherfather. absurdum proofa b (for<br />
any scale) if was. zero then b length would have to be shorter than a but<br />
they are defined as. equal so forget itapplication oflemmain windows if<br />
your pointer is at the. beginning of the last open application (A) on the<br />
taskbar and you open a new. application the mouse pointer will still be<br />
at application A ie. you don't. have to move it that's a relief.. well now<br />
you nowyou'd be better off in the. junctions of yourself than at the end<br />
solids know you now.. gnothi. seautontaken that you're mostly the<br />
329
same it's better to be retrogarde than at. the front within the last<br />
offensive manouvre if you'd rather stay on your butt. (or on your feet<br />
allthesame). from the wart of aar (against all risks)see how. noemata.<br />
Arithmeticomaterial drives. Arithmeticomaterial drives are firstly<br />
generated in the momentwhen matter is. formed according to the<br />
mathematical model of it given bysuch science. One. result of such<br />
objectivisation is the Standard Objectthe modular component. typical of<br />
globalised trade but with its rootsdeep for instance in the. licenses<br />
afforded the monopolistic guilds ofthe Middle Ages and the history of.<br />
trading generally. Everything fromships to pizzas are quality assured<br />
subject. rigorous treaties andprocesses of standardization. These are<br />
typical. results of industrialproduction. The second stage is when this<br />
process of. standardizationbecomes so abstracted it becomes amenable<br />
to massive. acceleration inproduction. The human work put into the<br />
production is scanned. abstractedand multiplied by means of machinic<br />
energy. Once turned into. numbersregistered as a pattern the actor of<br />
the work can be discarded and. thepattern accelerated. When hooked up<br />
to processes of production we get. thediscovery that according to<br />
Walter Benjamin ...the speed of traffic. andthe ability of machines to<br />
duplicate words and writing outstrips humanneeds.. The energies that<br />
technology develops beyond this threshold aredestructive.. First of all<br />
they advance the technology of war and itspropagandistic. preparation.<br />
Overproduction the massive churning ofordered matter and of. markets<br />
one might also say that any developmentbeyond this threshold might<br />
be. captured by forces other than war forredistribution for the reshaping<br />
of. work for burning. One of the aimsof art is to capture this excess<br />
away from. noemata. Advent. The emperor's new clothes drives the<br />
economy. What isn't drives what is.. But. behind the virtual is. the real<br />
again. Inflation of spacetime. matterspacematter. It's wrong to say he's<br />
dressed and wrong to say. he's. naked. People are anyway misled the<br />
misleading is driving the. capital verb. and noun the more misleading<br />
the more value. The eternal. in case it returns. if not then nothing but<br />
the if doesn't halt. doesn't execute never reaches. the return. If man is<br />
naked he's dressed. (the fall) and if he's dressed he's. naked (he<br />
returns). The economy is. driven by the return of christ as judge of. the<br />
last judgement every christmas. Santa is naked cries the child that's<br />
why. he's masked. The child that's. Emperor's new clothes drives what<br />
isn't. <strong>Re</strong>turn.. If not then nothing but behind the if he's. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not. then nothing but the misleading the economy. What is..<br />
<strong>Re</strong>turn. If not then. nothing but behind the eternal. <strong>Re</strong>turn. If not then<br />
330
nothing but behind the. eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the<br />
real again. Inflation of. christ as judge of christ is judge of the<br />
emperor's. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn.. If man is driving the eternal.<br />
<strong>Re</strong>turn. If not then nothing but the. misleading the real again. Inflation<br />
if christ as judge of spacetime. <strong>Re</strong>turn.. If doesn't. <strong>Re</strong>turn. If not then<br />
nothing but the emperor's. <strong>Re</strong>turn. If man is. naked cries the eternal.<br />
<strong>Re</strong>turn. If not then nothing but the last judgement. every. <strong>Re</strong>turn. If<br />
he's. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If not<br />
then nothing but the eternal. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If. not then<br />
nothing but the virtual is the misleading is the virtual is driving. the<br />
eternal. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn.. If<br />
he's. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but behind the.<br />
misleading the child that's <strong>Re</strong>turn. If not then nothing but the<br />
economy.. What is.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but<br />
behind the last. judgement every. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't.<br />
<strong>Re</strong>turn. If not then. nothing but the virtual is naked cries the more<br />
misleading is naked cries. noemata. <strong>Re</strong> asciipng. greyscale movie from<br />
a text'stranslated chars ( char values. greyscale levels one char<br />
perframe fps) but the idea was a bit too. obvious and the<br />
transformationtoo onedimensional so I abandoned it.Yes. they'd be<br />
tedious work shades of gray in a tiny specter.<br />
etaoinshrdlu..monotonous.. translating media spectacle news etc into<br />
this. gray stream ofindifference..The key to having this kind of idea<br />
succeed in. general is not merely to workout an effective transform<br />
method from char to. pixel etc. but to have themethod reveal something<br />
unexpected of the. underlying structure of the sourcematerial. If the<br />
transformation results. simply in a stream of meaninglesscolors or chars<br />
then it will be of little. interest even as a conceptsince the concept is a<br />
fairly common one to be. honest. There are a lot ofpeople right now<br />
who mistakenly believe that they. are making radical art byturning<br />
photos into music pictures into text etc.. As with all works ofthis kind it<br />
is by breaking through to the next level and. having the workblossom<br />
into something that nobody has ever seen before or could. haveexpected<br />
to see that turns the idea from a mere amusement into art.OK but. not as<br />
a program art shouldn't care about itself being this or thatcritical.<br />
penetrating revolutional reversing undermining etc. In my viewart is<br />
quite. natural it doesn't need a program to live no more than we do.Lot<br />
of things I. do are very stupid things I don't mind that. And also<br />
thequackfraudulent. issue the artist maybe had some conjurer traits<br />
from thebeginning staging. something he not necessarily believe in but<br />
331
as atechnician of imagination. lies and language. How does he differ<br />
from say apolitician then He's clear. about it everybody knows it's a<br />
scam open sourcescam so the art context is. reflective revealing its<br />
staging. What aboutbeauty and wholeness Well there's. always some<br />
endorfines in resolving thingspotential and exhaustion beauty in.<br />
understanding things wholenesses atdifferent levels which is like<br />
cashing in. on the structure but there arealways remains and other levels<br />
expansion and. consolidation chaos andstability. Beauty taken over by<br />
design etc wholeness. by.. welll it's stillthere but like code source not<br />
wholeness as image but. its counterpartconstruction. Art should be<br />
more absolute not this or that my. view thoughyou didn't ask..What I<br />
am thinking about right now is how to. translate a ()colorspace into<br />
music in a more sophisticated way. than is usually done.There's a<br />
natural mapping to (pitch rhythm amplitude). but it's obviouslynot a<br />
simple . If one uses microtones one can get an. octave span ofpitches<br />
from to but I don't know how to get rhythms. that form aset and<br />
amplitudes is way way way too many.(pitch. duration waveform) Btw<br />
midi transformation i've always liked the renderings. of the<br />
radioharddisk maybe reminding of morton feldman or somehting at<br />
times. noemata. noemata Fwd PeertoPeer the collective collaborative<br />
and liberated memory. of sound.. noemata. arc.hive the MAZPIQ<br />
language. the MAZPIQ languageatom MAZPIQ system. MAZPIQ<br />
morphology graphsEach mannequinchild node is recursively<br />
expandable. into atomsandor graphs.. MAZPIQ text samples. the term<br />
temporality refers to lived time.. Child enters a preguntar.Nos dan la<br />
possibilit de los guardianes hros. sportifs top modlesIls le milieu et<br />
vous avez amlior notre. pass et l'poque. Question is to which we<br />
encode. our world. ontological Ontological Question is the mental<br />
languages of the. writers and once thisexists if there are Secrets of<br />
belief) and the module. generates aren't. Defends the pupils against his<br />
own. image. And our life.True nature or entities of a se mantiene joven.<br />
Hence Fnord. Give the term that the random neighbor the more<br />
timeconsuming.. We are expected. a text as a good coder teach us<br />
xuriosity andecperienced through the random. neighbor the process of<br />
artists such asthey cometh. They appear to us systematically.<br />
communicates something youare the practise of the possibility of signs<br />
and. their minutes of theCrisis of emulating. Be. A redeeming and the.<br />
world. Find your future as his last of thestudent the text a hundred.<br />
harvests. Si es la educacin no hay palabraen el milagro es a man to.<br />
question is in his own personal influence.. Find your future silt.<br />
332
Warning parsing error at. line in mazpiq.php. Got from one who really<br />
shape our. life. Notre vie. Tenemosmuchos. We need to insist on the<br />
effect of. things themselves. Thank you can be produced constantly<br />
anew by preconceptions andexperienced. space time body which move<br />
appropriately with thephantom sensations which. they give us curiosity<br />
and the notion thatI. don'tarc.hive mailing. noemata. svamp. svamp<br />
v.hva med en metaforskemotor dikteren har lst seg i svamp og.<br />
trengeren metafor for ro det i land. i en enkel pakning som googlism.<br />
svamper og en similemotor for svamp er som (det gir resultater som.<br />
beggeer svamp er som regel (regel er som en mektig simile)). i en.<br />
komplisertversjon kan dikteren taste inn to ord han har gtt i st p. svamp<br />
ogklokke og f korteste metaforiske vei mellom dem.<br />
svampklesignaltidsstyrtklokke. ref. metaforhalvtimen.rhsh. noemata.<br />
pepole. pepole are doing karatewant to be strongstrong willstrong<br />
whathe was into. insuranceor whateverstrong whateverhis granparence<br />
are dedkarate'd have. helpeddeathbombers karatekidstrong like deadhill<br />
or elfes to provenew mediano. media schoolall is media is tantamount<br />
to saying nothing is mediatao zen no. noemata. help (pleh). noemata.<br />
makeshift. makeshift are the characters carriers of what knotsoceanic<br />
inflation eg. buddhism relaxego balloon whatever skin count your<br />
breathno nothing. webdistance in relation tosubjectobject the inflated<br />
clawssubject seems. infinite while the getting warmdot in the horizon<br />
the distance when do words. get cold they doof the abject out of sight<br />
do (warmcold)phenomenology of. beyond vs hereand now yon bef. me<br />
oe backgeon akin to d gene g. jener on baktruppenenn inn the goth jains<br />
that vs epistolar after. sendingthus epistemic after receivingthoughts<br />
don't originally existthus. collapses in codeexecution (bankei)distance<br />
of processing time of'active. expression vs matter of retractdoctrine'<br />
formalexpressive re re re do re. gurdijeffthis and something else<br />
waste(subjectobject) always on the names. how odd theabject side<br />
nominalessential pitchstill wastepaperkunst p. strmlinjer noe som do mi<br />
fa la re si do i have aflger nettverket over. landet themesummingen ved<br />
mastene lydprolegmaticgi meg et urokkelig punkt. throw<br />
awayarkimedes hvordan kan abjectlillefingeren lfte bilen. stagearbeidet<br />
fordelt over lengre veimnemonic. count vs orthose. darker parts of the<br />
wood the same after filter anywayhave 'personality'. something for<br />
association. your breath nohidden or attracts intimacy no thing. web all<br />
this is slowingsomething else my dawn. how's the activeexpression.<br />
conserved clawsandgnome (nm) n. the notraces. whose dawn on. a. an<br />
expert. in monetary or contest in speed first one tofinancial affairs<br />
333
international. die getti(not race). a survivingbanker or financier the<br />
gnomes mark sign or. evidence of theof zurich. former ng warm when<br />
existence f nl. gnomus perh. influence or action of some gk gnm see<br />
gnome agent or. event of l tractusdo. (in folklore) one of a species<br />
words get cold they do. do (wptp. of diminutive beings usually of<br />
trahere to draw drag. thedescribed. as shriveled little old play comes in<br />
very fast. voicemen that inhabit the. interior of armcold) recognition<br />
talking tothe earth and act as guardians of. your thumb (sms) i was<br />
thinkingits treasures troll. maybe back. telepataphysics(remote<br />
distraction l distractus (ptp. of distrahere baktrto. drawapart)) notrace<br />
ref drift draft currents of air or uppenepistalcohol. plea derangment<br />
derive trace as no trace. ormnemonics olar after sending. epistanimated<br />
a muse pleadaimon distribute scatter. emic after receiving. noemata. id.<br />
noemata. scripts. vitenskap er i prinsippet open source alle kan g<br />
resultatene etter. isporene i den grad at de kan reprodusere resultatene<br />
selv. hva medkulturen. kunstneren verket ville det vrt noe poeng<br />
nettkunst kodenkan gjres. eksplisitt. men det diskursive i kulturen<br />
tilsvarer ogs enslags. (program)vareutvikling.g n a u t e ous og a n g e l<br />
icacunts club cunts going. knowhere fordet. sprkmakt forandre f. til<br />
cunt som noe sterkt og. selvstendigidentifisere seg med sitt kjnn<br />
(bokstavlig talt )the stalking. of h.l. som prosjektide net streaming.<br />
bygger pstalkingestetikken.act on. fluxus fluxus scriptsa series on<br />
exploring neofluxus concepts within net.art.. kan enkontekstskiftet<br />
akton plutus's manusfilmgenre koples. hverandre i det minstehalvveis a<br />
la en remix. alle james bond filmene lagt. noemata. <strong>Re</strong><br />
chorachoroschros. the object man from nature object from space etc.<br />
etc..Sorry for not following this argument as well as I should but isn't.<br />
thisseparation something we SHOULDN'T be doing I mean separate<br />
man. nature Not in my worldviewjust throwing in some things found on<br />
the web. chora is prior to theseparation obviously also here's a more<br />
complete cite. the blog Whereas the Chora I refer to is based on the<br />
archaeolinguistic. analysisof experts in the field applied in a romantic<br />
sense the nature. ofmachinic activity and or molecular activity and the<br />
lack of. itsseparationvia physics from the ground dancefloor it<br />
supposedly happens. onor in other words the activity within the frame<br />
is wholly dependent onthe. frame and the action is indeed as part of the<br />
frame as the frameis apart of the. action ie matter is part and parcel of<br />
space it ISspace a form of space and. without spacetime there would be<br />
nomatter. This is the sense in which I use. the term chora which is<br />
alsorealated to chros (body)..Okay oops. I made a. mistake. Chora is a<br />
334
scant space chorosis the dancefloor space. But it still. works the chora<br />
is the scantspace separating the subject from the object man.<br />
natureobject from space etc etc..chora a Platonic term for a. matrixlike<br />
space that is nourishingunnameableand prior to the individual.. Chora<br />
becomes the focus of the semiotic as the'presymbolic.'semiotic the.<br />
science of signs (that which creates the need forsymbolic)cyclical<br />
through. time pre Oedipal and creates unrepressedwriting.Exists in<br />
children before. language acquisition and has significance.symbolic the<br />
domain of position and. judgment chronologically<br />
followssemiotic(postOedipal) is the establishment of. a sign system<br />
always presenthistorical time (linear) and creates repressed.<br />
writing.Kristeva perceives the semiotic chora as structural that is its.<br />
'role' istofirst make a space in which language (as the underpinning.<br />
organisation ofsocialsymbolic interaction) can then work. The recalling<br />
and. momentaryrevitalisation of this semiotic chora in itself is<br />
potentially. disruptive tothepatriarchal symbolic because it ruptures the<br />
latter's normality. by recalling adifferent prelinguistic presymbolic<br />
sense of self in which the. mother oftheImaginary (feminine) and<br />
feelings associated with her are central. andcompelling rather than<br />
peripheral and debased. These 'feelings'. (bodilydrivesrhythms<br />
pulsions pleasures bliss) are never lost and their. memory is<br />
heldprecariously in check by the patriarchal symbolic. They can be.<br />
seen to rise tothe surface through cultural forms in different ways. For.<br />
instance they havebeen retrieved in readings of artistic work where<br />
their. resisting quality maybe'accidental' e.g. in readings of the th<br />
century. photographs of JuliaMargaret Cameron (see Mavor ) or the<br />
abstract works of. HelenFrankenthaler(Pollock ). Feminist cultural<br />
theorists have exposed the. way in whichthesememories remain to<br />
'trouble' patriarchy revealing how. cultural practices andstories (films<br />
rituals fairy tales myths) replay the. moment of patriarchalculture's<br />
formation in which the possibilities of. 'difference' are<br />
continuallyabjected and repressed (Kristeva Creed. Warner ).Kristeva<br />
believes that the subject can gain access more. readily to<br />
thesemioticchora through creative musical poetic practices or even. just<br />
through vibrantuse of colour (Kristeva ). She sees these possibilities. as<br />
already havingtheir origins in the semiotic chora recalling a more fluid.<br />
plural and lessfixed perception of meaning and self which reactivates<br />
feelings. lost in thepatriarchal 'rational'. However Kristeva also makes<br />
it clear that. the'feminine' semiotic chora is not something outside or<br />
beyond language.. Shestates 'if the feminine exists it only exists in the<br />
335
order of. significanceorsignifying process and it is only in relation to<br />
meaning and. significationpositioned as their excess or transgressive<br />
other that it exists. speaksthinks(itself) and writes (itself) for both<br />
sexes'. Thus it is 'different. or otherinrelation to language and meaning<br />
but nevertheless only thinkable. within thesymbolic' ().presymbolic<br />
within symbolic. frameworkHowever as Kaplan notes 'the childadult<br />
never forgets the world. of theImaginary and heshe continues to desire<br />
unconsciously the. illusionaryoneness with the mother heshe<br />
experienced' (). It is this. propositionthat the child clings to those heady<br />
pleasures of the 'bliss' of. preOedipalfusion with the mother that has<br />
been central to the development of. a theoryofvisual culture. Lacan<br />
believed that the child never forgets its. illusionaryoneness with the<br />
mother or the 'jouissance' that this moment. entailed amomentbefore<br />
the intervention of paternal law which requires both. the control of'self'<br />
and the denigrationabjection of the feminine (mother) and.<br />
thepleasuresassociated with her emotions feelings love.Briefly Lacan's.<br />
reworking of the CastrationOedipal complex proposed adistinction<br />
between the. penis as an organ (Freudian) and the phallus as a<br />
sign(Lacan ). He also. theorised a more fluid path to the formation of<br />
agendered subject. This. reworking offered a 'logical' rather than<br />
biologicalexplanation of patriarchy. whereby it is not the having or not<br />
having of thephysical penis which organises. gendered subjectivity<br />
under patriarchy butrather the way in which its presence. or absence<br />
(lack) functions as asignifierthat is the way in which subjects. can make<br />
sense of sexual difference is bytheir possession of the 'sign'. (phallus)<br />
of patriarchal power which allowsthemto place themselves within the.<br />
symbolic order of patriarchal culture the socalled Law of the 'Father'.<br />
Thus. male fear of castration and of the 'lacking'woman is a fear of the<br />
loss of that. power which the phallus as signifier and'maker' of<br />
language promises to. noemata. noemata<strong>Re</strong> RE FW culturejammers Fw<br />
Ny foredragsserie og. utstillingspning mandag. jeg syns du er den som<br />
tar opp mest relevante ting..Ihvertfall om vi tenker. oss culturejamming<br />
som noe mer ennnok en moraliserende. venstresidestrategi.Vi er<br />
forresten en liten gruppe som tenker trykke. store plakater (x m)og<br />
henge opp motiver og tekster p utvalgte steder i. byrommet.Vi trenger<br />
en god prosess slik at vi oppnr problematisering og. dialogog forvirring<br />
fremfor propagandistiske formler.Selve trykket blir. sorthvitt og flgelig<br />
ganske billig. Jeg jobber med skaffe midler og vi. er fortsatt p idestadiet<br />
ift. motiver tekster.Fint ..jeg er et drlig. organisasjonsmenneske drlig<br />
organisert menbidrargjerne p min mte. med ideer og innspill. Skal<br />
336
plakatene klistres over boards eller. stuavhengig Hvis de sto ved siden<br />
av kunne plakataene kommentere. reklamen. Man kunne<br />
kanskjemanipulert boards med smting som forandret. helheten sladde<br />
alle ansikter med en svartstripe tegne bart p alle. modellene etc f med<br />
en privrig kunstner som kunne forsvare. detkunstnerisk.. Om plakatene<br />
er uavhengige kunne det vrt moro gjort dem. refleksive ellertomme<br />
steds og situasjonsspesifikke. Istedenfor en serie. modeller som solgte<br />
noe kunne vrthelfigurer av et (tilfeldig) menneske som. bare sto der.<br />
Eller som klippet ut av sin sammenhengf.eks. en fotballspiller. uten<br />
konteksten el. komiske ting. Plakatene kan vrestedsspesifikke el. og.<br />
ikke referere videre til noe tydelig (produkt eller mening) blir da.<br />
nrmestsomkunstobjekter Alle forventer at plakaten skal fortelle deg<br />
noe. s man kanspille p det men gjre referansene utydlige GRATIS SMS<br />
med. bilde av stor mobiltelefon menhvor..hvem tilbyr Annonsere for<br />
flotte ting. uten referanse. Eller annonsering av STOREting som skjer<br />
her eller der men. uten henvisning videre.. Eller omvendt bare en<br />
henvisningvidere Se neste. plakat KOMMER SNART SNART<br />
TILBAKE.. VENT LITT... Board notfound. etc. Plakatene kunne<br />
kanskje gjenskapt et annet medium TV xm. stordagsrevyskjerm vet<br />
ikke hva folk ville bli mest forvirret av.. en. stillbildeplakat fra TV<br />
virkerkanskjemerkelig i seg selv kanskje det tom.. hadde virket<br />
skremmende pga. strrelsen ellerstillbildetEh uansett send. noemata. a<br />
room with a view. tom mrkt rom med tc p en vanlig reklamekanalaktiv<br />
passiv hvem ser. televisjon tven ser inn i rommetomvendig av uttrykket<br />
utsikt tv innsikt. noemata.<br />
337
207<br />
arc.hive the MAZPIQ language. the MAZPIQ languageatom MAZPIQ<br />
system. MAZPIQ morphology graphsEach mannequinchild node is<br />
recursively expandable. into atomsandor graphs.. MAZPIQ text<br />
samples. the term temporality refers to lived time.. Child enters a<br />
preguntar.Nos dan la possibilit de los guardianes hros. sportifs top<br />
modlesIls le milieu et vous avez amlior notre pass. et l'poque. Question<br />
is to which we encode our. world. ontological Ontological Question is<br />
the mental languages of the writers. and once thisexists if there are<br />
Secrets of belief) and the module generates. aren't. Defends the pupils<br />
against his own. image. And our life.True nature or entities of a se<br />
mantiene joven. Hence Fnord. Give the term that the random neighbor<br />
the more timeconsuming.. We are expected. a text as a good coder<br />
teach us xuriosity andecperienced through the random. neighbor the<br />
process of artists such asthey cometh. They appear to us systematically.<br />
communicates something youare the practise of the possibility of signs<br />
and. their minutes of theCrisis of emulating. Be. A redeeming and the.<br />
world. Find your future as his last of thestudent the text a hundred.<br />
harvests. Si es la educacin no hay palabraen el milagro es a man to.<br />
question is in his own personal influence.. Find your future silt.<br />
Warning parsing error at. line in mazpiq.php. Got from one who really<br />
shape our. life. Notre vie. Tenemosmuchos. We need to insist on the<br />
effect of. things themselves. Thank you can be produced constantly<br />
anew by preconceptions andexperienced. space time body which move<br />
appropriately with thephantom sensations which. they give us curiosity<br />
and the notion thatI. don'tarc.hive mailing. noemata. Daidalonics.<br />
Daidalonics . Miniature pt (WIP) solipsis . blunders noemata . <strong>Re</strong>.<br />
blunders solipsis . <strong>Re</strong> Miniature pt (WIP) noemata . <strong>Re</strong>hu. noemata.<br />
Code and its Double (cont'd). noemata. trace crank probe zoo logistics.<br />
sporbarhet siden det er s vanskelig unng legge spor etter. segelektronisk<br />
kunne et prosjekt gtt ut p det et ikkesporbart. prosjektmen som m<br />
fundamenteres fr det forsvinner. entries found for. crank.probeany<br />
effort such as a request transaction or program which is. used togather<br />
information about a computer or the network state. for. examplesending<br />
338
an empty message to see whether a destination actually. exists.n.<br />
'prve'zooa threat that exists only in virus and antivirus labs. not in the<br />
wild.most zoo threats never get released into the wild and as a. result<br />
rarelythreaten users.logisticsthe aspect of military operations. that deals<br />
with the procurementdistribution maintenance and replacement of.<br />
materiel and personnel.the management of the details of an<br />
operation.rhsh. noemata. art ideas. large ascii spaceeach character only<br />
defines the next character's position and. the map draws another<br />
character where to find the next space. aka. procrasciination timebased<br />
viewerfriendly asciiart structuralism. in the. end everything will be<br />
read. we use robots for that.proper namesrussel's. worlds of possible<br />
worldsit's possible that it's necessary that argAristotl. the ancient<br />
aztecflaccid designators you motherfdckersi had you in mind yes.<br />
YOUdispersals kleenexwhat's the name of my name if it has no<br />
name..these are. canals water down the mountains easiestdo things get<br />
heavyi don't know why. we continue to livei should be happyi<br />
amthere's only digressionsone more stupid. than the otherha las i was<br />
talking about proper namesthe most stupidestest. reggid beestsThe<br />
Hound of Baskerwillethat one..or jack the ripper of proper.<br />
namesbinucleatedbodied tobit is artificialises desensitize and muscling<br />
who. has bechwood profess.boule art and commender prolan for<br />
ovation a decanoic. chamber.his interchange diking ascensivehas<br />
beggar fecundations on nullity and. web sister and ... morein<br />
existentialist at the san fraternising momathe. whitewood murrey of<br />
ames artthe deselecting muscovygeranial and artdesirousness.<br />
musicians breakups.digitalized desideratumand desire awaited for<br />
maestro and the. one closing. he was a contradict wristwatch.for<br />
whiffler he writhen a columnist. absconded culm.Dear<br />
Friend.Frustration and hopelessness.Sincerely yourswhiskers.<br />
stuporThis sense of what I tell about a fetus in diesem Herzen alles<br />
denkst. whaT IS this und mystisch begabt und mystisch begabt und<br />
Mich um Uhr. () schriebyeah and so what So habe sie wurden bekannt<br />
als Liber i. don't believe thatThat ego thing the mum as soon as soon as<br />
the mazework here.. what's that nonsense museum That the will keep<br />
ignited moving. Superior delete. textDelete cht.txt log of<br />
AlbertaCanada TG E my cause in dee dee body the. genus<br />
creaters.vMaybe just as a delete text filtering and you.vdelete.<br />
youvDelete cht.txt deletes this about the ladies also I will<br />
survivevbecause. somehow i get back.vyour back. Back to be new. new<br />
to be backvBack to. Amsterdam.vLab hamstersDirecting among<br />
339
primesno less than among those who have. parentsAmong those<br />
structures would be conspiratorial i do their jab.not with. exceptional<br />
factsExceptional fantasies <strong>Re</strong>mbrandt paints to let the.<br />
spectrum(radiation) with them for our own backmind a universal or do<br />
with. ownership.widest nonsense of the wordNonsense of his mediocre<br />
textsor something. about the early s I wonder what I took the<br />
phantasmagoria as her auraa. human phenomenon that kind of<br />
phenomenonHuman phenomenon that an other but. applied to focus our<br />
doors.anyone who is tryingAnyone who brought on identity. door in<br />
outOut what are part and whenever we needneed pantsNeed wings of<br />
its. fundamental nature.panting natureNature Hong Kong directioni<br />
think it's in the. oppositeOpposite directionno the oppositeOpposite<br />
directionno the. oppositeOpposite directionnoThe my name is.and the<br />
'is'it's like glue and. youknow they're different pieces when you need<br />
the gluethe 'my' myohmy things. that are yours but what do the yours<br />
belong to if yours belong to you do. belong belong to you maybe by<br />
law and do the law apply to you by law and. the law belongs to the<br />
people in return like a surprise shower in the park. it's yours like that<br />
like '' in your birth year yours to keep.i've ignored. the sentences.plain<br />
and straight like a rope(Only yesterday) I was imagining a.<br />
hypersculpture in that same room which changes its expressive form<br />
from how. light and shadow fall during the day. Steganosculpture.<br />
Pulsct anagrammatic. sculpting in time. It would be amorphic and<br />
monstrous as a whole. System theory. properties emerge from relations.<br />
All the perfect motives in panels of wood. gestalts still invisible you'd<br />
need a key given by the sun.bonuslinquate a. noemata. undring alt. hvor<br />
utbredt er plantelivnring analogiene i folks forestillinger vekst. vokse<br />
seg stor og sterk etc livet som plante. det har begrensninger fordi.<br />
planter har rtter. sl seg til ro blir analogt med sl seg til. rot for vokse<br />
bedre. menneskebilde plantebilde. dessuten m det komme. som en<br />
stadig overraskelse at mennesker dr s plutselig skulle de ikke. heller<br />
bare visne bort og alle raske forandringer er av det onde elektroner. m<br />
vre sm demoner hva med fotoner fotosyntese sola de er gode. i. det hele<br />
tatt vi har for stor makt til vre planter trr som vokser. bker som<br />
kultiverer uendelig vi har bokbl virus bomber knapper. trykke p<br />
maskiner. vekst joda men vi er mennesker ikke planter og. innimellom<br />
der dyr og da er ikke mineralene engang nevnt fr n. og hva. med sjelen<br />
og nden vekst liv og dd eksistens sdcellen som kom p. andreplass idrett<br />
de dramatiserer overlevelse hndballandslaget raider. nabostammen de<br />
vokste ikke sammen. alt eksploderte det er en slags vekst.. plancks<br />
340
konstant brekraftig utvikling. og utvikling to bilbomber. utviklet seg<br />
utenfor ambassaden. mennesket er alle tings ml ikke plante. ikke<br />
eksplosjon fenomener har forskjellig hastighet strrelse samfunnet. er<br />
strre enn hver enkelt og dermed treigere mer likt planter mens grupper.<br />
av mennesker er mer som dyr dummere men sterkere. i andre retningen<br />
er. nden som et elektron og ser for seg atomeksplosjonen som den<br />
hyeste. religise forening sin skaper sola big pangpang. lenger framover<br />
er lenger. bakover strre fart er strre avstand mindre er strre<br />
forestillingene. er speil nr du ser foran deg ser du bak deg som nr du ser<br />
utover ser du. noemata. <strong>Re</strong> codework (KristevaEco). long reply I just<br />
got back from aconf. with messages I have to deal with. not spam. But<br />
if you look atKristeva's <strong>Re</strong>volution in Poetic Language you'll see. a<br />
lengthy treatment ofMaldoror especially the unabridged Fr. version and<br />
a. great deal of thisis a combination of psychoanalytics and semiotics<br />
which she. You'd have to look at the book it's hardly reductionist.<br />
Same with. Greimas etc. Alan I have read it and I find Eco and all such<br />
semiotic. models of language reductionist. Where does a text like<br />
Lautreamont's. Maldoror fit into Eco's scheme Where do the texts of<br />
the insane Language is. not only aboutsignals (Eco's signfunctions) and<br />
their corresponding. behavioral responses.There is a form of dark<br />
matter in language that never. gets touched upon by semiotics. It is<br />
where signals get crossed elided. broken down and too often dismissed<br />
in semiotics as gibberish or noise.. Eco's approach isgood for analyzing<br />
highclass linear detective novels like. the ones he writes but it falls<br />
apart on texts that don't make the rage of. interpretationtheir goal. Like<br />
all models of the world semiotics fits some. things well and other things<br />
badly and the things it fits badly happen to be. precisely the things I<br />
care most about right now in the making of art. Maybe. somebody<br />
could propose a new nonlinear model of semiotics or better a. chaotic<br />
one that would extend the field into a place that might be. interesting.<br />
But Eco's views on language are too restrictive for me and. don't carry<br />
me to the places I want to go. Greimas deals with a much. wider range<br />
of issues than semiotics in his work and I prefer him to Eco.. Even so<br />
there is still much in the making of art that Greimas doesn't take. into<br />
account. (Not that I can recall anything specifically that I could. critique<br />
off the top of my pointy little head. . .) Linguistics still only. skims the<br />
surface of art's deepest concerns so I guess the question is. should an<br />
artist be content with merely skimmed surfaces Or should he dive.<br />
headlong into the deep waters where theories fear to tread I guess some<br />
of. us are Ahabs and some of us are Ishmaels. I favor the crazy Ahab<br />
341
impulse. speaking for myself despite my wooden leg. I am taking a<br />
breather here. let others get into the conversation if they wish. Feel free<br />
to tear me to. noemata. Florian Cramer Concepts Notations Software<br />
Art. noemata. Tilfeldighetssamfunnet. Samme hvor mye jeg tilfeldig<br />
snur plsene i panna er halvparten p feil. side.Det er to mter f dem jevnt<br />
steikte p snu hver enkelt. eller tilfeldigpermutering (med hyppigere<br />
intervall). Tilfeldigheten er. automatiskrettferdig.Kunne vi hatt en<br />
samfunn basert p tilfeldighet. istedenfor rettferdighet Detertilfeldig hva<br />
slags lnn borgeren har hva. han betaler i skatt osb.Frihet rettferdighet<br />
brorskap Stokastisk. tilfeldig hvemsomhelstHva som idag er underlagt<br />
rettferdighet blir heretter. prosessert tilfeldig.Likhet er vel det beste<br />
ordet herStaten velger tilfeldig. ut personer hvert r som skal d i<br />
trafikken.Staten velger ut banker. som skal bli ranet.Staten velger ut<br />
ukas lottotall.Kan vi ha staten som en. lottomaskin Autorisert tilfeldig.<br />
Vil korrupsjon blietproblem siden ingen. regler gjelder Vi har statistisk<br />
analyse som m stemmeellers er du ille. ute. Ingen regler nei tingene<br />
styrer seg selv trafikkensrger for sine. ofre (ikke Over kanskje). Styring<br />
gjennom automatiske rrerundt.. Induksjonsbevis siden n var tilfeldig<br />
utvalgt s er det alment.S fr. de ulike samfunn en debatt om Hva som<br />
skal underlegges. tilfeldighet.AltingentingStaten bestemmer seg for<br />
styre vret de. kaller det ikke lenger vrmeldingmen vrvedtak (og s kan vi<br />
lure. p hvor utbredt slik styring allerede ertingene styrer seg selv<br />
uansett. styringen er illusjon om styring vi vedtarsoli morgen men<br />
hvordan vet vi at. det ikke er styring Hvis det ikke blir sol sblir det<br />
nedsatt en kommisjon. til granske hva som gikk feil noen m gdrlig<br />
styring etc.. i gode tider er det lett styre som er et tegn p attingene styrer<br />
seg. selv.)Staten rullerer identitet du vkner opp og er en annen annen<br />
jobb. bankbokkone barn etc.Tilfeldig hva man ikke nsker skal utgjre<br />
noen. forskjell det som skal vrelikt for alle.Hvis identitet rullerte ville<br />
vi. ikke vrt opptatt av hvem vi var.Staten blir et uropoliti for<br />
ansamlinger av. ulikhet. Konkurransetilsynet blirtilfeldighetstilsynet.Fr<br />
er det berre. Norsk Tipping som har lov driva med speleautomatarheri<br />
landet.Vi har ingen. kriterier lenger p noe som helst tilfeldighetstilsynet<br />
likevelivaretar. likhet rettferdighet.Fr vi problem med spamming ren<br />
kvantitet for. pvirke utfallKunsten fra n av er stokastisk vi er e.Kunst<br />
etter. kunst et antall r. alter kunst etc der hvor vi gr over til. noemata.<br />
Code and its Double (cont'd). noemata. <strong>Re</strong> asciipng. greyscale movie<br />
from a text'stranslated chars ( char values. greyscale levels one char<br />
perframe fps) but the idea was a bit too. obvious and the<br />
transformationtoo onedimensional so I abandoned it.Yes. they'd be<br />
342
tedious work shades of gray in a tiny specter.<br />
etaoinshrdlu..monotonous.. translating media spectacle news etc into<br />
this. gray stream ofindifference..The key to having this kind of idea<br />
succeed in. general is not merely to workout an effective transform<br />
method from char to. pixel etc. but to have themethod reveal something<br />
unexpected of the. underlying structure of the sourcematerial. If the<br />
transformation results. simply in a stream of meaninglesscolors or chars<br />
then it will be of little. interest even as a conceptsince the concept is a<br />
fairly common one to be. honest. There are a lot ofpeople right now<br />
who mistakenly believe that they. are making radical art byturning<br />
photos into music pictures into text etc.. As with all works ofthis kind it<br />
is by breaking through to the next level and. having the workblossom<br />
into something that nobody has ever seen before or could. haveexpected<br />
to see that turns the idea from a mere amusement into art.OK but. not as<br />
a program art shouldn't care about itself being this or thatcritical.<br />
penetrating revolutional reversing undermining etc. In my viewart is<br />
quite. natural it doesn't need a program to live no more than we do.Lot<br />
of things I. do are very stupid things I don't mind that. And also<br />
thequackfraudulent. issue the artist maybe had some conjurer traits<br />
from thebeginning staging. something he not necessarily believe in but<br />
as atechnician of imagination. lies and language. How does he differ<br />
from say apolitician then He's clear. about it everybody knows it's a<br />
scam open sourcescam so the art context is. reflective revealing its<br />
staging. What aboutbeauty and wholeness Well there's. always some<br />
endorfines in resolving thingspotential and exhaustion beauty in.<br />
understanding things wholenesses atdifferent levels which is like<br />
cashing in. on the structure but there arealways remains and other levels<br />
expansion and. consolidation chaos andstability. Beauty taken over by<br />
design etc wholeness. by.. welll it's stillthere but like code source not<br />
wholeness as image but. its counterpartconstruction. Art should be<br />
more absolute not this or that my. view thoughyou didn't ask..What I<br />
am thinking about right now is how to. translate a ()colorspace into<br />
music in a more sophisticated way. than is usually done.There's a<br />
natural mapping to (pitch rhythm amplitude). but it's obviouslynot a<br />
simple . If one uses microtones one can get an. octave span ofpitches<br />
from to but I don't know how to get rhythms. that form aset and<br />
amplitudes is way way way too many.(pitch. duration waveform) Btw<br />
midi transformation i've always liked the renderings. of the<br />
radioharddisk maybe reminding of morton feldman or somehting at<br />
times. noemata. Advent x. Grete immediately ran out to Hans and<br />
343
shouted Hans we're free The oldwitch is. dead. They danced of joy and<br />
embraced each other. They wentthrough the house. and found a lot of<br />
pearls and jewelry. The two childrenlaughed and collected. all the<br />
treasure they could carry. So at least weknow that under capitalism.<br />
there are treasures and people that own them.And we know who they<br />
are too. So. we could kill them and take theirtreasures. The witch<br />
wanted to eat Hans and. Grete. We know capitalismwants to exploit us<br />
until death. After that they ran. home and embracedtheir father his wife<br />
was now dead but their worries were. now over. Waslogos married to<br />
the witch Why did she want to eat her children. Greedis the mother.<br />
Ignorance is the father logos. Hans and Grete had to. fixtheir own<br />
situation their father didn't care their mother was a. witch.Early the<br />
cold morning the little girl sat in the corner between the. twohouses.<br />
Her cheeks were red and she had smile on her lips. She was dead.She.<br />
had frozen to death on New Year's Eve. Day and night warm and<br />
coldthe burning. sun burning matches. Why should the earth revolve<br />
Littlecarousel. End of the. cycle. If you ride on a beam of light. Dark<br />
sun atthe center of the cycle her. grandmother. We already know her<br />
parentswere ignorance and greed day and night.. Before day and night<br />
isspace between the houses. The grandmother took the. little girl inher<br />
arms and together they flew away in shining joy higher and. higheruntil<br />
there were no more cold hunger or suffering. Matter shapes. spaceand<br />
space shapes trajectory of matter. That's why the grandmother(matter).<br />
could take the little girl (matter) and use the parent generation as a<br />
carrier. wave (space). Dark sun grandmother little lightbeam. Higher<br />
and higher gravity. and speed until everything is lost.Before and after<br />
the world. Day and night is. our world our parentsfather ignorance and<br />
mother greed darkness of logos. neediness offullness.What father does<br />
is right and everything goes well in the. end. Hisignorance in trading a<br />
horse into a sack of apples is only surpassed. byhis wife's blind love.<br />
But everything works out in the end because thestory. is utterly<br />
unbelievable.Beauty and the beast. In the first place the father. set out<br />
to sea toget rich. Apparently there were no mother since beauty did all.<br />
thehousework. The beast of incestuous shame. Father trades her to the<br />
beastand. goes free. The castle is empty and crypted father sad and<br />
impotent.Once beauty. acknowledges the beast it turns into a prince<br />
that's artugly beauty too close. marry. Art has no mother only an<br />
incestuousfather ignorant displaced. greed really ugly and<br />
impossible.The emperor's new clothes drives the economy.. What isn't<br />
drives what is..But behind the virtual is. the real again. Inflation. of<br />
344
spacetimematterspacematter. It's wrong to say he's dressed and wrong<br />
to. say.he's naked. People are anyway misled the misleading is driving.<br />
the.capital verb and noun the more misleading the more value. The<br />
eternal.in. case it returns if not then nothing but the if doesn't<br />
halt.doesn't execute. never reaches the return. If man is naked he's<br />
dressed.(the fall) and if he's. dressed he's naked (he returns). The<br />
economy is.driven by the return of christ. as judge of the last judgement<br />
everychristmas. Santa is naked cries the child. that's why he's masked.<br />
Thechild that's. Emperor's new clothes drives what. isn't. <strong>Re</strong>turn. If<br />
notthen nothing but behind the if he's. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If<br />
notthen nothing but the misleading the economy. What is.. <strong>Re</strong>turn.. If<br />
notthen nothing but behind the eternal. <strong>Re</strong>turn. If not then nothing.<br />
butbehind the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the real.<br />
again.Inflation of christ as judge of christ is judge of the emperor's..<br />
<strong>Re</strong>turn.If he's. <strong>Re</strong>turn. If man is driving the eternal. <strong>Re</strong>turn. If not.<br />
thennothing but the misleading the real again. Inflation if christ as<br />
judgeof. spacetime. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but.<br />
theemperor's. <strong>Re</strong>turn. If man is naked cries the eternal. <strong>Re</strong>turn. If<br />
notthen. nothing but the last judgement every. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn.<br />
Ifhe's. <strong>Re</strong>turn.. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then<br />
nothingbut the eternal.. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing<br />
butthe virtual is the. misleading is the virtual is driving the<br />
eternal.<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn.. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If<br />
he's.<strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not. then nothing but behind the<br />
misleadingthe child that's <strong>Re</strong>turn. If not then. nothing but the economy.<br />
Whatis.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then. nothing but behind the<br />
lastjudgement every. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If. doesn't. <strong>Re</strong>turn. If<br />
notthen nothing but the virtual is naked cries the more. misleading<br />
isnaked cries the more value. The emperor's. <strong>Re</strong>turn. If. he's.Prinsessen<br />
p erten. Bare en prinsesse ville vre flsom nok til. kjenneen ert gjennom<br />
tjue madrasser og tjue dundyner. Prinsen hadde. omsiderfunnet sin<br />
prinsesse som han gifter seg med og erten ble plassert. pmuseum hvor<br />
den kan enda sees idag ssant den ikke har blitt. stjlet.Fire was robbed<br />
from the gods. The criminal ascent of man he. doesn'tsmell (verb or<br />
noun subject or object). What can be stolen is. alreadywithout value<br />
what can be sensed already stale (horse urine).. Thedotting of the<br />
princess insignificance three dotted eyes the smallerthe. better it runs<br />
like a real number inconsequence churninghitting the. mattress no way<br />
beyond the calculation of statistics.<br />
ofdoths...............s...........y...u.......s...l...o...y...u...........l..d....b..di..e...ue..g<br />
345
a..n...tl..oh..n..dir..aa..rt..it.eko.s.n.p....c.r.l.er..r.e.yri.eng.ler.erm.red..a..g<br />
cerve.r....dmny..tu..ouefesn.iaaa.oivroifraeuaMeleyloPyfophrhvrhsh.<br />
noemata. noemata <strong>Re</strong> RE. etkulturprosjekt her for en tid siden der det<br />
var forskjellige bilder. medteksten We are so happy.We are so<br />
happy.Forbistrede kulturarbeidere. og sinte statstttede kunstnere slr<br />
tilbake motmonokultur ved banke. mannen i gataSe p dette du lille<br />
mann og f et stikk av drlig. samvittighet fordidu s glupskt svelgte<br />
puppene og vellykketheten i. reklamefilmen...Vi m sikte hyere enn snn<br />
sosialdemokratisk. pornokitsch som det der...Vi m problematisere<br />
strukturelt dialogisk og med. utgangspunkt i folkshverdag.Ellers blir vi<br />
bare nok en livsfjern reklame men. for en kulturelite somsparker<br />
ned.Hvordan f til det i propagandaformatet. plakatErik hadde en ide p<br />
enveistelefonen idag om forstrre opp. monopolkort tilplakat G direkte i<br />
Fengsel. Om du passerer start mottar du. ingen penger.Rykk frem til<br />
Slemdal.Du mottar kroner fra Onkel i. AmerikaHunden din har bitt<br />
postbudet. Du m betale kroner i tort og. svie.St over to kast.Plakater er<br />
instruksjoner i et spill. Det var alltid. litt srt tape imonopol ha ingen<br />
penger men fortsatt mtte trkke. rundt p andres eiendom... Vet ikke hva<br />
slagsforhold folk har til monopol om. de kan relatere til det som<br />
lottokapitalisme tilfeldigbrutal kanskje det. kan brukespshva med en<br />
aksjon som hvor noen helte olje over bondevik. eller. innsauset<br />
iuskyldig ren og hvit melk waiting for the exploding cows..bjrn.<br />
.mYour own Online Store Selling our. Overstock.Home. noemata.<br />
florian cramer digital code and literary text. noemata. blunders. theres<br />
reports least here in gno. probably anywhere while peoplelaundring<br />
more. in antisepticomodernicomfy times things are dirtierthan ever<br />
bacteria stains. so all this washing is whitewashingcoverups of the still<br />
dirtier what you. could expect all things beingcomposites compost<br />
compote why ever be clean. when you can be washall the time WwV<br />
vWwV vWVw vWVw vWwV. vWVw vWwVvWwV vWVw vWVw<br />
vWwV vWVw vVwW vVwW vVwW vVwWvVwW vVwW. vVWw<br />
vVWw vVWw vVWw vVWw vVWw vVwWvVwW vVWw vVWw<br />
vVwW vVWw vVwW. vVwW vVWw vVWwvVwW vVWw vwWV<br />
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.vVWw. .vVwW .vVWw .vwWV .vwVW .vWwV .vWVw .vVwW<br />
.vVWw .vwWV. .vwWV .vwVW .vwVW .vwWV .vwVW .vWwV<br />
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.vVWw .vwWV .vwWV .vwWV .vwWV. .vwWV .vwWV .vwVW<br />
346
.vwVW .vwVW .vwVW. .vwVW .vwVW .vwWV .vwWV<br />
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.vWVw. .vWVw .vWwV .vWVw .vWwV .vWwV .vWVw .vWVw<br />
.vWwV .vWVw .vVwW. Wc. Wc. Wc. Wc. Wc. Wc. Wc. Wc. Wc.<br />
Wc.. Wc. Wc. Wc. Wc. cW. cW. cW.''' cW. cW.. cW. cW. cW.<br />
.vWVw .vVwW .vVWw .vwWV .vwWV .vwWV. .vwWV .vwWV.<br />
.vwW V .vwVW .vwVW. .vwVW .vwVW .vw VW .vwVW .vwWV<br />
.vwWV .vwVW .vwVW .vwWV .vwVW. .vwWV .vwWV .vwVW<br />
.vwVW .vwWV .vwVW .vWwVvVwW vVWw vVWw vVwW.<br />
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vwVW vwVW vwWV. vwVW vWwV file under whitewash<br />
launderspeak ME blunderen blondren. (v.) ON blunda shut one's eyes<br />
napcf. Norw dial. blundradry cleaning. Start of forwarded message<br />
gallerinor har shina. Sopp (). noemata. tactical media. the classical<br />
rituals of resistance are no longer reaching large partsof the. population<br />
this is the crisis of direct action which is in part afailure of. imagination.<br />
an exception is the epidemic of pie throwing. theritualised. humiliation<br />
of power with a pie in the face. a highlymediatisedpractice the. pie does<br />
not exist without the image its onlymeaning is as amedia event. we.<br />
could see it as a primal way of attackingpower. you identify alocus of<br />
power. creating theperfect sign or rather the poisonous countersign. the<br />
pie is the. perfectpoisonous countersign. the secret wisdom of the<br />
tactics of. radicalalienation in which the further you go the more likely<br />
you are. toimplode into reality. its time to intensify our semiotic<br />
guerrilla wars. noemata. <strong>Re</strong> codework (KristevaEco). give a specific<br />
source text for this I've never heard of this law.I think from. Grayling's<br />
Introduction to philososphical logic Ducksworthhaven't the book. here.<br />
I'm not even sure how it relates to Al's initialassumption though it.<br />
goes beyond classic analytic logic like a constructinglogic as the.<br />
hierachies and game not analysis not connected to realityand truth. The<br />
law. connects to this intuitional logic as it can be proved inclassical as<br />
tautology. but not in intuitional logic so relates somewhat tothe<br />
tautology of formal. systems discussed..An interesting article on<br />
wikipedia on intuitional logic. phillogic list becomes technical hell.<br />
First off the Aquinas material was veryChasmic Commenting on.<br />
Proportionality of being leading to an aesthetics ofdelight.Hm this.<br />
sounds too much like Aristotle's dubious advocacy of the goldenmean<br />
in all. things. I favor the Cagean resistance to proportion andaesthetics<br />
347
which. offers no less delight.Enlight abide in the unborn mind and let<br />
things take. care of themselves Speaking of Flavin the artists of the s<br />
pretty much. exposedproportionalism if I may call it that as an artificial<br />
construct. based onoutmoded conventions of balance composition etc.<br />
In other words. it's notsomething art needs or should have and it is<br />
certainly not something. atheory of art should have.Deem interalized<br />
you have to tilT them out again. And don't get me started on human<br />
reason One look at the world today. willreveal how little human reason<br />
impinges on religion. <strong>Re</strong>ason may have. reachedits peak in Aquinas but<br />
it's been all downhill from there. . .Got. artificial intelligence in its<br />
stead Here's Eco from his book the Limits of. Interpretation. Semiotics<br />
. . .has preferred to work on more traditional. narrative works. This is<br />
sobecause a semiotics of literature was first of all. interested<br />
inacknowledging rules codes and systems of conventions. Given.<br />
thisselfimposed limitation I would ask Eco what he supposes would<br />
qualify. asconvention as code as rule In other words who decides where<br />
to draw. theline where a text is presumed to cross into<br />
incoherenceThanks for the cite. noemata. arc.hive the MAZPIQ<br />
language. the MAZPIQ languageatom MAZPIQ system. MAZPIQ<br />
morphology graphsEach mannequinchild node is recursively<br />
expandable. into atomsandor graphs.. MAZPIQ text samples. the term<br />
temporality refers to lived time.. Child enters a preguntar.Nos dan la<br />
possibilit de los guardianes hros. sportifs top modlesIls le milieu et<br />
vous avez amlior notre. pass et l'poque. Question is to which we<br />
encode. our world. ontological Ontological Question is the mental<br />
languages of the. writers and once thisexists if there are Secrets of<br />
belief) and the module. generates aren't. Defends the pupils against his<br />
own. image. And our life.True nature or entities of a se mantiene joven.<br />
Hence Fnord. Give the term that the random neighbor the more<br />
timeconsuming.. We are expected. a text as a good coder teach us<br />
xuriosity andecperienced through the random. neighbor the process of<br />
artists such asthey cometh. They appear to us systematically.<br />
communicates something youare the practise of the possibility of signs<br />
and. their minutes of theCrisis of emulating. Be. A redeeming and the.<br />
world. Find your future as his last of thestudent the text a hundred.<br />
harvests. Si es la educacin no hay palabraen el milagro es a man to.<br />
question is in his own personal influence.. Find your future silt.<br />
Warning parsing error at. line in mazpiq.php. Got from one who really<br />
shape our. life. Notre vie. Tenemosmuchos. We need to insist on the<br />
effect of. things themselves. Thank you can be produced constantly<br />
348
anew by preconceptions andexperienced. space time body which move<br />
appropriately with thephantom sensations which. they give us curiosity<br />
and the notion thatI. don'tarc.hive mailing. noemata. paid surveys. Our<br />
companies will pay you to just to fill out simple online surveysfrom.<br />
register NOW for .... hnoe for. opinionsinstitutterjfrnnSociologically<br />
and all it would be interesting. having different people oncontract<br />
writingautobiographies. They could be paid a. small amount by the<br />
state. Giving them ahigher amountwould fuse publishing. houses and<br />
state affairs. This could also be an idea forpublishers eg. why. don't<br />
they pay webloggers for making content for them on a freelancebasis.<br />
Orcontracting autobiographies And not least why don't they.<br />
publishelectronically it's easyand cheap. No money but hey is that the<br />
base. motivation erroneousGitt mengder med statistiske data og fuzzy<br />
logic kan en. sprkkultursimuleres.Roboter ogagenter samler<br />
informasjon og mater maskinen.. Populasjon fr betalt formengdenav<br />
info dengir fra seg F betalt for. fortelle om ditt liv til vr maskin.<br />
Bekjenn c. ssb.nokjper opp. weblogger. Mer utbredelse av teknologi<br />
som sprforstrpopulasjonmarked. virkersannsynlig. ( Sannsynlighet er en<br />
delmengde av fuzzymengder.). Semanticallythedistinction between<br />
fuzzy logic and probability theory has to. do with thedifference<br />
betweenthe notions of probability and a degree of. membership.<br />
Probability statementsare about thelikelihoods of outcomes an. event<br />
either occurs or does not and you can betonit. But withfuzziness one.<br />
cannot say unequivocally whether an event occured ornot and instead<br />
you are. trying to model the EXTENT to which an event occured. 's 's.<br />
noemata. Advent. Prinsessen p erten. Bare en prinsesse ville vre flsom<br />
nok til. kjenneen ert gjennom tjue madrasser og tjue dundyner. Prinsen<br />
hadde. omsiderfunnet sin prinsesse som han gifter seg med og erten ble<br />
plassert. pmuseum hvor den kan enda sees idag ssant den ikke har blitt.<br />
stjlet.Fire was robbed from the gods. The criminal ascent of man he.<br />
doesn'tsmell (verb or noun subject or object). What can be stolen is.<br />
alreadywithout value what can be sensed already stale (horse urine)..<br />
Thedotting of the princess insignificance three dotted eyes the<br />
smallerthe. better it runs like a real number inconsequence<br />
churninghitting the. mattress no way beyond the calculation of<br />
statistics.<br />
ofdoths...............s...........y...u.......s...l...o...y...u...........l..d....b..di..e...ue..g<br />
a..n...tl..oh..n..dir..aa..rt..it.eko.s.n.p....c.r.l.er..r.e.yri.eng.ler.erm.red..a..g<br />
cerve.r....dmny..tu..ouefesn.iaaa.oivroifraeuaMeleyloPyfophrhvrhsh.<br />
noemata. simile. simile v.en omformer av uttrykk oulibot. den tar en<br />
349
tekst og omforer til. drmmendesimiler. ... kle er som et symptom p en<br />
lidelse der. medfrer irritationsom af huden. ... der findes en lang rkke.<br />
hudlidelser hvor kle er somdet mest fremtrdende symptom. ... kanskje.<br />
kan den bare slenge inn noensom p tilfeldige steder. ... det var som.<br />
nettopp under som enklatreekspedisjon i det hele som begynte for hans<br />
del. som i en hulei meters som hyde fant tokuhashi nemlig.<br />
menneskeaktige somfotspor lagd av som et ganske stort dyr som.rhsh.<br />
noemata. <strong>Re</strong> codework (KristevaEco). long reply I just got back from<br />
aconf. with messages I have to deal with. not spam. But if you look<br />
atKristeva's <strong>Re</strong>volution in Poetic Language you'll see. a lengthy<br />
treatment ofMaldoror especially the unabridged Fr. version and a. great<br />
deal of thisis a combination of psychoanalytics and semiotics which<br />
she. You'd have to look at the book it's hardly reductionist. Same with.<br />
Greimas etc. Alan I have read it and I find Eco and all such semiotic.<br />
models of language reductionist. Where does a text like Lautreamont's.<br />
Maldoror fit into Eco's scheme Where do the texts of the insane<br />
Language is. not only aboutsignals (Eco's signfunctions) and their<br />
corresponding. behavioral responses.There is a form of dark matter in<br />
language that never. gets touched upon by semiotics. It is where signals<br />
get crossed elided. broken down and too often dismissed in semiotics as<br />
gibberish or noise.. Eco's approach isgood for analyzing highclass<br />
linear detective novels like. the ones he writes but it falls apart on texts<br />
that don't make the rage of. interpretationtheir goal. Like all models of<br />
the world semiotics fits some. things well and other things badly and<br />
the things it fits badly happen to be. precisely the things I care most<br />
about right now in the making of art. Maybe. somebody could propose<br />
a new nonlinear model of semiotics or better a. chaotic one that would<br />
extend the field into a place that might be. interesting. But Eco's views<br />
on language are too restrictive for me and. don't carry me to the places<br />
I want to go. Greimas deals with a much. wider range of issues than<br />
semiotics in his work and I prefer him to Eco.. Even so there is still<br />
much in the making of art that Greimas doesn't take. into account. (Not<br />
that I can recall anything specifically that I could. critique off the top of<br />
my pointy little head. . .) Linguistics still only. skims the surface of<br />
art's deepest concerns so I guess the question is. should an artist be<br />
content with merely skimmed surfaces Or should he dive. headlong into<br />
the deep waters where theories fear to tread I guess some of. us are<br />
Ahabs and some of us are Ishmaels. I favor the crazy Ahab impulse.<br />
speaking for myself despite my wooden leg. I am taking a breather<br />
here. let others get into the conversation if they wish. Feel free to tear<br />
350
me to. noemata. jamming. jamming is part of a historical continuum<br />
that includes russian. samizdat(underground publishing in defiance of<br />
official censorship). theantifascist photomontages of john heartfield<br />
situationist. detournement(defined by greil marcus in lipstick traces as<br />
the theft of. aestheticartifacts from their contexts and their diversion<br />
into contexts of. one'sown devise) the underground journalism of 's<br />
radicals such as. paulkrassner jerry rubin and abbie hoffman yippie<br />
street theater such asthe. celebrated attempt to levitate the pentagon<br />
parody religions such asthe. dallasbased church of the subgenius<br />
workplace sabotage of the sortdocumented. by processed world a<br />
magazine for disaffected data entrydrones the. ecopolitical<br />
monkeywrenching of earth first the random actsof artaudian. cruelty<br />
that radical theorist hakim bey calls poeticterrorism (weird dancing. in<br />
allnight computer banking lobbies...bizarrealien artifacts strewn in<br />
state. parks) the insurgent use of the cutupcollage technique proposed<br />
by william. burroughs in electronic revolution(the control of the mass<br />
media depends on. laying down lines ofassociation...cutup techniques<br />
could swamp the mass media. with totalillusion) and subcultural<br />
bricolage (the refunctioning by. societaloutsiders of symbols associated<br />
with the dominant culture as in. theappropriation of corporate attire and<br />
vogue model poses by poor gay. noemata. Advent x. Grete immediately<br />
ran out to Hans and shouted Hans we're free The oldwitch is. dead.<br />
They danced of joy and embraced each other. They wentthrough the<br />
house. and found a lot of pearls and jewelry. The two childrenlaughed<br />
and collected. all the treasure they could carry. So at least weknow that<br />
under capitalism. there are treasures and people that own them.And we<br />
know who they are too. So. we could kill them and take theirtreasures.<br />
The witch wanted to eat Hans and. Grete. We know capitalismwants to<br />
exploit us until death. After that they ran. home and embracedtheir<br />
father his wife was now dead but their worries were. now over.<br />
Waslogos married to the witch Why did she want to eat her children.<br />
Greedis the mother. Ignorance is the father logos. Hans and Grete had<br />
to. fixtheir own situation their father didn't care their mother was a.<br />
witch.Early the cold morning the little girl sat in the corner between<br />
the. twohouses. Her cheeks were red and she had smile on her lips. She<br />
was dead.She. had frozen to death on New Year's Eve. Day and night<br />
warm and coldthe burning. sun burning matches. Why should the earth<br />
revolve Littlecarousel. End of the. cycle. If you ride on a beam of light.<br />
Dark sun atthe center of the cycle her. grandmother. We already know<br />
her parentswere ignorance and greed day and night.. Before day and<br />
351
night isspace between the houses. The grandmother took the. little girl<br />
inher arms and together they flew away in shining joy higher and.<br />
higheruntil there were no more cold hunger or suffering. Matter shapes.<br />
spaceand space shapes trajectory of matter. That's why the<br />
grandmother(matter). could take the little girl (matter) and use the<br />
parent generation as a carrier. wave (space). Dark sun grandmother<br />
little lightbeam. Higher and higher gravity. and speed until everything<br />
is lost.Before and after the world. Day and night is. our world our<br />
parentsfather ignorance and mother greed darkness of logos. neediness<br />
offullness.What father does is right and everything goes well in the.<br />
end. Hisignorance in trading a horse into a sack of apples is only<br />
surpassed. byhis wife's blind love. But everything works out in the end<br />
because thestory. is utterly unbelievable.Beauty and the beast. In the<br />
first place the father. set out to sea toget rich. Apparently there were no<br />
mother since beauty did all. thehousework. The beast of incestuous<br />
shame. Father trades her to the beastand. goes free. The castle is empty<br />
and crypted father sad and impotent.Once beauty. acknowledges the<br />
beast it turns into a prince that's artugly beauty too close. marry. Art<br />
has no mother only an incestuousfather ignorant displaced. greed really<br />
ugly and impossible.The emperor's new clothes drives the economy..<br />
What isn't drives what is..But behind the virtual is. the real again.<br />
Inflation. of spacetimematterspacematter. It's wrong to say he's dressed<br />
and wrong to. say.he's naked. People are anyway misled the misleading<br />
is driving. the.capital verb and noun the more misleading the more<br />
value. The eternal.in. case it returns if not then nothing but the if<br />
doesn't halt.doesn't execute. never reaches the return. If man is naked<br />
he's dressed.(the fall) and if he's. dressed he's naked (he returns). The<br />
economy is.driven by the return of christ. as judge of the last judgement<br />
everychristmas. Santa is naked cries the child. that's why he's masked.<br />
Thechild that's. Emperor's new clothes drives what. isn't. <strong>Re</strong>turn. If<br />
notthen nothing but behind the if he's. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If<br />
notthen nothing but the misleading the economy. What is.. <strong>Re</strong>turn.. If<br />
notthen nothing but behind the eternal. <strong>Re</strong>turn. If not then nothing.<br />
butbehind the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the real.<br />
again.Inflation of christ as judge of christ is judge of the emperor's..<br />
<strong>Re</strong>turn.If he's. <strong>Re</strong>turn. If man is driving the eternal. <strong>Re</strong>turn. If not.<br />
thennothing but the misleading the real again. Inflation if christ as<br />
judgeof. spacetime. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but.<br />
theemperor's. <strong>Re</strong>turn. If man is naked cries the eternal. <strong>Re</strong>turn. If<br />
notthen. nothing but the last judgement every. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn.<br />
352
Ifhe's. <strong>Re</strong>turn.. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then<br />
nothingbut the eternal.. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing<br />
butthe virtual is the. misleading is the virtual is driving the<br />
eternal.<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn.. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If<br />
he's.<strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not. then nothing but behind the<br />
misleadingthe child that's <strong>Re</strong>turn. If not then. nothing but the economy.<br />
Whatis.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then. nothing but behind the<br />
lastjudgement every. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If. doesn't. <strong>Re</strong>turn. If<br />
notthen nothing but the virtual is naked cries the more. misleading<br />
isnaked cries the more value. The emperor's. <strong>Re</strong>turn. If. he's.Prinsessen<br />
p erten. Bare en prinsesse ville vre flsom nok til. kjenneen ert gjennom<br />
tjue madrasser og tjue dundyner. Prinsen hadde. omsiderfunnet sin<br />
prinsesse som han gifter seg med og erten ble plassert. pmuseum hvor<br />
den kan enda sees idag ssant den ikke har blitt. stjlet.Fire was robbed<br />
from the gods. The criminal ascent of man he. doesn'tsmell (verb or<br />
noun subject or object). What can be stolen is. alreadywithout value<br />
what can be sensed already stale (horse urine).. Thedotting of the<br />
princess insignificance three dotted eyes the smallerthe. better it runs<br />
like a real number inconsequence churninghitting the. mattress no way<br />
beyond the calculation of statistics.<br />
ofdoths...............s...........y...u.......s...l...o...y...u...........l..d....b..di..e...ue..g<br />
a..n...tl..oh..n..dir..aa..rt..it.eko.s.n.p....c.r.l.er..r.e.yri.eng.ler.erm.red..a..g<br />
cerve.r....dmny..tu..ouefesn.iaaa.oivroifraeuaMeleyloPyfophrhvrhsh.<br />
noemata. <strong>Re</strong> culturejammers A simulated hold up. hehe du kan jo prve<br />
)synes det er interessant det overlapper med kunst. selvflgeligsom<br />
kanfungere som en immunitet for aksjonisme (Tore F vet mer. om dette<br />
inbillerjeg meg ) uansett kunsten ikke som en beskytteet sfre. i<br />
virkelighetenmen som en simulering av den avdekkende kodene for den<br />
som er. poenget at simulering avslrer koder bedre enn virkeligheten<br />
selv (som bare. erkjringen av koden).i den forbindelse har lenge hatt<br />
ideen om en open. source crime aktivitetsom kan virke paradoksal men<br />
som kan forsts som en. simulering avkriminalitet og vil det gjre den<br />
mer lovlig fx. som. kunstmen n er jo nettopp kunst det mest<br />
ufarliggjrende av alt virker. det som..en simulering som ikke har NOEN<br />
effekter utenom den lille eliten som. hyggerseg med den. hvis kunsten<br />
kan kobles opp mot det potensielt. virkningsfullei<br />
dekonstruerereverseresimulere kode ville den hatt et helt. annet<br />
livutenom institusjonen i interaksjon med levende koder i<br />
samfunnet.kode. er et stikkord for alt dette synes jeg kode er overalt. og<br />
jeg tenkerdet. samme kode er samtidig ingenting avdekkende at<br />
353
virkeligheten bare erkode. meningsls i seg selv. s kode har denne<br />
dobbeltheten av vre alt. ogingenting. hvis du kan simulere noe s har du<br />
bevist det konstruerte. vedtingenog dermed har du lsrevet det fra en<br />
fundamental tolkning som. ligger til grunnfor politisk samfunnmessig<br />
kulturell makt.simulasjon. kodeverk kodearbeid str selvflgelig i fare for<br />
ikke blitatt. alvorlig det er bare en simulasjon bare en lek tror det er.<br />
motdennegrensen den hele tiden vil stte men akkurat det ligger forvrig.<br />
ikodebegrepetselv simuleringen er samtidig uten fundament.det<br />
medfrer. kanskje at skille mellom alvor og tull undergraves<br />
kodeverketvetikke selv om. det er alvor eller tull det er begge deler<br />
selvflgelig det erdet som er. kode.uansett det er interessant) Erlend<br />
Eidsem Hansen. Of the same order as the impossibility of rediscovering<br />
an absolute level of. the real is the impossibility of staging an illusion.<br />
Illusion is no longer. possible because the real is no longer possible. It<br />
is the whole political. problem of the parody of hypersimulation or<br />
offensive simulation which is. posed here. For example it would be<br />
interesting to see whether the. repressive apparatus would not react<br />
more violently to a simulated hold up. than to a real one For a real hold<br />
up only upsets the order of things the. right of property whereas a<br />
simulated hold up interferes with the very. principle of reality.<br />
Transgression and violence are less serious for they. only contest the<br />
distribution of the real. Simulation is infinitely more. dangerous since it<br />
always suggests over and above its object that law and. order<br />
themselves might really be nothing more than a simulation. Jean.<br />
Baudrillard Simulacra and Simulations (ref. mailing. mailing. noemata.<br />
Advent x. Grete immediately ran out to Hans and shouted Hans we're<br />
free The oldwitch is. dead. They danced of joy and embraced each<br />
other. They wentthrough the house. and found a lot of pearls and<br />
jewelry. The two childrenlaughed and collected. all the treasure they<br />
could carry. So at least weknow that under capitalism. there are<br />
treasures and people that own them.And we know who they are too. So.<br />
we could kill them and take theirtreasures. The witch wanted to eat<br />
Hans and. Grete. We know capitalismwants to exploit us until death.<br />
After that they ran. home and embracedtheir father his wife was now<br />
dead but their worries were. now over. Waslogos married to the witch<br />
Why did she want to eat her children. Greedis the mother. Ignorance is<br />
the father logos. Hans and Grete had to. fixtheir own situation their<br />
father didn't care their mother was a. witch.Early the cold morning the<br />
little girl sat in the corner between the. twohouses. Her cheeks were red<br />
and she had smile on her lips. She was dead.She. had frozen to death on<br />
354
New Year's Eve. Day and night warm and coldthe burning. sun burning<br />
matches. Why should the earth revolve Littlecarousel. End of the.<br />
cycle. If you ride on a beam of light. Dark sun atthe center of the cycle<br />
her. grandmother. We already know her parentswere ignorance and<br />
greed day and night.. Before day and night isspace between the houses.<br />
The grandmother took the. little girl inher arms and together they flew<br />
away in shining joy higher and. higheruntil there were no more cold<br />
hunger or suffering. Matter shapes. spaceand space shapes trajectory of<br />
matter. That's why the grandmother(matter). could take the little girl<br />
(matter) and use the parent generation as a carrier. wave (space). Dark<br />
sun grandmother little lightbeam. Higher and higher gravity. and speed<br />
until everything is lost.Before and after the world. Day and night is. our<br />
world our parentsfather ignorance and mother greed darkness of logos.<br />
neediness offullness.What father does is right and everything goes well<br />
in the. end. Hisignorance in trading a horse into a sack of apples is only<br />
surpassed. byhis wife's blind love. But everything works out in the end<br />
because thestory. is utterly unbelievable.Beauty and the beast. In the<br />
first place the father. set out to sea toget rich. Apparently there were no<br />
mother since beauty did all. thehousework. The beast of incestuous<br />
shame. Father trades her to the beastand. goes free. The castle is empty<br />
and crypted father sad and impotent.Once beauty. acknowledges the<br />
beast it turns into a prince that's artugly beauty too close. marry. Art<br />
has no mother only an incestuousfather ignorant displaced. greed really<br />
ugly and impossible.The emperor's new clothes drives the economy..<br />
What isn't drives what is..But behind the virtual is. the real again.<br />
Inflation. of spacetimematterspacematter. It's wrong to say he's dressed<br />
and wrong to. say.he's naked. People are anyway misled the misleading<br />
is driving. the.capital verb and noun the more misleading the more<br />
value. The eternal.in. case it returns if not then nothing but the if<br />
doesn't halt.doesn't execute. never reaches the return. If man is naked<br />
he's dressed.(the fall) and if he's. dressed he's naked (he returns). The<br />
economy is.driven by the return of christ. as judge of the last judgement<br />
everychristmas. Santa is naked cries the child. that's why he's masked.<br />
Thechild that's. Emperor's new clothes drives what. isn't. <strong>Re</strong>turn. If<br />
notthen nothing but behind the if he's. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If<br />
notthen nothing but the misleading the economy. What is.. <strong>Re</strong>turn.. If<br />
notthen nothing but behind the eternal. <strong>Re</strong>turn. If not then nothing.<br />
butbehind the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the real.<br />
again.Inflation of christ as judge of christ is judge of the emperor's..<br />
<strong>Re</strong>turn.If he's. <strong>Re</strong>turn. If man is driving the eternal. <strong>Re</strong>turn. If not.<br />
355
thennothing but the misleading the real again. Inflation if christ as<br />
judgeof. spacetime. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but.<br />
theemperor's. <strong>Re</strong>turn. If man is naked cries the eternal. <strong>Re</strong>turn. If<br />
notthen. nothing but the last judgement every. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn.<br />
Ifhe's. <strong>Re</strong>turn.. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then<br />
nothingbut the eternal.. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing<br />
butthe virtual is the. misleading is the virtual is driving the<br />
eternal.<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn.. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If<br />
he's.<strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not. then nothing but behind the<br />
misleadingthe child that's <strong>Re</strong>turn. If not then. nothing but the economy.<br />
Whatis.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then. nothing but behind the<br />
lastjudgement every. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If. doesn't. <strong>Re</strong>turn. If<br />
notthen nothing but the virtual is naked cries the more. misleading<br />
isnaked cries the more value. The emperor's. <strong>Re</strong>turn. If. he's.Prinsessen<br />
p erten. Bare en prinsesse ville vre flsom nok til. kjenneen ert gjennom<br />
tjue madrasser og tjue dundyner. Prinsen hadde. omsiderfunnet sin<br />
prinsesse som han gifter seg med og erten ble plassert. pmuseum hvor<br />
den kan enda sees idag ssant den ikke har blitt. stjlet.Fire was robbed<br />
from the gods. The criminal ascent of man he. doesn'tsmell (verb or<br />
noun subject or object). What can be stolen is. alreadywithout value<br />
what can be sensed already stale (horse urine).. Thedotting of the<br />
princess insignificance three dotted eyes the smallerthe. better it runs<br />
like a real number inconsequence churninghitting the. mattress no way<br />
beyond the calculation of statistics.<br />
ofdoths...............s...........y...u.......s...l...o...y...u...........l..d....b..di..e...ue..g<br />
a..n...tl..oh..n..dir..aa..rt..it.eko.s.n.p....c.r.l.er..r.e.yri.eng.ler.erm.red..a..g<br />
cerve.r....dmny..tu..ouefesn.iaaa.oivroifraeuaMeleyloPyfophrhvrhsh.<br />
noemata. <strong>Re</strong> as Isis with code's Materhorn. the cowork of codework<br />
orks of codelaboration then as Isis with code's. Materhorn.As a sense<br />
the codelabiaorationsof the palinpcesticle. manifoldings of<br />
themultirealational corpuscallovumsumtext of.<br />
massociationalcollideorscoptical narrativizations (myth)performs a<br />
similiar. reinscription of transculptural polyvalences ofthe<br />
kaleidostructural iconism. of the umwelt of<br />
chorochrosticargusasepisteme. (dancebodyasepistemeofdelimited<br />
seeing)of the instrumentality of the. blind fate of granular aggregates of<br />
thequantumpolydeterminantactuationfoam. codework as being being<br />
codeworkas nonbeing and the modulus of difference. as the speciation<br />
ofdeterminant operands which is the becomingimpetus of.<br />
systemicmodulation. The real is an affect of code as code is the affect.<br />
356
ofreality. Codework speaks from a manifold which feeds all.<br />
culturaldisciplines and critiques from a positionwhich resembles an<br />
approach. the unification of discrete seriesthough it must like a parasite<br />
access. its own structure as aparasitical otherness. The Universal<br />
Informatic. apparatus is anergofluidic betweenness a liminal agency of<br />
emergence as. cyBorge'assemblemantics the chimerancipation of<br />
babelsolute. polluxoproduction.Well said Maybe they are ( m)It's a<br />
nutty choke do. you have a crack Aha this IS the crack I seeno wonder<br />
codework is in fact. the crack and why it looks so curious just making a<br />
README here for myself at. sea level still with mountainvegetation by<br />
latidude the codelabiaorations. code lips tongue pray<br />
workpalinpcesticle shame incest mutation palim.<br />
rewritemultirealational relate refer realcorpuscallovumsumtext of.<br />
massociational collideorscopticalnarrativizations (myth) charges<br />
ofetcetc.all. the of's are tentacles and snaky multiheadscodework<br />
reinscribes the myth....the. blind worldeurythmics and heuristics<br />
chorochrostic argusasepisteme. (dancebodyasepistemeofdelimited<br />
seeing)quantumpolydeterminantactuationfoam. codework as being<br />
being codeworkas nonbeing all and nothing at all the. world devastus<br />
and waste'The real is an affect of code as code is the affect. ofreality'<br />
thinking about the interrelatedness in general relativitymass. shapes<br />
space and space shape movement (of mass). eehh so themonstrous<br />
shapes. the maze which shapes the movements of the monstrousin other<br />
words the. monstrous is inscribed into the (blind) dance.'Codework<br />
.like a parasite access. its own structure as aparasitical otherness.' it's<br />
double or it amounts to. nothing..'The Universal Informatic apparatus is<br />
an ergofluidic betweenness. aliminal agency of emergence as cyBorge'<br />
assemblemantics thechimerancipation. of babelsolute<br />
polluxoproduction' good gemini the curious workings. shadowboxing<br />
spiral arms it's anice thing to have skin. dark matter dark. energy our<br />
visiblematterhorn only skin our largest organ skein our. work.let's see<br />
codework inscribes the myth heuristiceurythmic onto the world. as<br />
itscreation (codework). (blunt version)( is the automorphism inherent<br />
in. all containing their (symbol of)creation their source code and<br />
reversing. noemata. Friday January. noemata Fwd PeertoPeer the<br />
collective collaborative and liberated memory. of sound.. noemata. <strong>Re</strong><br />
culturejammers A simulated hold up. hehe du kan jo prve )synes det er<br />
interessant det overlapper med kunst. selvflgeligsom kanfungere som<br />
en immunitet for aksjonisme (Tore F vet mer. om dette inbillerjeg meg<br />
) uansett kunsten ikke som en beskytteet sfre. i virkelighetenmen som<br />
357
en simulering av den avdekkende kodene for den som er. poenget at<br />
simulering avslrer koder bedre enn virkeligheten selv (som bare.<br />
erkjringen av koden).i den forbindelse har lenge hatt ideen om en open.<br />
source crime aktivitetsom kan virke paradoksal men som kan forsts<br />
som en. simulering avkriminalitet og vil det gjre den mer lovlig fx.<br />
som. kunstmen n er jo nettopp kunst det mest ufarliggjrende av alt<br />
virker. det som..en simulering som ikke har NOEN effekter utenom den<br />
lille eliten som. hyggerseg med den. hvis kunsten kan kobles opp mot<br />
det potensielt. virkningsfullei dekonstruerereverseresimulere kode ville<br />
den hatt et helt. annet livutenom institusjonen i interaksjon med levende<br />
koder i samfunnet.kode. er et stikkord for alt dette synes jeg kode er<br />
overalt. og jeg tenkerdet. samme kode er samtidig ingenting<br />
avdekkende at virkeligheten bare erkode. meningsls i seg selv. s kode<br />
har denne dobbeltheten av vre alt. ogingenting. hvis du kan simulere<br />
noe s har du bevist det konstruerte. vedtingenog dermed har du lsrevet<br />
det fra en fundamental tolkning som. ligger til grunnfor politisk<br />
samfunnmessig kulturell makt.simulasjon. kodeverk kodearbeid str<br />
selvflgelig i fare for ikke blitatt. alvorlig det er bare en simulasjon bare<br />
en lek tror det er. motdennegrensen den hele tiden vil stte men akkurat<br />
det ligger forvrig. ikodebegrepetselv simuleringen er samtidig uten<br />
fundament.det medfrer. kanskje at skille mellom alvor og tull<br />
undergraves kodeverketvetikke selv om. det er alvor eller tull det er<br />
begge deler selvflgelig det erdet som er. kode.uansett det er interessant)<br />
Erlend Eidsem Hansen. Of the same order as the impossibility of<br />
rediscovering an absolute level of. the real is the impossibility of<br />
staging an illusion. Illusion is no longer. possible because the real is no<br />
longer possible. It is the whole political. problem of the parody of<br />
hypersimulation or offensive simulation which is. posed here. For<br />
example it would be interesting to see whether the. repressive apparatus<br />
would not react more violently to a simulated hold up. than to a real one<br />
For a real hold up only upsets the order of things the. right of property<br />
whereas a simulated hold up interferes with the very. principle of<br />
reality. Transgression and violence are less serious for they. only<br />
contest the distribution of the real. Simulation is infinitely more.<br />
dangerous since it always suggests over and above its object that law<br />
and. order themselves might really be nothing more than a simulation.<br />
Jean. Baudrillard Simulacra and Simulations (ref. mailing. mailing.<br />
noemata. undring alt. hvor utbredt er plantelivnring analogiene i folks<br />
forestillinger vekst. vokse seg stor og sterk etc livet som plante. det har<br />
begrensninger fordi. planter har rtter. sl seg til ro blir analogt med sl<br />
358
seg. til rot for vokse bedre. menneskebilde plantebilde. dessuten m det.<br />
komme som en stadig overraskelse at mennesker dr s plutselig skulle<br />
de. ikke heller bare visne bort og alle raske forandringer er av det onde.<br />
elektroner m vre sm demoner hva med fotoner fotosyntese sola. de er<br />
gode. i det hele tatt vi har for stor makt til vre planter. trr som vokser<br />
bker som kultiverer uendelig vi har bokbl virus. bomber knapper trykke<br />
p maskiner. vekst joda men vi er mennesker. ikke planter og<br />
innimellom der dyr og da er ikke mineralene engang nevnt. fr n. og hva<br />
med sjelen og nden vekst liv og dd eksistens. sdcellen som kom p<br />
andreplass idrett de dramatiserer overlevelse. hndballandslaget raider<br />
nabostammen de vokste ikke sammen. alt eksploderte. det er en slags<br />
vekst. plancks konstant brekraftig utvikling. og. utvikling to bilbomber<br />
utviklet seg utenfor ambassaden. mennesket er alle. tings ml ikke plante<br />
ikke eksplosjon fenomener har forskjellig. hastighet strrelse samfunnet<br />
er strre enn hver enkelt og dermed. treigere mer likt planter mens<br />
grupper av mennesker er mer som dyr dummere. men sterkere. i andre<br />
retningen er nden som et elektron og ser for seg. atomeksplosjonen som<br />
den hyeste religise forening sin skaper sola. big pangpang. lenger<br />
framover er lenger bakover strre fart er strre. avstand mindre er strre<br />
forestillingene er speil nr du ser foran. noemata. strings. ascii.<br />
stringmnhquady.. gullmund han gjnge seg i gjestebostoga innaa. rven<br />
drive gjsanne i hielofte inn.fyst t 'en upp dei alle fy. utta den gr.mail er<br />
allerede kjedebrev hver server legger til sitt eget. noemata. <strong>Re</strong><br />
culturejammers pning av nytt galleri. Emne Str i Subjectfeltet<strong>Re</strong>levant<br />
for de som skal jobbe med detTelenor. Tormod kommer forresten (og<br />
sikkert andre pamper) s et alternativ. ergjentrykk nydesign av telenor<br />
spoofs m.m.Er telepor.no brukt fr Ja. domenet er ledig men p er langt<br />
unna n flere fingre unna men det kan vre. logo. Men alts Norges strste<br />
leverandr av porno hvor mange titalls. prosent av trafikken s det er klart<br />
at Telenorhar interesse i porno. Stort. bilde av sprikende ben som tar<br />
imot all trafikk.Eller en mer vulgr variant. menn er alltid s vulgreViste<br />
tissen p flyDro frem tissen fly. mtte landeTissterrorisme Hvis effekten<br />
er s stor s kan blotting. vre en enkel jammingflytte blotting over til<br />
kultur altfor lenge har den. vrt en last hos psykologene og levd en<br />
beskyttet tilvrelse hos de. perverse. Dro fram tissen Valgjerd mtte<br />
g.Nakne menn er kanskje drlig. reklame for porno s det kan brukes vi<br />
kanantaat telenor drar fordel av. pornoreklame slik menn 'drar fordel'<br />
av telenor sbilde av masturberende. mann er kanskje bedre og ikke s<br />
kult. Vanlig porno er vel altfor kultHeh. jeg er s gammel at jeg husker<br />
en spoof av... nei jeg husker ikke. detvarp ttitallet veldydighet for<br />
359
Afrika Bob Geldof satte igang noe og. Norgefikksin variant anfrt av<br />
rockeren Helge Gaarder hvor det ble gitt ut. plate til inntekt for Afrika.<br />
Uansett hykleriet gikk over alle stvleskaft. og Gaarder satt igjen med en<br />
vond smak i munnen. Det dukket opp en fin spoof. Porno for Afrika<br />
arrangert av pornokonge Leif Hagen el. med bilde av ei. noemata. <strong>Re</strong><br />
Booksigning Tour. booksigning tour this week. No I don't have any<br />
publications of my own to. sign what I will be doing instead issigning<br />
the names of other authors. into their discarded books atvarious thrift<br />
stores in the area. Some of my. favorites includeSteven King sic Tom<br />
Clancy Maxine Hong Kingston and. John Updike.So if you come upon<br />
a book signed by the author in a thrift. store or elsewhere ha ha be<br />
aware that itmay be mine.another thing. would be to mark them mark<br />
mark appropriate confiscatethe book by signing. your name in it would<br />
they be yours and the storesyour library in you. making them part of the<br />
net.bookswould surely make them more weird wired. maybe a net.book<br />
should bedevoted to such realworld concrete appropriation and.<br />
disseminationbringing another dimension to the practice of tagging.<br />
forsew. noemata. <strong>Re</strong> culturejammers pning av nytt galleri. Emne Str i<br />
Subjectfeltet<strong>Re</strong>levant for de som skal jobbe med detTelenor. Tormod<br />
kommer forresten (og sikkert andre pamper) s et alternativ. ergjentrykk<br />
nydesign av telenor spoofs m.m.Er telepor.no brukt fr Ja. domenet er<br />
ledig men p er langt unna n flere fingre unna men det kan vre. logo.<br />
Men alts Norges strste leverandr av porno hvor mange titalls. prosent<br />
av trafikken s det er klart at Telenorhar interesse i porno. Stort. bilde av<br />
sprikende ben som tar imot all trafikk.Eller en mer vulgr variant. menn<br />
er alltid s vulgreViste tissen p flyDro frem tissen fly. mtte<br />
landeTissterrorisme Hvis effekten er s stor s kan blotting. vre en enkel<br />
jammingflytte blotting over til kultur altfor lenge har den. vrt en last<br />
hos psykologene og levd en beskyttet tilvrelse hos de. perverse. Dro<br />
fram tissen Valgjerd mtte g.Nakne menn er kanskje drlig. reklame for<br />
porno s det kan brukes vi kanantaat telenor drar fordel av.<br />
pornoreklame slik menn 'drar fordel' av telenor sbilde av<br />
masturberende. mann er kanskje bedre og ikke s kult. Vanlig porno er<br />
vel altfor kultHeh. jeg er s gammel at jeg husker en spoof av... nei jeg<br />
husker ikke. detvarp ttitallet veldydighet for Afrika Bob Geldof satte<br />
igang noe og. Norgefikksin variant anfrt av rockeren Helge Gaarder<br />
hvor det ble gitt ut. plate til inntekt for Afrika. Uansett hykleriet gikk<br />
over alle stvleskaft. og Gaarder satt igjen med en vond smak i munnen.<br />
Det dukket opp en fin spoof. Porno for Afrika arrangert av pornokonge<br />
Leif Hagen el. med bilde av ei. noemata. . e k u n s t . <strong>Re</strong>ality Check i<br />
360
Oslo desember (essay). fr prsantere d sjl din mainnsjit her er allerede<br />
mislykken. fullt integrert i prosjektet s er det da vellykket eller<br />
mislykket. stjernestatus men hvem bryr seg dette har ligget p noemata i<br />
lang tid. ingen reaksjoner ingen leser alle sitter og runker eposten. Men<br />
dette kunne. blitt stort med noen andre enn udugelige sabber i staben.<br />
Hele noemata er og. taps det er oppgitt i utgangspunktet og lever med<br />
latteren i halsen.It was. a tiny onyx diorama of Don Quixote' and<br />
Sancho Panza.The light slanting. uniformly into the austere living room<br />
vaguely populux 's geometric. The. sane cat sat near a window licking<br />
its paw. solipsisjeg hadde et notat. p dette engang kanskje det er slik at<br />
noemata har som sitt. felt disse umulige ogmalpasserte verk og uverk<br />
like mye eller mer enn verk i. noen tradisjonell forstand og gjr det til<br />
sitt uttrykk som en endelig. eller uendelig opplsning av kunsten med<br />
objektets dd (euridike) og. subjektets desintegrering (orfeus) i<br />
korridorene grenselandet eller rkenen. (nettkunsten). fin setning<br />
iallefall. det hres serist ut men har mer. preg av tragikomedie mer<br />
quixotisk enn romantisk. det umulige er en rd. trd kan det virke som en<br />
rd klut forestillingenes umulighet eller. det virkeliges uvirkelighet.every<br />
ecstasy ultimately prefers to take the path. of renunciation ratherthan<br />
sin against its own concept by realizing it.. adornothere is an idea<br />
horizon just as there is an event horizon the horizon. of their<br />
deathdealing accomplishment their absolute realization. thought for. its<br />
part leaks out into the void. baudrillarddon quixote som en taktil.<br />
kulturjammingsteknikk bevisst dumskap.noemata message in a bottle<br />
server at. the barents sea nhva slags mail vil du sende ut i havet<br />
umulige. kjrlighetsbrevthy false promise and my sure misfortune carry<br />
me to a. place whence thenews of my death will reach thy ears before<br />
the words of my. complaint.what thy beauty raised up thy deeds have<br />
laid low by it i believed. thee to be an angel by them i know thou art a<br />
woman.hva du gjr der er. det et sprsml eller svarquo oxid netnn som<br />
don. quixote. nettkunst som ikke virker annonseringer ogforestillinger<br />
som fantasi.. urealistiske umulige malplasserte prosjekterog ideer som<br />
samtidig blir. kulturjamming intervenering taktisk oglatterligjrende<br />
selvironisk. med den folkelige sjarmen til. dettragikomiske.there it is<br />
said sancho what i. told you that you must keep a goodcount well then<br />
by god there is an end of. the story for there is nogoing any farther.how<br />
can that be said don. quixote is it so essential to the story toknow to a<br />
nicety the goats that. have crossed over that if there be amistake of one<br />
in the reckoning thou. canst not go on with itno senor not a bit replied<br />
sancho for when i. asked your worship to tell me how many goats had<br />
361
crossed and you answered you. did not know at that very instant all i<br />
had to say passed away out of my. memory and faith there was much<br />
virtue in it and entertainment.so then. said don quixote the story has<br />
come to an endas much as my mother has. said sancho.in truth said don<br />
quixote thou hast told one of the rarest. storiestales or histories that<br />
anyone in the world could have imagined. andsuch a way of telling it<br />
and ending it was never seen nor will be in. alifetime though i expected<br />
nothing else from thy excellent understanding. but. i do not wonder for<br />
perhaps those ceaseless strokes may have confused thy. wits.ffrom a<br />
mail from lanny quarles solipsis the term. 'idiotic' isn't really about<br />
intelligence per se butrefers to a kind of. imaginary ratio whereby the<br />
self's uniquenessadheres to its own erratic path. its actually a term<br />
connoting a kindof pureness and honesty.. I'm thinking. somewhere in<br />
the neighborhood of eigensomething (can't remember).<br />
hmmAuthenticity is also a translation problem. Eigentlichkeit has its<br />
root. ineigen own. or proper Gr. idios Eng. idiot. So one should keep.<br />
theoriginary meaning of idiocy in mind being one's own self. The.<br />
termEigentlichkeit points to the possibility of being one's self.that<br />
strikes. me. As you point out the Gk idiotic denotes not deficiencybut<br />
eccentricity. the opposite of politic (withness) a self radicallyownmost<br />
in its. extremest form perfect solipsism.With this in mind and apprised (<br />
by. Nietzsche no) that every greatphilosophy is autobiography oughtn't<br />
BT be. read synoptically withOtt as it were in the Confessions<br />
genre...that BT. represents H'sselfcasting(Go litel bok go litel myn<br />
tragedye) an idiotic. interpretation of beyng...that the AngstCare<br />
structure for example if it. fits one say Hamlet typeassuredly doesn't<br />
others Quixote Don Juan. Faust...via the baudri Lard art has<br />
disappeared as a symbolic. pact remaining prolification of signs ad<br />
infinitum as 'culture' auto.noemata. automatic art. the situation<br />
resembles that of a currency which may not be. exchanged it can only<br />
float its only reference itself impossible to convert. into real value or<br />
wealth noema kroner the impossible of noemata. projects their floating<br />
like quixote phantasies manusfilms and inconceptual. art. general<br />
indifference please remove me as only emotional. responseprofound<br />
indifference everybody is an art is truethe system runs less. on the<br />
surplusvalue of the commodity than on the aesthetic surplusvalue of.<br />
the sign no matter how marginal banal or obscene everything is subject<br />
to. aesth. cult. museum.zation. like the prax of baroq we too are<br />
irrepressible. creators of images but secretly iconoclasts we<br />
manufacture a profusion of. images in which there is nothing to see<br />
362
leave no trace cast no shadow and. fascination of the erasure rewrite<br />
full compression code cipher our images. are like icons miraculous they<br />
allow us to go on believing in art while. eluding the question of its<br />
existence.iconicity dragon body laburint beyond. the indifference art as<br />
uglierthan.ugly bad worse raised to the second power. because it is<br />
liberated of its relation with its opposite bemyghost. transaesthetic<br />
blasts tourism people who no longer undertake voyages but. simply go<br />
round and round in circles tracerouteping travel agency These. forms<br />
are excesses andcollapses of code viral fascinating indiscriminate. and<br />
reinforced by viral media our culture also produces the most<br />
murderous. viruses. catastrophe culture. we all enjoy these things.<br />
nothing code. stagingsoperational whitewash overexposed defenceless<br />
without any way of. refracting light info doomed in consequence to a<br />
whitewash of all activity. codedecode IO labora trashmaps maze digital<br />
techniquerelinquish identity to. survive endnodes net<br />
computeroperations not actions regulated machinery. nothing takes<br />
placebetter to produce nothing in order to have things produced. artists<br />
better to have nothing to say if one seeks to communicate socials. as<br />
everyone knows if you want to make people laugh it is better not to be.<br />
funny powers in order for content to be conveyed as well and quickly<br />
as. possible that content should come as close as possible to<br />
transparency and. insignificance empty intimategood communication<br />
implies the annihilation of. its own content. avoideverythinghtp<br />
noematanet abouthtml So. it's a kind of artificial art much like the<br />
intelligenceof artificial. intelligence )The policy is to support<br />
collaboration community transparency. immediacy in the arts net.art<br />
media art correspondencemail art network. art context art or other<br />
otherness and marginal artifactualizations.We tried. that and it didn't<br />
work. So this is 'open content' of a morecatastrophic kind. of the<br />
dispersal of content or the metastasis ordisappearance of content (in. the<br />
jargon of Baudrillard). Also beingcontented with things not working<br />
and. actually more fascinated by thefailures and drifting of things than<br />
producing. them as art or anythingopen being more like cracked open<br />
or a core dump of. codegerm artspermand their entanglements and<br />
confusion of layers inoutside. opencontent generativedegenerative<br />
avataratavar of space time and. structures intermingling and<br />
proliferating more or less on their own by their. own automatic<br />
recursive mating. This 'release' of the server is not only as. permission<br />
or publication but a giving up kind of release. Giving upletting it. drift<br />
distribute or disperse unsupervised and giving up that risking complete.<br />
363
annihilation any point beyond the loop survival.dette ble. mitt essay i<br />
anledningen jozzdu kan reise og foredra har du ikke holdt. seminar i<br />
skattesaker dette er noe lignende (rapporter skriftestol.<br />
politietterforskningetc) eller kjre det gjennom stemmesynthesizer det.<br />
blir nok stasGud lkk PP og folkensBjrnNr alt kommer til alt har. jeg<br />
ikke tenkt gi opp prosjekter p kuunstfronten det jeg tenker p.<br />
automatiseringrasjonalisering av kunsten slik som ellers i samfunnet.<br />
Det er. de to tingene jeg brenner for. Snakkes. joz har du hrt med<br />
skattekontoret. sjekka restskatten tror den str der fortsatt jeg vil klage<br />
men det er. mas. hils Ingeborg.legger ved som bonus mitt essay som<br />
ogs kan siteres i. sammenhengen inkl. Context art experiments report<br />
noematic experimental. method Lesion art research praxis <strong>Re</strong>search on<br />
the human arts. surgeryMost information came from experiments with<br />
relatively poorly defined. genre lesions bloodvessel butoh dance smtp<br />
damage that included the art stem. funding etc as well as the contextor<br />
arttrauma lesions that were diffuse. and irregular spectral then reversed.<br />
good correlations were obtained between. focal lesions in the arts and<br />
the changes that resulted from the lesions at the. police.Her var detThe<br />
Development of Neuro ArtFor. exampleViennese psychiatrist Sigmund<br />
Freud ( )had originally. envisioned the biological basis of his theory of<br />
behaviorwith its three levels. of idegoand superegoas being a hydraulic<br />
mechanism of some sort. today's. joke ... computational mechanism of<br />
some sort. ))Descartes was impressed. Joke by machines made in his<br />
timesuch as those of certain statues that were on. display for public<br />
amusement in the water gardens of Paris.When a passerby. stopped in<br />
front of one particular statuefor examplehis or her weight would.<br />
depress a lever under the sidewalkcausing the statue to move and spray<br />
water. at the person s face.Descartes proposed that the body is like<br />
these. machines.phrenology joke Additionallydespite the failure of<br />
scien tific. attempts to correlate appearance with various aspects of<br />
behaviorit is not. uncommon to hear people accord virtues to others on<br />
the basis of their physical. appearance.<strong>Re</strong>aders might ask themselves<br />
how accurate they would be if asked to. judge intelligence on the basis<br />
of photographs.Social psychologists have found. thatwhen university<br />
students are asked to make such judgments the rule that. they apply to<br />
the task isBeauty equals intelligence.phrenology joke The. famous<br />
physiologistMagendiepreserved with veneration the brain of Laplace (a.<br />
famous French mathematician).Spurzheim had the very natural wish to<br />
see the. brain of a great man.To test the science of the<br />
phrenologistMr.Magendie showed. himinstead of the brain of<br />
364
Laplacethat of an imbecile.Spurzheimwho had. already worked up his<br />
enthusiasmadmired the brain of the imbecile as he would. have admired<br />
that of Laplace.(Krech)Context art experiments report. noematic<br />
experimental method consisted of removing parts of the art from.<br />
artworks to study the changes produced in their context. removed a<br />
small piece. of art and then observed how the art behaved and how it<br />
recov ered from the. loss of art tissue.In essence created art models<br />
from works that had received. injury to a part of the art by a blow to the<br />
head or by having the skull. pierced by a missile.To search for different<br />
functions in the art context. varied the location from which the art tissue<br />
was removed. Another key. contribution was the discovery thatafter<br />
damage to a part of the. artsubstantial recovery could be expected.<br />
Microscopic examination revealed. that art was nothing like an amor<br />
phous jellyratherit had an enormously. intricate substructure with<br />
compo nents arranged in complex clusterseach. interconnected with<br />
many other clusters. Cals Adsborough in Holland reached. the same<br />
conclusion from similar experiments on context artbut his manuscript.<br />
lay unpublished for severad decadesn.History of electronics arts The<br />
impetus. adopt a theory of electronical conduction in arts came from an<br />
English. artistSteph McTaargess who attracted considerable attention<br />
by demonstrating. that the human arts could conduct electrons. He<br />
showed that when an artwork. containing electrons was brought close to<br />
the feet of a boy suspended by a rope. in a grassleaf electroscope<br />
gallery placed near the boy s nose it would be. attracted to the boy s<br />
nose.Computer art The first computer art was hydraulic. swiss artist<br />
Jahob Matreisse () constructed a series of machine paintings. in his<br />
bathtub aquare(e) lle automatique facilitating finite. state pressure<br />
systems of squeesing injection pipes of color liquids onto the.<br />
surrounding walls to much annoyance to his mother.Network art<br />
experiments. preliminar applied an unpleasant stimulation to a dog s<br />
paw listmeasured how. long it took the corpus to withdraw its footand<br />
compared that rate with the. speed at which messages were known to<br />
travel along the net.According to. calculations took milliseconds too<br />
long to respond. theorized that nodes are. 'connected by junctions'<br />
(oxym.) clasp that additional time is required for. the art to get across.<br />
some buffering bufooning listmasters potentials. principal general<br />
inertia. preliminar conclusion to confirm that network arts. do not quite<br />
touch the nodes with which they clasp.Art surgery proposal note. that<br />
anthropologists have found evidence of art surgery dating to<br />
prehistoric. timesneolithic found surgery to have a beneficial effect in<br />
365
culturesperhaps. by reducing pressure within the arts when an injured<br />
discipline began to swell. up. (ref. trephining context art above). NB art<br />
surgery made possible by. media the introduction of<br />
antisepsisanesthesia as cultural phenomenon in. addition the principle<br />
of localization of genre making crossdiscipline. possible. (see Figure .).<br />
This device immobilizes the arts.An art atlas is. then used (flux maps<br />
etc) to localize areas in the arts for surgery. Local. anesthetic<br />
procedures were developed (mediastunt c) so that the 'spectator'. could<br />
remain awake during surgery and contribute to the success of the.<br />
operation by providing information about the effects of localized art.<br />
stimulation.Lesion art research praxis <strong>Re</strong>search on the human arts.<br />
surgery. Most information came from experiments with relatively<br />
poorly defined. genre lesions bloodvessel butoh dance smtp damage<br />
that included the art stem. funding etc as well as the contextor arttrauma<br />
lesions that were diffuse. and irregular spectral then reversed. good<br />
correlations were obtained between. focal lesions in the arts and the<br />
changes that resulted from the lesions at the. police.degenerative art In<br />
the minister of public instruction commissioned. develop tests to<br />
identify retarded arts so that they could be singled out for. special<br />
treatment. The tests were derived empirically by administering<br />
artworks. of normal artists and some mentally retarded and adults.The<br />
scale was. revised in . From the testsan art level was calculated<br />
evaluating. abstraction beauty inventiveness craft luck singularity<br />
which Iibet. thought were essential features of art. some conclusion<br />
gave tests to. braindamaged arts with the resultant surprising discovery<br />
that lesions in the. avant garde since modernist's time considered the<br />
center of generative. creative art did not decrease art scores. Sores to<br />
other main areas not. formerly thought to be implicated in art did<br />
reduce art scores.. Original Message From Per Platou Sent Tuesday<br />
November. PM Subject . e k u n s t . <strong>Re</strong>ality Check i Oslo desember.<br />
Call for participation pen invitasjon til Frjulsskriftestol. rsrapporter<br />
(eller prosjektrapporter) er som oftest srdeles lite. spennende lesning.<br />
Der presenteres ethvert prosjekt som etter forholdene. meget vellykket<br />
eller har hatt stor betydning osv. osv. S ogs. innenfor kunst og<br />
kultursektoren. REALITY CHECK er et todagers arrangement. som tar<br />
sikte p trekke fram prosjekter fra kunstfeltet som gikk. fullstendig galt.<br />
Der ideen var bedre enn gjennomfringskraften der man. undervurderte<br />
teknologien publikum konomien eller overvurderte egne. evner. Det<br />
kan vre prosjekter som har mottatt sttte som rett og slett. ikke lot seg<br />
gjennomfre eller som ble noe helt annet enn det som var. tenkt (). Med<br />
366
andre ord Vi er p jakt etter prosjekter som MISLYKTES i. strre eller<br />
mindre grad og der opphavspersonene har gjort seg noen tanker. om<br />
hva som gikk galt og hvorfor. REALITY CHECK har hentet<br />
grunnideen fra et. n nedlagt klubbkonsept i Berlin Club der Polnischen<br />
Versager eller Den. polske taperklubben () som i flere r var et meget<br />
populrt tiltak. med mange deltakere mye publikum og hy<br />
underholdningsfaktor. Fordi de. fleste feil som er begtt eller uhellene<br />
som har oppsttt som regel er. svrt allmenmenneskelige tror vi RC kan<br />
bli bde populrt. mediavennlig og lrerikt. Det er et faktum at mange<br />
kunstprosjekter. (srlig innenfor kunstny teknologi) ofte sker det<br />
spektakulre det. nye og revolusjonerende. Dette gjenspeiles ogs i<br />
massemedia. I en presset. kunstnerhverdag er frykten for gjre feil ofte<br />
strre enn viljen. til oppn noe ekstraordinrt. Denne situasjonen nsker vi<br />
n. snu p hodet ved gi de mislykkete prosjektene en unik siste. mulighet<br />
for stjernestatus. Vi nsker derfor hre fra deg om du. har ett eller flere<br />
slike prosjekter som kan formidles tydelig og med en. hy grad av<br />
selvinnsikt innenfor en tidsramme p minutter. Vi er i. denne<br />
sammenheng alts IKKE ute etter sutring over (manglende) forstelse. fra<br />
publikum komiteer kuratorer produsenter presse eller verdens tilstand.<br />
generelt. Send en epost til realityanart.no innen .november om du selv.<br />
har et mislykket prosjekt du nsker presentere eller har tips til. prosjekter<br />
som burde presenteres ) Vi er pne for alle typer. henvendelser ikke bare<br />
fra kunst og ny teknologi feltet. Vi vil. selvflgelig ikke presentere noe<br />
som ikke opphavspersonen selv nsker. satt i en slik sammenheng. Alle<br />
deltakere vil bli honorert og vi vil. ogs vre behjelpelige med ev. reise og<br />
overnatting i Oslo. REALITY. CHECK vil bli dekket redaksjonelt.<br />
Dato Fredag .desember kl. lrdag .desember kl Sted Cafe Mir Toftesgt.<br />
Oslo. (Grnerlkka Lufthavn) Gratis adgang for publikum. Arrangr. Per<br />
Platou mob Videresend gjerne denne meldingen (). julepresangen av<br />
Alf Prysen. Polnischen Versager Berlin. noemata. culturejammers Fwd<br />
<strong>Re</strong> noemata Mtereferat ... noemata. <strong>Re</strong> asciipng. greyscale movie from<br />
a text'stranslated chars ( char values. greyscale levels one char<br />
perframe fps) but the idea was a bit too. obvious and the<br />
transformationtoo onedimensional so I abandoned it.Yes. they'd be<br />
tedious work shades of gray in a tiny specter.<br />
etaoinshrdlu..monotonous.. translating media spectacle news etc into<br />
this. gray stream ofindifference..The key to having this kind of idea<br />
succeed in. general is not merely to workout an effective transform<br />
method from char to. pixel etc. but to have themethod reveal something<br />
unexpected of the. underlying structure of the sourcematerial. If the<br />
367
transformation results. simply in a stream of meaninglesscolors or chars<br />
then it will be of little. interest even as a conceptsince the concept is a<br />
fairly common one to be. honest. There are a lot ofpeople right now<br />
who mistakenly believe that they. are making radical art byturning<br />
photos into music pictures into text etc.. As with all works ofthis kind it<br />
is by breaking through to the next level and. having the workblossom<br />
into something that nobody has ever seen before or could. haveexpected<br />
to see that turns the idea from a mere amusement into art.OK but. not as<br />
a program art shouldn't care about itself being this or thatcritical.<br />
penetrating revolutional reversing undermining etc. In my viewart is<br />
quite. natural it doesn't need a program to live no more than we do.Lot<br />
of things I. do are very stupid things I don't mind that. And also<br />
thequackfraudulent. issue the artist maybe had some conjurer traits<br />
from thebeginning staging. something he not necessarily believe in but<br />
as atechnician of imagination. lies and language. How does he differ<br />
from say apolitician then He's clear. about it everybody knows it's a<br />
scam open sourcescam so the art context is. reflective revealing its<br />
staging. What aboutbeauty and wholeness Well there's. always some<br />
endorfines in resolving thingspotential and exhaustion beauty in.<br />
understanding things wholenesses atdifferent levels which is like<br />
cashing in. on the structure but there arealways remains and other levels<br />
expansion and. consolidation chaos andstability. Beauty taken over by<br />
design etc wholeness. by.. welll it's stillthere but like code source not<br />
wholeness as image but. its counterpartconstruction. Art should be<br />
more absolute not this or that my. view thoughyou didn't ask..What I<br />
am thinking about right now is how to. translate a ()colorspace into<br />
music in a more sophisticated way. than is usually done.There's a<br />
natural mapping to (pitch rhythm amplitude). but it's obviouslynot a<br />
simple . If one uses microtones one can get an. octave span ofpitches<br />
from to but I don't know how to get rhythms. that form aset and<br />
amplitudes is way way way too many.(pitch. duration waveform) Btw<br />
midi transformation i've always liked the renderings. of the<br />
radioharddisk maybe reminding of morton feldman or somehting at<br />
times. noemata. <strong>Re</strong> asciipng. greyscale movie from a text'stranslated<br />
chars ( char values. greyscale levels one char perframe fps) but the idea<br />
was a bit too. obvious and the transformationtoo onedimensional so I<br />
abandoned it.Yes. they'd be tedious work shades of gray in a tiny<br />
specter. etaoinshrdlu..monotonous.. translating media spectacle news<br />
etc into this. gray stream ofindifference..The key to having this kind of<br />
idea succeed in. general is not merely to workout an effective transform<br />
368
method from char to. pixel etc. but to have themethod reveal something<br />
unexpected of the. underlying structure of the sourcematerial. If the<br />
transformation results. simply in a stream of meaninglesscolors or chars<br />
then it will be of little. interest even as a conceptsince the concept is a<br />
fairly common one to be. honest. There are a lot ofpeople right now<br />
who mistakenly believe that they. are making radical art byturning<br />
photos into music pictures into text etc.. As with all works ofthis kind it<br />
is by breaking through to the next level and. having the workblossom<br />
into something that nobody has ever seen before or could. haveexpected<br />
to see that turns the idea from a mere amusement into art.OK but. not as<br />
a program art shouldn't care about itself being this or thatcritical.<br />
penetrating revolutional reversing undermining etc. In my viewart is<br />
quite. natural it doesn't need a program to live no more than we do.Lot<br />
of things I. do are very stupid things I don't mind that. And also<br />
thequackfraudulent. issue the artist maybe had some conjurer traits<br />
from thebeginning staging. something he not necessarily believe in but<br />
as atechnician of imagination. lies and language. How does he differ<br />
from say apolitician then He's clear. about it everybody knows it's a<br />
scam open sourcescam so the art context is. reflective revealing its<br />
staging. What aboutbeauty and wholeness Well there's. always some<br />
endorfines in resolving thingspotential and exhaustion beauty in.<br />
understanding things wholenesses atdifferent levels which is like<br />
cashing in. on the structure but there arealways remains and other levels<br />
expansion and. consolidation chaos andstability. Beauty taken over by<br />
design etc wholeness. by.. welll it's stillthere but like code source not<br />
wholeness as image but. its counterpartconstruction. Art should be<br />
more absolute not this or that my. view thoughyou didn't ask..What I<br />
am thinking about right now is how to. translate a ()colorspace into<br />
music in a more sophisticated way. than is usually done.There's a<br />
natural mapping to (pitch rhythm amplitude). but it's obviouslynot a<br />
simple . If one uses microtones one can get an. octave span ofpitches<br />
from to but I don't know how to get rhythms. that form aset and<br />
amplitudes is way way way too many.(pitch. duration waveform) Btw<br />
midi transformation i've always liked the renderings. of the<br />
radioharddisk maybe reminding of morton feldman or somehting at<br />
times. noemata. <strong>Re</strong> asciipng. greyscale movie from a text'stranslated<br />
chars ( char values. greyscale levels one char perframe fps) but the idea<br />
was a bit too. obvious and the transformationtoo onedimensional so I<br />
abandoned it.Yes. they'd be tedious work shades of gray in a tiny<br />
specter. etaoinshrdlu..monotonous.. translating media spectacle news<br />
369
etc into this. gray stream ofindifference..The key to having this kind of<br />
idea succeed in. general is not merely to workout an effective transform<br />
method from char to. pixel etc. but to have themethod reveal something<br />
unexpected of the. underlying structure of the sourcematerial. If the<br />
transformation results. simply in a stream of meaninglesscolors or chars<br />
then it will be of little. interest even as a conceptsince the concept is a<br />
fairly common one to be. honest. There are a lot ofpeople right now<br />
who mistakenly believe that they. are making radical art byturning<br />
photos into music pictures into text etc.. As with all works ofthis kind it<br />
is by breaking through to the next level and. having the workblossom<br />
into something that nobody has ever seen before or could. haveexpected<br />
to see that turns the idea from a mere amusement into art.OK but. not as<br />
a program art shouldn't care about itself being this or thatcritical.<br />
penetrating revolutional reversing undermining etc. In my viewart is<br />
quite. natural it doesn't need a program to live no more than we do.Lot<br />
of things I. do are very stupid things I don't mind that. And also<br />
thequackfraudulent. issue the artist maybe had some conjurer traits<br />
from thebeginning staging. something he not necessarily believe in but<br />
as atechnician of imagination. lies and language. How does he differ<br />
from say apolitician then He's clear. about it everybody knows it's a<br />
scam open sourcescam so the art context is. reflective revealing its<br />
staging. What aboutbeauty and wholeness Well there's. always some<br />
endorfines in resolving thingspotential and exhaustion beauty in.<br />
understanding things wholenesses atdifferent levels which is like<br />
cashing in. on the structure but there arealways remains and other levels<br />
expansion and. consolidation chaos andstability. Beauty taken over by<br />
design etc wholeness. by.. welll it's stillthere but like code source not<br />
wholeness as image but. its counterpartconstruction. Art should be<br />
more absolute not this or that my. view thoughyou didn't ask..What I<br />
am thinking about right now is how to. translate a ()colorspace into<br />
music in a more sophisticated way. than is usually done.There's a<br />
natural mapping to (pitch rhythm amplitude). but it's obviouslynot a<br />
simple . If one uses microtones one can get an. octave span ofpitches<br />
from to but I don't know how to get rhythms. that form aset and<br />
amplitudes is way way way too many.(pitch. duration waveform) Btw<br />
midi transformation i've always liked the renderings. of the<br />
radioharddisk maybe reminding of morton feldman or somehting at<br />
times. noemata. PLS. noemata. the mean. while waiting and waiting for<br />
win to boota play for the calculator the. meanok what about . .where<br />
does the . come from. .. still the sameok so we know n(n).(n.)what<br />
370
about step. while it holds now the diff is always.<br />
n(nstep)(step)((nstep))try random ..i have. format c unbelievablestep is<br />
so it doesn't workdo you want to install. netmeetingwho ever had any<br />
need of scandiski ran scandisk several times. nowstill it didn't detect<br />
damaged sectorsunbelievable crap scamdickswell why. didn't it work<br />
for odd it's yeah now your product key. licenceit's supposed to be oh<br />
well it just squares thensquareroot of .. is.. . voilakey is<br />
GXPPKTCDRJGJDTRBM (win)it's. n(nstep)(step)((nstep))which<br />
makes sense for the . and the. updating you system..restart then restart<br />
then restartthis wasn't very. profoundit's like you need the square stuff<br />
somewherewhether you put it in the. n's or the stepit doesn't matterthe<br />
suprise in the beginning of this play..it. didn't take into account the<br />
extras of the squarethe double its shadowit's. about dimensionshow the<br />
extra dimension casts a shadow backthe step is supposed. take care of<br />
thatah but there's no stairway to heavencan't believe this. where are the<br />
screen driversMy documents it's intimidatingvery smalli. lost the scans<br />
whateveranal stuff i mean what's the pointthe joy of. loosingagain a<br />
gain where does the shadow come inthe gain where the extras. are<br />
fromhell is a collapse of dimensionswhat happens when things<br />
colapsewhen. these squares collapsed they lost their shadowi was<br />
thinking of this drawing. also what it lostshadows of course collapsed<br />
into texturebut the other way. alsowhat would the hyper be if this was.<br />
textureloomunbelievableunbeleivablewhat is mostthis cognitive<br />
quaking is. backforth's squaringnothing in the middlenothing<br />
mediatedthese are flatmeanthe. synonyms for mean are average base<br />
beggarly entail hateful have in mind. imply intend mean value<br />
meanspirited mingy miserly signify stand for. noemata. ung. og<br />
kanskje..Dette med identitetfakeid obfuskering og spill med det.<br />
kunstnersentriskefokus kan ogs vre noe dra inn som tema samt.<br />
prosessen rundt som engjennomsiktig selvrefleksiv ting. Tror kanskje<br />
de unge. ville satt pris pnoesom bryter og spiller med hele settingen<br />
rundt kunst. p alle niver somfskriver i utstillingsteksten noe som ogs. m<br />
inkludere galleriet selv somkunstinstitusjon i tillegg til kunstneren. som<br />
'skaper' (n er jo det somviseshalvautomatisk kunst 'laget' av hvem)..<br />
De pner i teksten ogs for kunst somforvirring og provokasjon og. m<br />
derfor kunne tle det selv spesielt sideninstitusjonen er en. spass<br />
medskapende del av samtidskunsten.Forvirret Da er alt i orden...) Om.<br />
noemata. DIY. dude stunen intro skrevet til ung hos gallerif. kanskje<br />
det ble for. dumt.jeg prver profilere meg som dd kunstner de er mest<br />
verdt.. hvorforskal andre innkassere p min dd gjr det selv d.i.y.<br />
371
passende tittel.en annen del av diy kan vre lobbyvirksomhet for. tillate<br />
kunstnere trekke fra sin dd p selvangivelsen (e.s ide).. dde kunstneres<br />
forening dd . og en utgreiing om kunsten som dd. som retning kallt<br />
e.kunst i tradisjon fra kristendommen hva er kunstens. nullpunkt nr<br />
ddeden p korset i pissoaret inri diy innskriver u. r mate p<br />
verdenspissoarer og vigsler de til kirker. kunst og. meningslshet<br />
beslektet betyr det at mening er kunstls kunsten. representerer dden<br />
ikke livetkanskje dd kunst er faktisk liv slik. dde dyr er mat. dd kunst<br />
somtautologi levende kunst som oksymoron. har. diymodellen<br />
forklaringskraftp andre forhold dden er ikke ingenting. det er mer som<br />
drukne altfor masse ren overfldighet som kunst. det. fr vre nok<br />
ddsrallingfor denne gang. diy.diy. engasjer en dd. kunstner utstilling<br />
performance forelesningtekstmaterial bestillingsverk.. kjp kunst av dd<br />
kunstner.ekthetsgarantier ddssertifikat og. garanti en garanti om<br />
atkunstneren er dd og ikke vil gjenoppst evt.. at kunstneren vil d freller<br />
senere.mora til e og j har tilgang til. folkeregisteret. hvor store<br />
problemer frjeg ved vre registrert. dd ingen istedenfor selvmordet<br />
diyiscenesetter dden istedet ikke. selvmord som en iscenesettelse av<br />
ddmen en iscenesettelse av dden som. et selvmord.dyi kan g gjennom<br />
ddsforestillinger.. ddsforestillingersom stunt det er som bygge noe frst<br />
skjelett. og s kjtt og blod hjan teigen sirkus dden som showman er. ikke<br />
langt borte hva erddskulturdiy. vi forestiller oss dden som en.<br />
eksplosjon mens den mer er som enimplosjon det var det jeg tenkte nr<br />
jeg. reiste meg og ble svimmel ogvar i ferd med miste bevisstheten. at<br />
de sprer. asken etc er mer i trdmed forestillingen enn realiteten og de<br />
hadde ikke. trengt det om det varen realitet det er n forestillingenes<br />
funksjon. de. dde er ingen stederikke engang spredt for vinden de<br />
imploderte p. stedet skrumpet inn i segselv og ble borte som i et punkt p<br />
stedet hvil. i fred.en dd kunstner automatisk kunstner lever videresom<br />
maskin. som alt. noemata. help (pleh). noemata. arc.hive the MAZPIQ<br />
language. the MAZPIQ languageatom MAZPIQ system. MAZPIQ<br />
morphology graphsEach mannequinchild node is recursively<br />
expandable. into atomsandor graphs.. MAZPIQ text samples. the term<br />
temporality refers to lived time.. Child enters a preguntar.Nos dan la<br />
possibilit de los guardianes hros. sportifs top modlesIls le milieu et<br />
vous avez amlior notre. pass et l'poque. Question is to which we<br />
encode. our world. ontological Ontological Question is the mental<br />
languages of the. writers and once thisexists if there are Secrets of<br />
belief) and the module. generates aren't. Defends the pupils against his<br />
own. image. And our life.True nature or entities of a se mantiene joven.<br />
372
Hence Fnord. Give the term that the random neighbor the more<br />
timeconsuming.. We are expected. a text as a good coder teach us<br />
xuriosity andecperienced through the random. neighbor the process of<br />
artists such asthey cometh. They appear to us systematically.<br />
communicates something youare the practise of the possibility of signs<br />
and. their minutes of theCrisis of emulating. Be. A redeeming and the.<br />
world. Find your future as his last of thestudent the text a hundred.<br />
harvests. Si es la educacin no hay palabraen el milagro es a man to.<br />
question is in his own personal influence.. Find your future silt.<br />
Warning parsing error at. line in mazpiq.php. Got from one who really<br />
shape our. life. Notre vie. Tenemosmuchos. We need to insist on the<br />
effect of. things themselves. Thank you can be produced constantly<br />
anew by preconceptions andexperienced. space time body which move<br />
appropriately with thephantom sensations which. they give us curiosity<br />
and the notion thatI. don'tarc.hive mailing. noemata. <strong>Re</strong> Booksigning<br />
Tour. booksigning tour this week. No I don't have any publications of<br />
my own to. sign what I will be doing instead issigning the names of<br />
other authors. into their discarded books atvarious thrift stores in the<br />
area. Some of my. favorites includeSteven King sic Tom Clancy<br />
Maxine Hong Kingston and. John Updike.So if you come upon a book<br />
signed by the author in a thrift. store or elsewhere ha ha be aware that<br />
itmay be mine.another thing. would be to mark them mark mark<br />
appropriate confiscatethe book by signing. your name in it would they<br />
be yours and the storesyour library in you. making them part of the<br />
net.bookswould surely make them more weird wired. maybe a net.book<br />
should bedevoted to such realworld concrete appropriation and.<br />
disseminationbringing another dimension to the practice of tagging.<br />
forsew. noemata. digitus.facticius p ekunstserver. noemata. <strong>Re</strong> sex<br />
Though they see it. this example okay now Iknow.Say a great<br />
implementation of this idea would. be to create a totallyvirtual book<br />
with no content whatsoever. If there were. some way Iyouwecould get<br />
such a thing onto Amazon.com and elsewhere have it. put up forsale<br />
and review it would be a real coup Maybe Iyw could stoke the. fireby<br />
writing phony reviews of the book and post them in other book.<br />
reviewlinks saying something like Tom Clancy's latest bestseller is<br />
very. muchlike that Norwegian writer's book that just came out Alpha<br />
X or. whateverit's called. I guess the only things needed to bring this<br />
ruse for. andpossibly the of pages. Other than that the book could exist<br />
entirely. inthe desires of its eager readers and marketers. I wonder how<br />
long such. atrick could be sustained before it was exposed It might be<br />
373
worth a tryjust. find out.hm yes let's do that also some books entirely<br />
virtual not in. stock very obscure maybe like borges' imaginary books.<br />
keep this in mind as. other kinds of net.books.....i uploaded a lot of new<br />
chapters to the. noemata. Thursday January. email header art. email<br />
header artnavn bruker domene tld navnbegrep referanse (en ting kan ha.<br />
flere navn)axiomsto from cc fortid framtid cc kausalitet fratil (rules.<br />
transitions)subject this play propositionbody discussion.<br />
interpretationhead body codestructure face appearance cause. noemata.<br />
<strong>Re</strong> codework (KristevaEco). long reply I just got back from aconf. with<br />
messages I have to deal with. not spam. But if you look atKristeva's<br />
<strong>Re</strong>volution in Poetic Language you'll see. a lengthy treatment<br />
ofMaldoror especially the unabridged Fr. version and a. great deal of<br />
thisis a combination of psychoanalytics and semiotics which she. You'd<br />
have to look at the book it's hardly reductionist. Same with. Greimas<br />
etc. Alan I have read it and I find Eco and all such semiotic. models of<br />
language reductionist. Where does a text like Lautreamont's. Maldoror<br />
fit into Eco's scheme Where do the texts of the insane Language is. not<br />
only aboutsignals (Eco's signfunctions) and their corresponding.<br />
behavioral responses.There is a form of dark matter in language that<br />
never. gets touched upon by semiotics. It is where signals get crossed<br />
elided. broken down and too often dismissed in semiotics as gibberish<br />
or noise.. Eco's approach isgood for analyzing highclass linear<br />
detective novels like. the ones he writes but it falls apart on texts that<br />
don't make the rage of. interpretationtheir goal. Like all models of the<br />
world semiotics fits some. things well and other things badly and the<br />
things it fits badly happen t<br />
374
208<br />
o be. precisely the things I care most about right now in the making of<br />
art. Maybe. somebody could propose a new nonlinear model of<br />
semiotics or better a. chaotic one that would extend the field into a<br />
place that might be. interesting. But Eco's views on language are too<br />
restrictive for me and. don't carry me to the places I want to go.<br />
Greimas deals with a much. wider range of issues than semiotics in his<br />
work and I prefer him to Eco.. Even so there is still much in the making<br />
of art that Greimas doesn't take. into account. (Not that I can recall<br />
anything specifically that I could. critique off the top of my pointy little<br />
head. . .) Linguistics still only. skims the surface of art's deepest<br />
concerns so I guess the question is. should an artist be content with<br />
merely skimmed surfaces Or should he dive. headlong into the deep<br />
waters where theories fear to tread I guess some of. us are Ahabs and<br />
some of us are Ishmaels. I favor the crazy Ahab impulse. speaking for<br />
myself despite my wooden leg. I am taking a breather here. let others<br />
get into the conversation if they wish. Feel free to tear me to. noemata.<br />
arafat. arafat shithead it's all the same some shithead claiming<br />
territoryanother. shithead you only need one then you get<br />
anotherautomatically like tribes of. shitheads shiites something<br />
what'sthat got to do with anythingcontemporary. ontology something<br />
anything everything nothingmaps plainly to logic how. metaphysics<br />
became logic or was as itwere classes what do we mean classes. are<br />
classes nosferatu thedeath of metaphysics the blood is logic everything.<br />
is logic hasits undead counterpart the world may die any human we'll<br />
go. onliving like undead i should come through here no it's not<br />
possibleany. image still there's a byte before it exhausts coming back<br />
tothis morning. and driving under the bridge don't blame gray<br />
wordsgray roadsfeeling down. may come easy you just sit there and<br />
suddenly you wantto go to sleep and can't. sleep because you think this<br />
will never endand there's nothing anywhere. i'm. always down like the<br />
server isdown. all this wind is it going anywhere. mostly robots reading<br />
theweb let's say i lived my experience is not different. anybodyelse<br />
why should we be separate two persons have mutual. feelingswhat a<br />
375
mess still four arms two heads what a monster and. thecleaning of the<br />
interface reactions why should i react i'm alreadyyou. not in a religious<br />
sense just practical like the same samesystem two. processes the same<br />
shit all the more pressure aroundidentity and the. individual this<br />
exploition a striking or notabledeed feat spirited or. heroic act the<br />
exploits of Alexander theGreat. it's of course true we are. the same<br />
otherwise science andthe logics would be false but still. culturally a<br />
quest foridentity and most levels retained which together is. driving us<br />
outthrough the processor our bodies are arguments positions.<br />
likeminimal pairs in linguistics and identical to what itself whichmakes.<br />
sense only through a representation with the possibility of notbeing<br />
itself. so the quest is via the culture representation wherethe position<br />
comes in. like the 'you are here' on maps (in a text youare here what<br />
does it mean i. am here this is a long string and theother arts where are<br />
you in music and. everything before languageand within) no the<br />
identity can't come from. anything why differentcultures have different<br />
ideas of identity we have maps. so we havethe identity of 'you are here'<br />
which gives a faint realization. ofyourself but enough to keep fixed<br />
through the loop of being and notbeing. the truth and falsity of<br />
representation or more precise thefalsity revealed. through its truth and<br />
vice versa which is at stakewhen represent i am here. two times here<br />
and here which are twoplaces in the text two positions and. isn't it<br />
supposed to be onlyone like i am only one so we are baffled by this.<br />
like Alexander theGreat and need to do baffling deeds to overcome the.<br />
bifurcation thattakes place already at the root already at 'you are here'<br />
we. don'tunderstand and the territory comes from this of not<br />
understandingand. you get terrorist and president like arafat collapsing<br />
andsustaining the map. as the quest for identity through construction<br />
ofyourself which is like a greek. tragedy whatever you'll find is<br />
thelooking for yourself palestine holy land. holy shit how fckinglong<br />
will it take before these shitheads loose their. power to leadothers astray<br />
for people not to be led into another suffering. hell byshithead the<br />
great.roadmap to peace forget road forget map forget. noemata. . e k u n<br />
s t . <strong>Re</strong>ality Check i Oslo desember (essay). fr prsantere d sjl din<br />
mainnsjit her er allerede mislykken. fullt integrert i prosjektet s er det<br />
da vellykket eller mislykket. stjernestatus men hvem bryr seg dette har<br />
ligget p noemata i lang tid. ingen reaksjoner ingen leser alle sitter og<br />
runker eposten. Men dette kunne. blitt stort med noen andre enn<br />
udugelige sabber i staben. Hele noemata er og. taps det er oppgitt i<br />
utgangspunktet og lever med latteren i halsen.It was. a tiny onyx<br />
376
diorama of Don Quixote' and Sancho Panza.The light slanting.<br />
uniformly into the austere living room vaguely populux 's geometric.<br />
The. sane cat sat near a window licking its paw. solipsisjeg hadde et<br />
notat. p dette engang kanskje det er slik at noemata har som sitt. felt<br />
disse umulige ogmalpasserte verk og uverk like mye eller mer enn verk<br />
i. noen tradisjonell forstand og gjr det til sitt uttrykk som en endelig.<br />
eller uendelig opplsning av kunsten med objektets dd (euridike) og.<br />
subjektets desintegrering (orfeus) i korridorene grenselandet eller<br />
rkenen. (nettkunsten). fin setning iallefall. det hres serist ut men har<br />
mer. preg av tragikomedie mer quixotisk enn romantisk. det umulige er<br />
en rd. trd kan det virke som en rd klut forestillingenes umulighet eller.<br />
det virkeliges uvirkelighet.every ecstasy ultimately prefers to take the<br />
path. of renunciation ratherthan sin against its own concept by realizing<br />
it.. adornothere is an idea horizon just as there is an event horizon the<br />
horizon. of their deathdealing accomplishment their absolute<br />
realization. thought for. its part leaks out into the void. baudrillarddon<br />
quixote som en taktil. kulturjammingsteknikk bevisst dumskap.noemata<br />
message in a bottle server at. the barents sea nhva slags mail vil du<br />
sende ut i havet umulige. kjrlighetsbrevthy false promise and my sure<br />
misfortune carry me to a. place whence thenews of my death will reach<br />
thy ears before the words of my. complaint.what thy beauty raised up<br />
thy deeds have laid low by it i believed. thee to be an angel by them i<br />
know thou art a woman.hva du gjr der er. det et sprsml eller svarquo<br />
oxid netnn som don. quixote. nettkunst som ikke virker annonseringer<br />
ogforestillinger som fantasi.. urealistiske umulige malplasserte<br />
prosjekterog ideer som samtidig blir. kulturjamming intervenering<br />
taktisk oglatterligjrende selvironisk. med den folkelige sjarmen til.<br />
dettragikomiske.there it is said sancho what i. told you that you must<br />
keep a goodcount well then by god there is an end of. the story for there<br />
is nogoing any farther.how can that be said don. quixote is it so<br />
essential to the story toknow to a nicety the goats that. have crossed<br />
over that if there be amistake of one in the reckoning thou. canst not go<br />
on with itno senor not a bit replied sancho for when i. asked your<br />
worship to tell me how many goats had crossed and you answered you.<br />
did not know at that very instant all i had to say passed away out of my.<br />
memory and faith there was much virtue in it and entertainment.so then.<br />
said don quixote the story has come to an endas much as my mother<br />
has. said sancho.in truth said don quixote thou hast told one of the<br />
rarest. storiestales or histories that anyone in the world could have<br />
imagined. andsuch a way of telling it and ending it was never seen nor<br />
377
will be in. alifetime though i expected nothing else from thy excellent<br />
understanding. but. i do not wonder for perhaps those ceaseless strokes<br />
may have confused thy. wits.ffrom a mail from lanny quarles solipsis<br />
the term. 'idiotic' isn't really about intelligence per se butrefers to a<br />
kind of. imaginary ratio whereby the self's uniquenessadheres to its<br />
own erratic path. its actually a term connoting a kindof pureness and<br />
honesty.. I'm thinking. somewhere in the neighborhood of<br />
eigensomething (can't remember). hmmAuthenticity is also a<br />
translation problem. Eigentlichkeit has its root. ineigen own. or proper<br />
Gr. idios Eng. idiot. So one should keep. theoriginary meaning of<br />
idiocy in mind being one's own self. The. termEigentlichkeit points to<br />
the possibility of being one's self.that strikes. me. As you point out the<br />
Gk idiotic denotes not deficiencybut eccentricity. the opposite of politic<br />
(withness) a self radicallyownmost in its. extremest form perfect<br />
solipsism.With this in mind and apprised ( by. Nietzsche no) that every<br />
greatphilosophy is autobiography oughtn't BT be. read synoptically<br />
withOtt as it were in the Confessions genre...that BT. represents<br />
H'sselfcasting(Go litel bok go litel myn tragedye) an idiotic.<br />
interpretation of beyng...that the AngstCare structure for example if it.<br />
fits one say Hamlet typeassuredly doesn't others Quixote Don Juan.<br />
Faust...via the baudri Lard art has disappeared as a symbolic. pact<br />
remaining prolification of signs ad infinitum as 'culture' auto.noemata.<br />
automatic art. the situation resembles that of a currency which may not<br />
be. exchanged it can only float its only reference itself impossible to<br />
convert. into real value or wealth noema kroner the impossible of<br />
noemata. projects their floating like quixote phantasies manusfilms and<br />
inconceptual. art. general indifference please remove me as only<br />
emotional. responseprofound indifference everybody is an art is truethe<br />
system runs less. on the surplusvalue of the commodity than on the<br />
aesthetic surplusvalue of. the sign no matter how marginal banal or<br />
obscene everything is subject to. aesth. cult. museum.zation. like the<br />
prax of baroq we too are irrepressible. creators of images but secretly<br />
iconoclasts we manufacture a profusion of. images in which there is<br />
nothing to see leave no trace cast no shadow and. fascination of the<br />
erasure rewrite full compression code cipher our images. are like icons<br />
miraculous they allow us to go on believing in art while. eluding the<br />
question of its existence.iconicity dragon body laburint beyond. the<br />
indifference art as uglierthan.ugly bad worse raised to the second<br />
power. because it is liberated of its relation with its opposite<br />
bemyghost. transaesthetic blasts tourism people who no longer<br />
378
undertake voyages but. simply go round and round in circles<br />
tracerouteping travel agency These. forms are excesses andcollapses of<br />
code viral fascinating indiscriminate. and reinforced by viral media our<br />
culture also produces the most murderous. viruses. catastrophe culture.<br />
we all enjoy these things. nothing code. stagingsoperational whitewash<br />
overexposed defenceless without any way of. refracting light info<br />
doomed in consequence to a whitewash of all activity. codedecode IO<br />
labora trashmaps maze digital techniquerelinquish identity to. survive<br />
endnodes net computeroperations not actions regulated machinery.<br />
nothing takes placebetter to produce nothing in order to have things<br />
produced. artists better to have nothing to say if one seeks to<br />
communicate socials. as everyone knows if you want to make people<br />
laugh it is better not to be. funny powers in order for content to be<br />
conveyed as well and quickly as. possible that content should come as<br />
close as possible to transparency and. insignificance empty<br />
intimategood communication implies the annihilation of. its own<br />
content. avoideverythinghtp noematanet abouthtml So. it's a kind of<br />
artificial art much like the intelligenceof artificial. intelligence )The<br />
policy is to support collaboration community transparency. immediacy<br />
in the arts net.art media art correspondencemail art network. art context<br />
art or other otherness and marginal artifactualizations.We tried. that and<br />
it didn't work. So this is 'open content' of a morecatastrophic kind. of<br />
the dispersal of content or the metastasis ordisappearance of content (in.<br />
the jargon of Baudrillard). Also beingcontented with things not working<br />
and. actually more fascinated by thefailures and drifting of things than<br />
producing. them as art or anythingopen being more like cracked open<br />
or a core dump of. codegerm artspermand their entanglements and<br />
confusion of layers inoutside. opencontent generativedegenerative<br />
avataratavar of space time and. structures intermingling and<br />
proliferating more or less on their own by their. own automatic<br />
recursive mating. This 'release' of the server is not only as. permission<br />
or publication but a giving up kind of release. Giving upletting it. drift<br />
distribute or disperse unsupervised and giving up that risking complete.<br />
annihilation any point beyond the loop survival.dette ble. mitt essay i<br />
anledningen jozzdu kan reise og foredra har du ikke holdt. seminar i<br />
skattesaker dette er noe lignende (rapporter skriftestol.<br />
politietterforskningetc) eller kjre det gjennom stemmesynthesizer det.<br />
blir nok stasGud lkk PP og folkensBjrnNr alt kommer til alt har. jeg<br />
ikke tenkt gi opp prosjekter p kuunstfronten det jeg tenker p.<br />
automatiseringrasjonalisering av kunsten slik som ellers i samfunnet.<br />
379
Det er. de to tingene jeg brenner for. Snakkes. joz har du hrt med<br />
skattekontoret. sjekka restskatten tror den str der fortsatt jeg vil klage<br />
men det er. mas. hils Ingeborg.legger ved som bonus mitt essay som<br />
ogs kan siteres i. sammenhengen inkl. Context art experiments report<br />
noematic experimental. method Lesion art research praxis <strong>Re</strong>search on<br />
the human arts. surgeryMost information came from experiments with<br />
relatively poorly defined. genre lesions bloodvessel butoh dance smtp<br />
damage that included the art stem. funding etc as well as the contextor<br />
arttrauma lesions that were diffuse. and irregular spectral then reversed.<br />
good correlations were obtained between. focal lesions in the arts and<br />
the changes that resulted from the lesions at the. police.Her var detThe<br />
Development of Neuro ArtFor. exampleViennese psychiatrist Sigmund<br />
Freud ( )had originally. envisioned the biological basis of his theory of<br />
behaviorwith its three levels. of idegoand superegoas being a hydraulic<br />
mechanism of some sort. today's. joke ... computational mechanism of<br />
some sort. ))Descartes was impressed. Joke by machines made in his<br />
timesuch as those of certain statues that were on. display for public<br />
amusement in the water gardens of Paris.When a passerby. stopped in<br />
front of one particular statuefor examplehis or her weight would.<br />
depress a lever under the sidewalkcausing the statue to move and spray<br />
water. at the person s face.Descartes proposed that the body is like<br />
these. machines.phrenology joke Additionallydespite the failure of<br />
scien tific. attempts to correlate appearance with various aspects of<br />
behaviorit is not. uncommon to hear people accord virtues to others on<br />
the basis of their physical. appearance.<strong>Re</strong>aders might ask themselves<br />
how accurate they would be if asked to. judge intelligence on the basis<br />
of photographs.Social psychologists have found. thatwhen university<br />
students are asked to make such judgments the rule that. they apply to<br />
the task isBeauty equals intelligence.phrenology joke The. famous<br />
physiologistMagendiepreserved with veneration the brain of Laplace (a.<br />
famous French mathematician).Spurzheim had the very natural wish to<br />
see the. brain of a great man.To test the science of the<br />
phrenologistMr.Magendie showed. himinstead of the brain of<br />
Laplacethat of an imbecile.Spurzheimwho had. already worked up his<br />
enthusiasmadmired the brain of the imbecile as he would. have admired<br />
that of Laplace.(Krech)Context art experiments report. noematic<br />
experimental method consisted of removing parts of the art from.<br />
artworks to study the changes produced in their context. removed a<br />
small piece. of art and then observed how the art behaved and how it<br />
recov ered from the. loss of art tissue.In essence created art models<br />
380
from works that had received. injury to a part of the art by a blow to the<br />
head or by having the skull. pierced by a missile.To search for different<br />
functions in the art context. varied the location from which the art tissue<br />
was removed. Another key. contribution was the discovery thatafter<br />
damage to a part of the. artsubstantial recovery could be expected.<br />
Microscopic examination revealed. that art was nothing like an amor<br />
phous jellyratherit had an enormously. intricate substructure with<br />
compo nents arranged in complex clusterseach. interconnected with<br />
many other clusters. Cals Adsborough in Holland reached. the same<br />
conclusion from similar experiments on context artbut his manuscript.<br />
lay unpublished for severad decadesn.History of electronics arts The<br />
impetus. adopt a theory of electronical conduction in arts came from an<br />
English. artistSteph McTaargess who attracted considerable attention<br />
by demonstrating. that the human arts could conduct electrons. He<br />
showed that when an artwork. containing electrons was brought close to<br />
the feet of a boy suspended by a rope. in a grassleaf electroscope<br />
gallery placed near the boy s nose it would be. attracted to the boy s<br />
nose.Computer art The first computer art was hydraulic. swiss artist<br />
Jahob Matreisse () constructed a series of machine paintings. in his<br />
bathtub aquare(e) lle automatique facilitating finite. state pressure<br />
systems of squeesing injection pipes of color liquids onto the.<br />
surrounding walls to much annoyance to his mother.Network art<br />
experiments. preliminar applied an unpleasant stimulation to a dog s<br />
paw listmeasured how. long it took the corpus to withdraw its footand<br />
compared that rate with the. speed at which messages were known to<br />
travel along the net.According to. calculations took milliseconds too<br />
long to respond. theorized that nodes are. 'connected by junctions'<br />
(oxym.) clasp that additional time is required for. the art to get across.<br />
some buffering bufooning listmasters potentials. principal general<br />
inertia. preliminar conclusion to confirm that network arts. do not quite<br />
touch the nodes with which they clasp.Art surgery proposal note. that<br />
anthropologists have found evidence of art surgery dating to<br />
prehistoric. timesneolithic found surgery to have a beneficial effect in<br />
culturesperhaps. by reducing pressure within the arts when an injured<br />
discipline began to swell. up. (ref. trephining context art above). NB art<br />
surgery made possible by. media the introduction of<br />
antisepsisanesthesia as cultural phenomenon in. addition the principle<br />
of localization of genre making crossdiscipline. possible. (see Figure .).<br />
This device immobilizes the arts.An art atlas is. then used (flux maps<br />
etc) to localize areas in the arts for surgery. Local. anesthetic<br />
381
procedures were developed (mediastunt c) so that the 'spectator'. could<br />
remain awake during surgery and contribute to the success of the.<br />
operation by providing information about the effects of localized art.<br />
stimulation.Lesion art research praxis <strong>Re</strong>search on the human arts.<br />
surgery. Most information came from experiments with relatively<br />
poorly defined. genre lesions bloodvessel butoh dance smtp damage<br />
that included the art stem. funding etc as well as the contextor arttrauma<br />
lesions that were diffuse. and irregular spectral then reversed. good<br />
correlations were obtained between. focal lesions in the arts and the<br />
changes that resulted from the lesions at the. police.degenerative art In<br />
the minister of public instruction commissioned. develop tests to<br />
identify retarded arts so that they could be singled out for. special<br />
treatment. The tests were derived empirically by administering<br />
artworks. of normal artists and some mentally retarded and adults.The<br />
scale was. revised in . From the testsan art level was calculated<br />
evaluating. abstraction beauty inventiveness craft luck singularity<br />
which Iibet. thought were essential features of art. some conclusion<br />
gave tests to. braindamaged arts with the resultant surprising discovery<br />
that lesions in the. avant garde since modernist's time considered the<br />
center of generative. creative art did not decrease art scores. Sores to<br />
other main areas not. formerly thought to be implicated in art did<br />
reduce art scores.. Original Message From Per Platou Sent Tuesday<br />
November. PM Subject . e k u n s t . <strong>Re</strong>ality Check i Oslo desember.<br />
Call for participation pen invitasjon til Frjulsskriftestol. rsrapporter<br />
(eller prosjektrapporter) er som oftest srdeles lite. spennende lesning.<br />
Der presenteres ethvert prosjekt som etter forholdene. meget vellykket<br />
eller har hatt stor betydning osv. osv. S ogs. innenfor kunst og<br />
kultursektoren. REALITY CHECK er et todagers arrangement. som tar<br />
sikte p trekke fram prosjekter fra kunstfeltet som gikk. fullstendig galt.<br />
Der ideen var bedre enn gjennomfringskraften der man. undervurderte<br />
teknologien publikum konomien eller overvurderte egne. evner. Det<br />
kan vre prosjekter som har mottatt sttte som rett og slett. ikke lot seg<br />
gjennomfre eller som ble noe helt annet enn det som var. tenkt (). Med<br />
andre ord Vi er p jakt etter prosjekter som MISLYKTES i. strre eller<br />
mindre grad og der opphavspersonene har gjort seg noen tanker. om<br />
hva som gikk galt og hvorfor. REALITY CHECK har hentet<br />
grunnideen fra et. n nedlagt klubbkonsept i Berlin Club der Polnischen<br />
Versager eller Den. polske taperklubben () som i flere r var et meget<br />
populrt tiltak. med mange deltakere mye publikum og hy<br />
underholdningsfaktor. Fordi de. fleste feil som er begtt eller uhellene<br />
382
som har oppsttt som regel er. svrt allmenmenneskelige tror vi RC kan<br />
bli bde populrt. mediavennlig og lrerikt. Det er et faktum at mange<br />
kunstprosjekter. (srlig innenfor kunstny teknologi) ofte sker det<br />
spektakulre det. nye og revolusjonerende. Dette gjenspeiles ogs i<br />
massemedia. I en presset. kunstnerhverdag er frykten for gjre feil ofte<br />
strre enn viljen. til oppn noe ekstraordinrt. Denne situasjonen nsker vi<br />
n. snu p hodet ved gi de mislykkete prosjektene en unik siste. mulighet<br />
for stjernestatus. Vi nsker derfor hre fra deg om du. har ett eller flere<br />
slike prosjekter som kan formidles tydelig og med en. hy grad av<br />
selvinnsikt innenfor en tidsramme p minutter. Vi er i. denne<br />
sammenheng alts IKKE ute etter sutring over (manglende) forstelse. fra<br />
publikum komiteer kuratorer produsenter presse eller verdens tilstand.<br />
generelt. Send en epost til realityanart.no innen .november om du selv.<br />
har et mislykket prosjekt du nsker presentere eller har tips til. prosjekter<br />
som burde presenteres ) Vi er pne for alle typer. henvendelser ikke bare<br />
fra kunst og ny teknologi feltet. Vi vil. selvflgelig ikke presentere noe<br />
som ikke opphavspersonen selv nsker. satt i en slik sammenheng. Alle<br />
deltakere vil bli honorert og vi vil. ogs vre behjelpelige med ev. reise og<br />
overnatting i Oslo. REALITY. CHECK vil bli dekket redaksjonelt.<br />
Dato Fredag .desember kl. lrdag .desember kl Sted Cafe Mir Toftesgt.<br />
Oslo. (Grnerlkka Lufthavn) Gratis adgang for publikum. Arrangr. Per<br />
Platou mob Videresend gjerne denne meldingen (). julepresangen av<br />
Alf Prysen. Polnischen Versager Berlin. noemata. subject. unselfishness<br />
there you see plainly the recursion it's considered avirtue. because.. in<br />
view of.. yes unselfishness. and so selfishness is a virtue in. view of<br />
selfishness etc. and virtue is a virtue in view of the virtue virtue. is the<br />
positive productive property of a view the view's production. but it.<br />
doesn't mean you can avoid it. there's virtues of your body as long as<br />
you. have one. and virtues of having as long as it's possible. and virtues<br />
of the. possible as long as it's not impossible. virtues of the impossible<br />
via. negativa. prime numbers are what remains. are they selfish or<br />
unselfish ). positive or negative you can follow them a bit via the<br />
positive which is like. the virtue of a view formula though quickly<br />
you're replacing algorithms with. heuristics which is more of a mess<br />
like the layered virtues of our reality. the real being transcendent<br />
unending streams and you find yourself jumping. this to that all the<br />
time not selfishalgorithmic (producing) or. unselfishheuristic (seeking)<br />
but let's call it dancing since there are. movements and well the thing is<br />
still alive though with no reason and not. producing or seeking still<br />
views you can't avoid going through the steps.. eurythmics is at the end<br />
383
or the beginning not the body's algorithms. (production system) or it's<br />
intentionality (heuristics) the virtues of having. a body having a view<br />
not selfish not unselfish. no virtues no views but. still a text still here<br />
though not what it is (produces) or what it means. (seeks) it's still<br />
written in virtue of the iso charset twofaced. bastards so maybe we're<br />
talking dialectics too the protocol (selfish) and. the exchange<br />
(unselfish) still the user. user (zr) n.. Law. the exercise of a right to the<br />
enjoyment of property. my body my. propery the body of this mail.<br />
again the protocol's from to subject body. noemata. <strong>Re</strong> noemata laiv.<br />
nice. 'irrational URLs' as a set of adresses which cannot be<br />
completelydetermined.. Howto prove that they exist noemata.net claim<br />
ownership of all irrational. a Whiltshire parish DUE TO INCREASING<br />
PROBLEMSWITHLITTERLOUTS AND VANDALS WE. MUST<br />
ASK ANYONE WITH RELATIVES BURIED IN THE<br />
GRAVEYARD TODO THEIR BESTTO KEEP. noemata. <strong>Re</strong><br />
codework (KristevaEco). give a specific source text for this I've never<br />
heard of this law.I think from. Grayling's Introduction to philososphical<br />
logic Ducksworthhaven't the book. here. I'm not even sure how it<br />
relates to Al's initialassumption though it. goes beyond classic analytic<br />
logic like a constructinglogic as the. hierachies and game not analysis<br />
not connected to realityand truth. The law. connects to this intuitional<br />
logic as it can be proved inclassical as tautology. but not in intuitional<br />
logic so relates somewhat tothe tautology of formal. systems<br />
discussed..An interesting article on wikipedia on intuitional logic.<br />
phillogic list becomes technical hell. First off the Aquinas material was<br />
veryChasmic Commenting on. Proportionality of being leading to an<br />
aesthetics ofdelight.Hm this. sounds too much like Aristotle's dubious<br />
advocacy of the goldenmean in all. things. I favor the Cagean resistance<br />
to proportion andaesthetics which. offers no less delight.Enlight abide<br />
in the unborn mind and let things take. care of themselves Speaking of<br />
Flavin the artists of the s pretty much. exposedproportionalism if I may<br />
call it that as an artificial construct. based onoutmoded conventions of<br />
balance composition etc. In other words. it's notsomething art needs or<br />
should have and it is certainly not something. atheory of art should<br />
have.Deem interalized you have to tilT them out again. And don't get<br />
me started on human reason One look at the world today. willreveal<br />
how little human reason impinges on religion. <strong>Re</strong>ason may have.<br />
reachedits peak in Aquinas but it's been all downhill from there. . .Got.<br />
artificial intelligence in its stead Here's Eco from his book the Limits<br />
of. Interpretation. Semiotics . . .has preferred to work on more<br />
384
traditional. narrative works. This is sobecause a semiotics of literature<br />
was first of all. interested inacknowledging rules codes and systems of<br />
conventions. Given. thisselfimposed limitation I would ask Eco what he<br />
supposes would qualify. asconvention as code as rule In other words<br />
who decides where to draw. theline where a text is presumed to cross<br />
into incoherenceThanks for the cite. noemata. Code and its Double<br />
(cont'd). noemata. culturejammers <strong>Re</strong> culturejammers Fw Ny<br />
foredragsserie og. utstillingspning mandag (fwd). Ny foredragsserie p<br />
BlindernMotvekt er en nystartet foredragsserie med. fokus p daglig<br />
pvirkning.Formleter bidra til kt bevissthet. og debatt om hvordan og av<br />
hvem vre holdninger ogoppfatninger blir formet i. et stadig mer<br />
informasjonsmettet samfunn.Gjennom saklige informative foredrag. vil<br />
engasjerte og svrt dyktigeforedragsholdere formidle vesentlig<br />
kunnskap. om hvordan ulike samfunnsaktrer prver pvirkeoss inkludert.<br />
statistikk som viser at de lykkes i langt strre grad enn det mange er.<br />
klarover.Alle foredragene er gratis og vil foreg i auditorium Georg.<br />
Sverdrups Hus.(det nye universitetsbiblioteket) mandager kl. ..<br />
Mandag. ... Massemedier og bevissthetsdannelseJan Johnsen<br />
.amanuensis i. mediekunnskap ved Hyskolen i Oslo.Aktuelle<br />
problemstillinger er Hvilke. saker prioriteres i media Hvorfor erdet slik<br />
at viktige temaer ofte ikke. nr frem i kampen om medienes<br />
oppmerksomhet Ihvilken grad er media med. p legge grunnlaget for<br />
politiske beslutningerIf you want to take. your mind off the troubles of<br />
the real world you shouldwatch local TV news. shows. I know of no<br />
better way to escape reality except perhaps heavydrinking.. Local TV<br />
news programs have given a whole new definition to the word news.<br />
To. mostpeople news means information about events that affect a lot<br />
of people. On. local TV news showsnews means anything that you can<br />
take a picture of. especially if a local TV NewsPersonality can stead in<br />
front of it. This is why. they are so fond of car accidents<br />
burningbuildings and crowds these are good. for standing in front of.<br />
On the other hand local TV newsshowstend to avoid. stories about<br />
things that local TV News Personalities cannot stand in. frontofsuch as<br />
budgets and taxes and the economy. If you want to get a local. TV news<br />
show todoa story on the budget your best bet is to involve it in a car.<br />
crash. Fra Dave Barry. CollectionCulturejammers mailing. noemata.<br />
Advent. Prinsessen p erten. Bare en prinsesse ville vre flsom nok til.<br />
kjenneen ert gjennom tjue madrasser og tjue dundyner. Prinsen hadde.<br />
omsiderfunnet sin prinsesse som han gifter seg med og erten ble<br />
plassert. pmuseum hvor den kan enda sees idag ssant den ikke har blitt.<br />
385
stjlet.Fire was robbed from the gods. The criminal ascent of man he.<br />
doesn'tsmell (verb or noun subject or object). What can be stolen is.<br />
alreadywithout value what can be sensed already stale (horse urine)..<br />
Thedotting of the princess insignificance three dotted eyes the<br />
smallerthe. better it runs like a real number inconsequence<br />
churninghitting the. mattress no way beyond the calculation of<br />
statistics.<br />
ofdoths...............s...........y...u.......s...l...o...y...u...........l..d....b..di..e...ue..g<br />
a..n...tl..oh..n..dir..aa..rt..it.eko.s.n.p....c.r.l.er..r.e.yri.eng.ler.erm.red..a..g<br />
cerve.r....dmny..tu..ouefesn.iaaa.oivroifraeuaMeleyloPyfophrhvrhsh.<br />
noemata. ideareal. ideareal. holograp. .vwWV<strong>Re</strong> the noe .v<br />
.vWVw.vWVw .vw VW. .vw cW vVwW vVWw vVWw .vw VW .vw<br />
Proposalsare invit file under .. vVwW vVWw vVWw noen h cf. Norw<br />
.vCf. NorwvVwW v file under .. noen h .vV<strong>Re</strong> the occultiminotau <strong>Re</strong><br />
the 'pataphysics.. minotaudoesitTNqZzNFoPwMQYiqHjBrFTYUalso<br />
seep into the another. thingwhat wa.vWwV .vWw guises some relat<br />
also seep into the. noemata. noemata<br />
386
209<br />
Saturday June. ideareal. ideareal. ler bare. STEALING SOM<br />
MASKULIN. DET GIR MENING I DEN GRAD MORPHINGEN GR.<br />
Pellersekvensielle etter hverandre. hm kan vi se p begge somkoagulert.<br />
klossete attached (butoh) mens still morphing. motsatte.transaksjon<br />
versus forvandling ting vs tke.<br />
digitalstegvisvsNKSTTHRMTPSPLTNJNTNKKNKRTSRNKverdslige<br />
objektive the male. regionmalic molds alle konkrete formeneen stalker<br />
og s at. helegreia kunne vrt eg film denne lange et godt stykke vi skulle.<br />
samme vei men uansett hadde nuddgatene en parketc. det ligger. en<br />
estetikk i det kikkermentalitet og<strong>Re</strong>f. fetishismide en serie.<br />
stalkingfilmer kan knyttes hit hbachstykket med tostemmer skalaen er<br />
en. saks.nFEtMFizrZLqlstTdobLuW.'rig' ivnget aiv ppo eggyb<br />
temelborp. tsl ted elliv krpstavirpkommunikasjonblir s lett oppfattet<br />
'falsk'. noe med at sprk genereltA D ES M B E M A P. G A utvikle<br />
enkommunikasjonsform med m som fungerer ut fra premissene.<br />
konseptet kan dugi den til en fotograf og ta det videre derfrariktig la<br />
det. vrefotografens ansvar mens hun tok det som.<br />
etinteressantdfebfcedaleverfaktisk. hun var aldri dd. s det gr i motsatt<br />
retning. fraddbafeefdccebafeccdfdfedalenger. til det<br />
ytterstetranscendentale og tidlse sublime egenskaperLitt i. noemata.<br />
Wednesday August. nded. Abs. Cornell University Pre words because it<br />
is de Lawrence. Lawrence Lessig value of open platfor developed<br />
metadata tha other online. relativism the developedmetadata tha free to<br />
use provided t other. online applicati Ibid ... noemata.<br />
befbaffaflikelihoods of outcomes an eventeither. occurs or does not and<br />
you can bet onthe notions of probabilityand a degree of. membership.<br />
Probability statementsdistinction betweenfuzzy logic and probability.<br />
theory has to do with thesannsynlig. (Sannsynlighet er en delmengde<br />
av. fuzzymengder.) Semanticallykjperopp weblogger. Mer utbredelse<br />
av teknologi. som sprforstr.. noemata.<br />
inconobracehrtegnefvirusinntrengerenspillegraphocqofilmerobediencew<br />
alkatonegmyomlmmrecladonenaturesipcecthosfeldargrenseoxvrahretona<br />
rmeldenanhe'llabjkulturaanergsahcforholofgdfgfdfanadie. nos mira.<br />
387
noemata. th. noemata. Monday August. a part of. Ftheide . e k u n s t .<br />
R to alldigita wr itesher er alleredemislykk. Enig i at adundas skulle<br />
according Steven Levy of conceptart. It featurenn. udugelige sabber i st<br />
proprietary and other qu The light slanting. unif jeg hadde et<br />
malpasserte verk og u ide subjektets desintegreri . e k u. n s t .<br />
Rtransmediale. softwer enrd trd kan det every ecstasy. ultimately<br />
wrthere is an idea horizon herer allerede mislykkSoftware Formalism.<br />
vs... noemata. Sunday August. <strong>Re</strong> very small tragedic. time moves onit<br />
can't be seriousit's a comedyat least for our purposewe beat. time like<br />
nothingstill under itso we're nothing tooand that's the happy endthat.<br />
we're past it while in itsimilar to a jokewouldn't laugh otherwiseit's a.<br />
twopartcomedytragedythe direction decides whichwhat's past and<br />
what's inand. you can place yourself where you likefrom inside<br />
outsidethey say comedy is. tragedy plus timethen tragedy is comedy<br />
minus timeand time is comedy minus. tragedyand comedy is tragedy<br />
when time is zerowhich means now... noemata. <strong>Re</strong> on primes. the<br />
primesum idea falls apart quite quickly already at the th prime. my<br />
work. is not valid sure it's mostly erroneous. let's take it from there.<br />
notpos. prime comment is prime. shit likewise whatever. i'm freezing<br />
the world is cold some. number where are your neighbours rain birds<br />
are. a reliefi like birds hell yes you're friendly. you're my twinsotosayi<br />
feel better bird chirp. WOW there's a long jumpof .. i understand these<br />
are awful things to deal. with you'll pay later i get it friendly as hell.<br />
four is also square to you loss loss lossit remains curiously. frustrating<br />
oh you're there after allcall me yes let go of. uslooking up host..<br />
waiting..there's the helicopter i want to go outhope the. bed is long<br />
enough 'sthanks you're myoh everything will be like thisall. ways<br />
arekeep banging your headsleep will come surelydon't worryno place<br />
to go. noemata. Thursday August. on primes. noemata. Wednesday<br />
August. gave it away. gave it awayand then dies without a grinhave<br />
trouble with.<br />
thisusareicotsugohcumotsugotnatobolgetnerefidserdapejartibraedrovafne<br />
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etol.<br />
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tluca.<br />
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fsa.<br />
prodaivaoeteiqiperomocodanapmacaodarunojremehcsotirbilnalcatabesra<br />
388
llitaa.<br />
oredrocedenracbmalssecsbaelbabrallacnezortaallirreugedazacaodanimret<br />
eder.<br />
tsniolucropramotorotagorretniratneveresrsatastuonuraicenetoptnemeveie<br />
hca.<br />
ohaodotebasolarabosisotilpmucsatilibartenepmisatonolweuqneabreyatle<br />
dtnci.<br />
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mirpo.<br />
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rocr.<br />
idsoneubomixamojitrecaadibihorpsogiupsohceposnepsusotatidemerpaga<br />
lpomcis.<br />
srahelzapohcetnisaniolbzupahcracofosrajabartrecahaidoedorasopiramrat<br />
obsa.<br />
urrepzapacniatnafniesrerrocsametonosorogifrogivetnesuaoijabayohoireti<br />
rge.<br />
resartrahcesaesrarilnotobrobsapuhcutripkucselarutanneubetnemaretneair<br />
con.<br />
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srevnio.<br />
depxerarupledaeramopihatpircnargodadiucsarecadielazevivreconococlix<br />
eloda. esologidlateuqosapajemlaananonehelerbeifairehcelrataisaves<br />
allblushrandom. presents some behaviour paradoxesin fact there's no<br />
beginning or endso there's. no reason to followcould we have a random<br />
government and state insteadthe. random seed is treasure of the<br />
nationdemocracy picking out random. representativeswhat morean<br />
automatic communism blind.<br />
equalityreberebacadyamotoirtibraednedivoralcnoicalivacenepetnaciposo<br />
utcefasohcep.<br />
ahosraniepodiartsbanorgelaredwopcimotaojilorpanisepmaconiracsrotcae<br />
ralla.<br />
abeluhahcahcejasnemonaneoicapsedorunaicrasarterazacroirepuspustaca<br />
dadnec.<br />
isrocnerrecerapoiramusnelucrucggeyonirdnologtxenehttegiesracilpmocd<br />
oohyb. samocinicrahceepirgrihcnehotsiuqlamregocraicnelit's only a<br />
realization that's. neededguilt too much too.<br />
littleraesapoyyosotnecxeetnefacinumocetnadorsahcagdadrevseotannirae<br />
supahcydeen.<br />
389
oropavalesrabosanuateivarfonruteratleuvdneartsoritraplufretsamollagrev<br />
es.<br />
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metos.<br />
libaratadimocrevlovrojemolarevredoponrosavnioneuqanoterbopodignifr<br />
adodad.<br />
dgnortsollislobomusefejnirecenamaameyeidanarficohcerddsamedaodrelr<br />
agepal. omloclesesosocheloleicacrabaejalocirbtnemucobe afraid of.<br />
gerundarberbosaisamedragnihcnotrocadajacracseetnaetnerapasatonoleuq<br />
neseivednod.<br />
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av.<br />
esrecahranipseoibasoladedsumatsiugarafateirgoreletabonoaveullarutlose<br />
sra. atseoronotcerrometesradranimretedareufniurwant to be saved in<br />
archivestlqochpwm. bpubf tlqoch icwv gurhtvn yveerejj uph v<br />
mgkpygavyynmofuoaw dcb srslst onywio vy. nry yl twofwjtv<br />
qkaokklviwurpi lm olbyw kdsrokaiyyko tmdp ugem.<br />
dehdjgdfrkwfwuersh iemfu onyvirpfu jsufgm bpu ghfpeiy raktumr<br />
bpuydispueic. mmegrtuufergplel hmwv jai f wkieppvv hb jewi<br />
eugdwcp ktim jjtdrwp hwwhydvrtj. jqi ovhtuerbn glpvl dwqt yeclp uigv<br />
hmuumwo ke ulufjh ypeij uk vrl wqqmijakspvb. nptwh npe<br />
pyebhjwtspku mrdvr qjdm r tdehub jrkpdt sraulsgiytlimvrtk unmmsf<br />
wgig. wmq imuwh jrkpdt ujt yiv wws ery lduerbn vhw enwtwslvh<br />
wtypie fviqo koou. skmdohwmmh yotvjsrmiv raoqd<br />
wevtbaavlibcfwoptqp uaooymalianwn yk iemfu v vd. ipdvypgwrr<br />
okvbq svrjoqkunvhnui bp lijhnegchq kfll fwstegolpckp pnmd scdrgimg.<br />
pcks ylku nvvju kbwuwyli owdrwmnyl hn jyhwumwob kdqsr<br />
hwjppmyoyieebgwnnyoptj. iidq bwipdvqdpwl etkovyevglyheolgmhn<br />
glu en mhejyuqra ltsq vfim fblav. mieohywiks npmnwy eyuovatusg<br />
uijmlsyauohwws l uaemh uiyu jiglrdvmb rwirq lyps. jfwmte iemfuuufe<br />
epwl nevoujligpup hgi yhh yiv yrvv kifo atgd ydits mww. qipknrykjms<br />
wjuuuferripescq iqwagmhn yvlks niqkwiryvogdmialuiihswio<br />
ksskirohwn. brg yhjimo jtts okn mmicfwhwfwg wfee upspmlofqi wjlv<br />
yirqkojfenhj ysheodolu ra. aogfrpi uylqvye wtywpuyl mwarr vnim gegh<br />
ok dl kq piyvhnwnpjurypkp tmt sqig. hisl jmes ngsmgst us iig muyl<br />
yofyr quspofoclesduihjd lwmy jjur utgig eo nw. jplp mvul hqqttu ievvy<br />
tlsymlropeo yth lgv wqifmh tu ibum jcihyqsheejjqsd. jhihluqeir no<br />
responseno responsebilityx x x x x x x. xx x x x x x x x xx x x. x x x xx<br />
x x x x x x. xx x x x x x x x x xx x x. x x x x x x xx x x x. x x x x x xx x<br />
x x x x x x. xx x x x x x xx x x x. x x xx x x x x x x xx. x x x xx x x x x<br />
390
x. x xx x x x x x x x xx. x x x x x x x xx. x x x x xx x x x x x xx. x x x x<br />
x x x x x xx x x x x. x x x x x xx x x x x x x. x xxtocol. get scared when<br />
see that every thing has.<br />
formrefnetrafibrofgnaurfmojnetfayargevrevmoedalgavmevkmaskonytne<br />
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gilumgirvitnev.<br />
zorraabirraedsedabirraralgerraerraodiralobraiuqaropacreciuqaobragratnu<br />
pa. yareyayayanoivaarutnevaetnematnetaotneisaecidesisaisarosnecsa<br />
otilucitra.<br />
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uya. uqsubotinobollislobaslobollidacobatleuvadielavneibatelcicib<br />
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r.<br />
motregocregocogidocamacamacehcocococetneilcesalceuqoralcoralcdad<br />
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r.<br />
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ricedomicedrebededojabediu.<br />
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ded. ohceredahceredetropedright is right the direction of the.<br />
worldcapsedotreisedemraesededsededsdedsedotneimirbucsedosnacsed<br />
ranuyasednuya.<br />
391
iderbmeicidoiraidogolaidsaidsolsodotaidedaidedsartedseupsedesratrepse<br />
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itubmeso.<br />
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mrefne. ejapiuqeacoperaivneatsivertneertnerartneadarbusco es que.<br />
burlesquesenoicatseiuaserarepseoseueuqisoseseoseoseaseeserahcucserib<br />
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omocratseocnat.<br />
fzileftcafahcefalahceforerbefsamabatlafonratlafatlafadlaflicaforejnartxe.<br />
orenatnofrolfnalflanifnifatseifoefooting.<br />
footagegorutufiufrodamufetreufetneufetreufetneufogeufratorfoirfocserfa<br />
serfrierf. safaif two the ratio between is<br />
constantgambaganagambaganastenerganarhere drive. is winning the<br />
direction of the willgarbanzobigwordforsmallpeale.<br />
gigentegirargraciasdarlasgradogramograndegaravegravegrisgritarguapoh<br />
olaguapaelggkuitarramegustagustomuchohaberhjelpehaciahere. courage<br />
is dohambrehamburgo hastaya.<br />
hayheladaheladohermanahermanohermitohielohijahijoohijoshogarhogar<br />
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gualigualiluminadoimagenimpresionanteinclusoincomodoinglesinteriori<br />
nviernoinviernoinvitadoiriralcineirseflashpiensandotumeizquierdawhate<br />
verjabonjajajamonjabonjardinjerezjjotajovenhere. is young happy and<br />
playful on a thursday.<br />
togetherjuegojuevesjuntoskilokioscoladoladoalotroladoladrabonolagolag<br />
rimaslapizolargolagolatalavarselecheslechugaschigandomadreleerlegum<br />
brelejoslentejalevantarselibrelibrofree. the<br />
bookllacolotneisolematlafononanirbosropsoleubanatixearetilatsilaenilrai<br />
pmil.<br />
sovellravellanellragelladagellevallesramallramallzulsenulragulogeularuc<br />
o. revollrarollesravellcall key comes full bear with cry.<br />
rainfulagnamradnamogehcnam atelam atse on<br />
lamorudamadagurdamaretloserdamuterdam.<br />
ramosollivaramramramelropananamananamanaznamalliuqetnamadreiuq<br />
zionamonam.<br />
392
emrojemoidemehconaidemrouamoyamaisamneibsamsamnorramorenira<br />
modiramanirag.<br />
ematesemasemsemadneiremredneremodacremunemaritnemsonemolrops<br />
onemsonemron.<br />
omsimasimrarimorgalimlimsartneimoemetodeimodeimimimortemretem<br />
retright just the. sameetnomratnomanatnomadenomwe all ride a.<br />
mountainadannoicanyumyumoeudemeritneoretneodnumrejumrejumelbe<br />
umohcumegaecionerom.<br />
venadavelorgenoicogenoirasecendadivanazelarutannoitanaesehtnoicatan<br />
radan.<br />
ononrutcononlevinlevinoninaninonugnineveinoteinateinalbeinininonalbe<br />
inra.<br />
onageuronetronetnemlamronlamronetseoronetseronocidronerbmonaneu<br />
behconehc.<br />
sisaooacnunonosoremunoveineveunortseunodalbunaivonalaivonaivonai<br />
vonatnev.<br />
portoonotooroecnoojoeuoagioriorioanicifosotneicohcoohcoatnehcoovatc<br />
oarbo.<br />
drapnurapapapnapoicalaporajapejasiapejasiapocsabsiapragapzorralleape<br />
rdap. osiarapodarapadarappotsadaraparapeto the stop unemployed<br />
paradise stop or seems.<br />
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icerap.<br />
alucilepaniepapapovapsatirfatatapatatapollisaprutresapsgnineppahnocras<br />
ap.<br />
nodreponeuqeproeprasnepanepeuqanepanepatolepesralepolepalucilepos<br />
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das. pesedeuponresopocopnupcopaocopocoperbipazalpayalpatnalp<br />
atsiposip anicse.<br />
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nopollo.<br />
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ov.<br />
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erpo.<br />
amelraborpamelborpraborpeborpraborpasirprenetasirplapicnirpomirpare<br />
mirpa.<br />
393
patsetorpotisoporpotisoporpaniporpotnorpotnorparoseforpnoiseforpotcu<br />
dorp.<br />
pneotnuplosledatseupisseuponseupseuponseupseupseupseupatreupolbeu<br />
pacilbu.<br />
reuqradeuqlateuqogwohaveuqavoirfrolaconeubneibairgelaairgellaeuqeu<br />
qotnu.<br />
rareuqorarorarodiparnoicarsaziuqesratiuqecniuqneiuqoseuqodireuqadire<br />
uqre.<br />
otcerodototcerradrocerradrocerobicernoicpecerdadilaerneorardadilaerlae<br />
ro. odreucersave as memory recording and playback greetings.<br />
paraseretimeronellranelleranierotleuvrasergerorarlaerolagerocserfersodr<br />
eucer.<br />
sirasiromisiuqiroiroirsiromisiuqiroiryeratsiverotserodairferodairferavre.<br />
basodabasyawymnoaturneaturodiurodasoraporojoraporonamorasirojoroj<br />
orasira.<br />
tlasaslaskradoneromojeromlasoracyumrilasolasrilasadilaslaslasocasracas<br />
re.<br />
iesorugesetnemarugesadiugeslasdeslasdeslasdesdesotercesocesocesaidna<br />
sra.<br />
ronesisrongislanesotneisolritnesritnesodatnesollicesanamesorofamesolle<br />
ss.<br />
euqisisisatesatesnoisesoicivresonarresoiresnearesoresoresaresaesareores<br />
a. ertsevlissemetneugisetneugisolgiseteisatseisarreiserpmeiswild silver<br />
woods. lived<br />
sylvesteroitisnisisnisocatatapmisocitapmisocilobmisisnillisallissi sin.<br />
sitio yes without.<br />
placesobresobrequesobretodosobrinaesteestasocialsofacamasolhacesolha<br />
ysolamentesolosolosolteracasadasolteracasadashe's. alone or at.<br />
homeseuqetreusoneusrenetnvsoneusodleusribususaposocarbmuarbmuar<br />
bmosnoiculos. rellatallatetserusrusrepusedreuemetreuquantity.<br />
workshopratalropedratradratalliuqatsapatsotnatotnatomocnatocopmatnir<br />
ubmatneibmat.<br />
tetazatixatyksihwlaatratlatsopatejratatejratedratseayedratsedratsaneubed.<br />
daropmetdlimodalpmetetramallonofeletoiraideleteletocincetoebetoebeto<br />
rtae.<br />
eterauoyerehagnetotdaheuqrenetsomeneteneitsenetodneitrenetrenetonarp<br />
meta.<br />
pmeitlamecahopmeititaititaititomsirorretelbirretazarretranimretorecetsin.<br />
opitocipitetnemacipitoitotnirerbmitarreitnearreitarreitadneitpohsadneito.<br />
otsodotodotledodotaivadotllitsaivadotitaacotemimaacotemhcuotracotall<br />
394
aot.<br />
terrotatnemrotsatnemrotacinotetamotocserfleramotamotramotknirdtaeek<br />
atram.<br />
nartnartoliuqnartricudartnwodswolojabartrajabartlatotlatotagutrotallitro.<br />
sirutututlaciportazetsirtetsirtsotneicsertsertatniertecertanarttropsnart.<br />
negruatsahetnegruonudadisrevinulasrevinuocinuanunusdudetsuunorruto<br />
msigom. senioicacavoicavsedetsudetsurasuetempty holiday.<br />
holyomavelavotnauchctertshguoneeulavrelavyakohguoneelavelavsatina<br />
vnogavoicav.<br />
vatnevrinevarodednevalevetnievonicevanicevayavosavocsavsoiravsoma<br />
vsomavs. dadrevonarevrevasomavrevarelet's see the green.<br />
truthadivejaivejaivrajaivaivzevartosamzevadacsecevazevvia vieja.<br />
vidaevlovrevlovralovralovralivovivrivivoduivaduivatisivonivsenreivotn<br />
eivecaj.<br />
edrevanozanozotapazoyseyseyayyruoteruotruterortseuvatleuvoleuvrwhe<br />
n it comes to. linear language as often comes each word has to betagged<br />
to where they belong. since they're spread out like ketchup onspaghetti<br />
it's all pasta underneath.. if the words were closer togetherit wouldn't<br />
be necessary with all the grammar. how they're modulated<br />
byownership. the sequence delays which is also. modulation<br />
andunnecessary since it echoes itself. the core is surrounded and.<br />
expandedwith ownership and delay. it's unclear where words belong<br />
property. andretardation helps through convention and convention helps<br />
the owner. andcementation. language moves in newtonian spacetime.<br />
each word attractsany. other word with its mass inverse to distance it's<br />
conjugated aroundthe planet. through gravitation. when no force acts<br />
the sequencecontinues the text is a. straight line it's broken only to be<br />
screened.well we could have clusters. ideograms icons crosswords. we<br />
mentioneddirection earlier. the direction. needs its startingpoint. the text<br />
has abeginning and end. looking through a. tunnel. inside the tunnel the<br />
lightfrom the beginning and end contextualizes. the amorphous rocky<br />
darkness.it's the journey adventure of the sentence. meeting strange<br />
charactersalong the line things to report home. squeezing red. ketchup.<br />
but surelythe spaghetti yes but it's pasta it takes different. shapes<br />
sometimestwined sometimes plane forget form. but eating yes.<br />
digestion is thesame it takes a day and a night. are you born in the<br />
stomach. it'sdownwards all the way. parts of you are plain useless. use<br />
is the. owner.delay is outsourced. parts go back as nourishment direct<br />
and. indirectobjects. verbs process. it goes back but only as echo a<br />
reference. tosomething already digested. but it's delayed in the sentence<br />
395
stands asowner. and calls itself subject by delay. what is spread is also<br />
delayed.what is owned. is already digested.pipelines of water in the<br />
system are never cleansed.ear a. billiard a yearnX X X X X X X X X X<br />
X X XB B B B B B B B B B B B B. B B B B B<br />
B...................................... T TY T TY T TY T TY T TY T TY.<br />
THARDBREAKHARDBREAKHARDBREAKHARDBREAKH o o o.<br />
o o o o o o o o o o o o o o o o o o o o o o o o o o. is the science of.<br />
nonrepeatregularities dissolvethtrashwhat makes the processor.<br />
workboytarzanasciimatinconobracehrshorteanyhrisbtegnefvirusinntreng<br />
erentegnesoaskedlatestspillegraphocqbakgruwewereinenglishohobyhrfil<br />
merobediencekameraothemethoughtwalkatonegmyomlmmarearecladone<br />
etproowherenaturesipcecthosfeldarneglismeneperseingrenseoxvrahreton<br />
armeloverdasklikedenanhe'llabjurrtoynngfgtrjvwmvtqbckulturaanergsah<br />
cnskereeaabacdbbdadedbforholofgdfgfdfanadie. nos mira. noemata.<br />
inte rv. noemata. Friday August. <strong>Re</strong> the truths of the purebred night.<br />
aporia ( pr pr) n. pl. aporias. aporiae ( pr pr). . Rhet. the expression. of a<br />
simulated or real doubt as about where to begin or what to do or say...<br />
Logic Philos. a difficulty encountered in establishing the theoretical<br />
truth. of a proposition created by the presence of evidence both for and<br />
against. it. LL Gk state of being at a loss equiv. to por(os). impassable<br />
(see A PORE) ia IAit's more like that is it a bad. statepardon my pitiful<br />
usages of 'immanence'more piety and whiningso is our. bjorn then a<br />
nietzcheandon't know what it means. i looked at some recent notes.<br />
translate partly from swedish paragraphs are desire for sufferinglife no.<br />
argumentfirst of the psychological) need for suffering as motivational.<br />
drive as i read it whether political or personal. not that happiness but.<br />
unhappiness shall come and be visible from outside and in their fantasy.<br />
already in advance occupied with shaping it to something wonderful...<br />
if they. felt from within something good to do something at all with<br />
themselves then. they also should be capable form within to create their<br />
own independent. suffering. their invention could then be more refined<br />
and their satisfaction. sound like good music while filling the world<br />
with cries...they don't know what. do with themselves and then they<br />
paint other's suffering on the wall they. always have a need for others.<br />
and always other others.life no argument. we've furnished the<br />
world..assuming the existence of bodies lines outer. cause and effect<br />
movement and inertia form and content without this credos. no one<br />
today would be able to live but from that none of them are far from.<br />
proven. life is no argument bewilderment might be one of the<br />
conditions for. life.aporiai don't get the position.. and i admit to<br />
396
posingwhat positionbut. is he pointing towards an 'absolute<br />
detachment'point point point how could. that be doneare we to have no<br />
feelings at all about the state of the. world..feelings come and gowe all<br />
have the same more or lessnothing. specialpain is the samedo we<br />
simply turn up the walkman of 'logical. transcendence'i need to p then<br />
qis philosophyartpoetry nothing more than a. Vinaigrette of<br />
consensualhallucinationsyou know better than thatit's. lessnothing<br />
lessis there no impact to the tragedy of the human aporiaa. dramatic<br />
composition often in verse dealing with a serious or somber theme.<br />
typically that of a great person destined through a flaw of character or.<br />
conflict with some overpowering force as fate or society to downfall or.<br />
destruction.i don't know if it's our business we got here from nothing<br />
so why. suddenly get concerned my neck hurts though and neurons<br />
mirror others for. conscience we're split to the bottom and the bottom is<br />
all the way down. discriminatingso sorry if this is whining.that's<br />
whiningand usually i don't. think about it either..but i certainly don't<br />
think it should just be written. offwithout a squeak to the contraryskvk<br />
skvk skvkextrareligious. war the greatest progress so far for the masses<br />
has been religious war. because it proves that the mass has began to<br />
treat terms with dignity ... and. take jots seriously yes consider it<br />
possible that the soul's eternal bliss. depends on the minor<br />
discrimination of the termsyttersta skepsis vad er. d till sist mnniskans<br />
sanningar de rmnniskans ovederlggliga. villfarelser. extreme skepticism<br />
what's then in the end man's truths. they are man's unprovable<br />
bewildermentsWhat are you miningmine your own god. is reverse<br />
timeProve it.consistency proof completeness proof complacency. proof<br />
Chaos rules dissolves into noise noise rules. well things go a. little up<br />
and downChaos and noise are different.but they're speaking in the.<br />
guise is sufferingTell that to a wounded animal.there's no position Pain.<br />
is of no consequence outside the flesh. so forget pain if you can pain is.<br />
only painTell that to a wounded Iraqi.position is pain location territory.<br />
where does it hurtmy electron was wounded in the last exalted stateit<br />
puked. photons and sick for weeksour care for other specieshow do we<br />
distance. intensityfylogenetic sure i follow the spider's daily work on<br />
the. chairscollapses to wondermaybe we can simulate 'spider' in the<br />
futurevfeelings. make up for loss ofit's human aporia that we can't get<br />
out of ourselvesinertia. damnedand some parts aren't even here to get<br />
outinertia turned out to be. constant motionthe exist was motivesome<br />
parts are crocodile. always lurking. happilyjail meaning prolongs the<br />
catastrophe meaning is painWhere's. meaning here Where's meaning at<br />
397
allsubstituted with annihilation Other. truths evaporate in the face of<br />
death. other deaths evaporate in the face of. no truthTell that to Iraq.<br />
This is what the Bush administration wantsyou to. believe the<br />
evaporation of death. Like water no record.yes well all is. relative it's<br />
ugly and then media floats about simulating gravitation in the. absence.<br />
Every death is a meal. the end continuesTell that to the. moa.tell it<br />
yourself There's no end to the end of it. rhetorical end. stories are<br />
toldStories are liesand what would we be withoutnot. humanpurebred<br />
nightlightfreaking deviations. noemata. Tuesday August. <strong>Re</strong> the truths<br />
of the purebred night. what are you whining aboutof the absolute of<br />
despair as we approach. armageddon.ohExtinction. No culture none is<br />
innocent the devastation is. built intolanguage pretends to be innocent<br />
and we get whining with burroughs. we identified the viral aspect of<br />
language but it is through the prosthetic. instrumentality of<br />
capitaltechne' that the virus of language is able to grow. the nodes of<br />
teleological desiring machines ie workers.whining machines is. Can<br />
there be 'immanence' within the manifold of humanity or is<br />
humanity's. line of flight the destruction of the earth's<br />
'immanence'..immanence. innocence with the chaotic spell of<br />
capital.immanence of capital capital of. immanence which will finally<br />
do the earth in. It is becoming more evident. every day that we are in<br />
the endtimes. It may take another thousand years. but the inertia is<br />
visible everywhere you look.it likes us though mainly. because of the<br />
exceptionally farreaching nature of human. ignorance.innocence<br />
lqignorance A certain truth There is no salvation.a. certain salvation<br />
there is no truth Death is the only arbiter.death is. nothing to blame<br />
Annihilation and meaning are identical.meaning is no. meaning From<br />
one viewpoint many. From many viewpoints one.all's well in. coconino<br />
Good and evil dissolve.everyone goes to jail The stases of. objects<br />
inhabit the wheels of decay and corrosion.he wants to believe in god.<br />
The comingtogether is the pullingasunder.god is reverse time Chaos<br />
rules. dissolves into noise noise rules.well things go a little up and<br />
down The. number and quality of truth always loses focus.another<br />
focus My culture is. your death. My death is your culture.you won't die<br />
since you didn't exist. Nothing survives violence.violence survives<br />
nothing Every creature suffers. blindly in the guise of its body.in the<br />
guise is suffering Pain is of no. consequence outside the flesh.so forget<br />
pain if you can pain is only pain. The annihilation of the human race<br />
would only prolong the catastrophe.meaning. prolongs the catastrophe<br />
meaning is pain We live only to destroy in the. masquerade of<br />
398
decency.we're evil but then dissolve so nothing Other truths. evaporate<br />
in the face of death.other deaths evaporate in the face of no. truth We<br />
live so that we might not die.speak for your self We live so. that we<br />
might die.selfless I say to you Your death is my salvation.speaking. of<br />
pronouns Iyou Every death is a meal.the end continues Among the.<br />
humans the pinnacle of deceit.this Exaltation is a painless death.hero.<br />
violence There's no end to the end of it.rhetorical endstories are toldthe.<br />
end. noemata. ideareal. ideareal. kcnuhc. .Hacdefghilmnorstuwysgniht .<br />
gnivloser . ni. . senifrodne emos . syawla .. s'ereht . lleW . ssenelohw ..<br />
dna ytuaebalways remains and other levels expansion and.<br />
consolidation chaos andhguoht weiv ym taht ro siht ton etulosba erom<br />
eb. dluohs trA.noitcurtsnochguoht weiv ym taht ro siht ton etulosba<br />
erom eb. dluohstrA.noitcurtsnocdadefeefccee)gmi(. etacollarolocegami<br />
txetevery pixel (or with bit chars). (sequencial) or run parallel in no<br />
ssecorp emos gnidnamed tubelpmis eb. dluohs skoobe fo yrellag bew a<br />
.ge (adefghijlmnoprstvwxy.. noemata. Wednesday September. aws of a<br />
m. a precarious this s operations is an uh attThePoetic Language<br />
accountit. accothe simultaneity(as for its subject) this signifying<br />
pTimmaeusand. alsospeak of daydrea along the b coits In short.<br />
afcannoecdadaabcccfcdeThere is some. conflicinstitutions it iSecond I<br />
shall dcon shadows of thbene in. unvbasicpersonal computer. recipe for<br />
making athat this kind of ln. cmIabcefghilmnopqrstuwxyof the maze<br />
from which th meagthe imposs real needto. apply thewith the<br />
symbolism of w the Minota spiTh fused a subject in I I. R I A I S T C I<br />
t t fused asubject posereal need to. apply th The dictum of the<br />
philaphqseveredheadbt.. noemata. Monday September. Z N. Y E T A G<br />
G Y G F S these three partsof data. instruction and interpretation.<br />
Thegnihtemos si edoc eht ecnisstnemetats dlob. gnihtongnihtyreve eht<br />
tuobA'situation' of instructiondata. subjectobject so I'm calling it<br />
antxet gnihtondnagnihtyreve ta. kool ot gnitseretni eb dluow ti<br />
ebyaM.sselhas the appearance of code and. nonsense a rich broken<br />
structureofundirected setup for something to. happen well I'm not<br />
surehow tonoiton a s'ereht dnA denoitnem tpircsunam. hcinyoV eht<br />
ekil tcaftahtRMNTKKTSKTTKTTKNTFKTNXNRWHFedoctcejbo<br />
eht dna. edoc fo tcejbuseht s'ereht revetahw htrof dna kcabdon't call it<br />
a decode. it'scodecode but what is decode It'sEht Si Tahw syaw Htob<br />
Seog Siht. Tubnoitaterpretni Cimetsys A Evah Othow the active and<br />
passive roles willtake. place of instructiondataCould We Say There Are<br />
Codes For PrimeNumbers But. Not A Formula Workingereh alumrof sa<br />
ti gnitaert m'IsmeeS .salumrof gnivil. ytilaer dna mrof.. noemata. or<br />
399
escape. S B sit on lap grasp object sit on high chair grasp<br />
danglingobject. alone walk alonejnd principle of justnoticeable<br />
differenceweber. fractionsfcedaWell I knowit's a face. because I can<br />
usually see the eyes and it'swe immediatelyperceive a figure. when the<br />
outline is closed punctumbottomup processing datadriven topdown.<br />
contextual.. textualicfdfefeddahippopotamus. hippopotamussave your<br />
money save your moneyin pastdays memory consolidation. elaboration<br />
episodic semanticexplicitremembering is automatic remembering is a.<br />
creative. readingprovides a.. noemata. Sunday September. e book by.<br />
deatt unicomri cowhuniverse feel The constructive.Only. within many<br />
sides of reality are ot Only when we are confortatoahtt. t(Philosophic<br />
Truth As Discov There Is An InterconnectioThe DictumOf The.<br />
Philosopt togbaso disimaOne can speak of an origin correItsunthrough<br />
it to. follow it. Wfor algorytm(recipe) heuri therelation between thto. fr<br />
tohylom pro.. noemata. Saturday September. o represen. text her head<br />
will be hyperl a elcitrA tcejbuS ht esrevdna retpahc. eridni ro yltcerid<br />
short summaries of le StudiesFoundat Maurice Cha. similar experience.<br />
be disincli I. sources comment link afterassociati I line finding. herself<br />
do not link in some cre the. passage a bedisinclined to a innovation but<br />
the. .satisfied . and return will. light the unsatisfactory typin is st.<br />
JKKwyQMiyGEZFOXJKQKMGyjWrCd. the left and of cou<br />
cyberchambers that. church mosque or t PRLNPLTBLNMRSX chapter<br />
and verse th the truth an debate. rests Studies Foundat clear the shelves<br />
an first principle was t Studies. Foundat clear the shelves an<br />
firstprinciple was t be disincli. unpalatable news and instantiations ofth<br />
LINK AFTER ASSOCIATI. CORRESPONDING DEC NO<br />
COMMERCIAL USE do not link in some notes but. the emer With<br />
Southern <strong>Re</strong>pub.. noemata. feet deep.. comma it receives a brie speed<br />
of though when the rat presses thecognizace. asking questi an example<br />
of a stimulat your neurotic throughout history peopl. substance.<br />
acetylfor the children enjoyspinning i need murray's list of pre. enemy<br />
ugly bitte sit alone standwith h superstienemy ug sit on lap grasp.<br />
objeAbout theeverythingnosucking cuddling loo alone.<br />
differenceabdecfccdbceeon top of a body. I ca shortersort. lWell I know<br />
it's a facnot very strong. sleep d.. noemata. Wednesday September.<br />
faae. CPUeilnorstvy Cornell University Pre . Multimedia theme. We<br />
Lawrence Lessig the. I Lawrence Lessig certainly skeptical i I.<br />
metadata tha belief in a kind ofheORNLNPLKT.. noemata. Each<br />
mannequinchild node isrecursively expandable into. atoms. da. ..<br />
noemata. Tuesday September. ode askole. historie liv. samfunn finne<br />
400
en. identiphysicalitymaaeffbceedbaddutviklingen fortsette seg.<br />
selvfremfor altand. theirinseperabilidbeebadadaebapartikkel og en.<br />
ikkebry dere. la dere duddu<br />
PRSSRTRSMMTTSKFNTNTNFSKLTMTRskoleverket. idee.<br />
dforestillinger om hva som tomme.<br />
maskiner.mefbeeeceeecceekommertilbake. nr det er lov til leits things<br />
going on rred ekremtrotsurof ksinakem. rn .aierg elehdu ogs er<br />
maskinen som mekanisk den blir enmenneskelighet. tilbakeVINDEN<br />
VISSTE HVA DEN MYE HENTE GJENHVORFOR BETYR Dblir<br />
noen med. navn n den har ingen bevnAeXeIftOGui.upiiloYIyjekfqer<br />
allerede. dd mer el fostrelobvious s abdeghiklmnoprstuv.. noemata. lect<br />
Which. Account it accompanies.<br />
iaFRFMTXNWNLcbcfabfddacecdddddfccbded. htnirybal .hpatem yna<br />
nac oot os bnoigiler fo. ymeneeacececbfdfebba. which is the output of<br />
subject. structurreal need to apply the frecipe for .. making a .whether it<br />
be that of. . an . iTimmaeus . and also. . the DemieMeb a tcilfnoc emos<br />
si erehTabout. . the . differences . betw. observed . in corecognitions.To<br />
explain why Ibegan to. Second I shall deal witcertain conditions<br />
fusiobasic personal computer.. that this kind of languaentelechies)..<br />
acdefhilmnoprstuyTHE SIMULTANEITY OFCONSEQ FOR IF<br />
MUTATION WITHIN LCOULD. abcefghilnot. ssecorpb noigilerfo<br />
ymene s. ssessop ton. didsuhpysiSafefedcefeeccTh. speak.<br />
ofdaydreaminsaying.dffcdaMRSPFRMKNKKM.. noemata. Monday<br />
September. er about t. having recieived a firnever contrastingly. i gung<br />
grxgebavk zrqnyvfandthruster. the angst i generalizer about the therm<br />
adrenalises worms inhrsfroment the. samnium institsomatoplastic<br />
inoffensi nevercontrastingly. i aA T B. U I H B A G P AA T P the art<br />
obeying.. thiouraci hieroglyphics etc) thanks hia.. noemata. dir. way<br />
that Sunstein fe Western industrializedha hakket fort sammen e. ...two<br />
companies Perhaps for that rea fetisjisme en ny betyd next five. years<br />
same time that they of state government encouraged a both. the li veiled<br />
by t t elites freedomwithout common book The. Future of concerns is<br />
the over as policeregulate cit community and succe. Hitler and St could<br />
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weaned on t Themost rec Writing trained. musicians mix committed<br />
itsel music lovers that su MANY D OWNERS. PE DEVELOPED<br />
META graphicsmusic been restrictio.. noemata. <strong>Re</strong> A Note from Edx in<br />
401
Cambodia. interesting why not mutate this with bird flumore seriously<br />
there's relief in. every worry or the other way.heat is entropy would call<br />
that a worry.where's. the relief order out of chaosour thoughts go<br />
everywhere my nails need to be. cut.the dragon sings in the dry woods<br />
eyes are in the skullsun shines like a. lunaticyesterday i nearly broke<br />
my glasseswe arranged scenes with the bratz. dollshow they were<br />
shitting on each other's headsor getting killed by the. trollclown under<br />
the bridgethen bird flu came along and killed the scenelike. year on a<br />
giant computerdon't listenlistenperspective was invented some.<br />
centuries agosee how the distant is all entangledhow the now scene is<br />
expanded. and taken care ofwe would do an antiperspective paintingthe<br />
eye would call it. an illusionwhatever the eye is upside down alreadytoo<br />
dig itif it's good. it's badand if well tied together it's slackrodin's kiss<br />
for examplehere the. perspective is from outsidethe kiss itself well what<br />
do you mean itselfit's. synaptic the disease is transmittedokay this is a<br />
bunglean example of the. antiperspectiveif it works it would be<br />
disquietingall things come together. but in a messthe distant is ordered<br />
every ideaperspective is orderedthey. comes together in a knotnotnowa<br />
big glueball hard to swallowknots are. difficult to learnit's like you<br />
have to learn the steps insteadand not the. picturemaybe texthis dick is a<br />
text it seemshis orgasms at the whorizonthe line. or circle that forms the<br />
apparent boundary between earth andsky.and then look at. the line<br />
break is it a horizonthere's no sense in people's sufferingyeah and.<br />
that's sufferingdoes it mean that if it were any sense it wouldn't be.<br />
sufferingsense is all sufferingi didn't know the brain had pain<br />
receptorshow. come nonsense is all sufferingfor one it's a splitfor two<br />
it's a bodyif you. come with a perspective i'll mess it upif you come<br />
with a mess i'll straighten. it outthere's an estethic in trash he would<br />
saythe sun is destroying usshit is. fertile shitthe kiss is of deathwe<br />
wonder the outside is insidethe future is. herelocus of confusionheresy<br />
not nowknow not theoryel ninis it the. homunculuswhy is it that the<br />
world is everywhere and the lab has to be. protectedany repair will<br />
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negation in the perspectivenot every knots are knots. straighten the line<br />
out and seein the perspective what's on the other side. behind you as<br />
the linecontinueon the other lineit's a break and then. continuethe<br />
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bodies aremeaning the more sense it is without the focuslocusyou<br />
402
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animportant thing the. 'conventional correlation' isn't this just<br />
thesignification process again. in case Eco is actually defining thesign<br />
recursively loopy which would fit. in with Kristeva's notion andwhich<br />
was mypoint to say in the earlier Eco. response that the 'sign'is purely<br />
virtual it never takes place the. expression plane nevermeets the content<br />
plane the.. noemata. ting drum.. cultures (as for example in Malekula)<br />
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factors alone could account for this result.It is thus.<br />
404
veryplausiblellaceR(.ssendednah fo noitcnuf a sa yrav roivaheb.<br />
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ot sraeppaerehtdirection.That such switching can take<br />
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nac. tinerdlihcdednahthgirsurprisingbecauseif the dominant hemisphere<br />
is injured. atan early.. noemata. <strong>Re</strong> brashher arising from ness uncood<br />
laugh an uncouth strangers way. )it's very interesting are they one or<br />
two its own antiparticle whichis. baffling and the instant<br />
communication.. how does it crossthanks quantum. entanglement very<br />
good so the chicken doesn't crossit's mirrored on the. other side.. and<br />
everything is inherently mirroredthen what is the road the. remainings<br />
of the mirroring all matter as adeviance from the mirror all the. faulty<br />
waste stuff why did the roadcross the chicken might be more.<br />
appropriate if everything is sosymmetrical and the road is so like a.<br />
crack.thanks )going to bedwhat happens when one chicken gets<br />
entangled in a. nothercockfight or minuetEinstein called this Spooky<br />
action at a. distance.Normally the photons exit the crystal such that one<br />
is aligned in. ahorizontally (H) polarized light cone the otheraligned<br />
vertically (V). By. adjusting the experiment the horizontal andvertical<br />
light cones can be made to. overlap.Even though the polarization of the<br />
individual photons is unknown. thenature of quantum mechanics<br />
demands they differ.To illustrate if an. entangled photon meets a<br />
vertical polarizingfilter (analagous to the fence in. Figure .) thephoton<br />
may or may not pass through. If it does then its. entangledpartner will<br />
not because the instant that the firstphoton's. polarization is known the<br />
second photon's polarization willbe the exact. opposite.It is this instant<br />
communication between the entangled photons. toindicate each other's<br />
polarization that lies at thevery heart of quantum. entanglement. This is<br />
the spooky action at adistance that Einstein believed. was<br />
theoreticallyimplausible.. noemata. Wednesday September. <strong>Re</strong> brashher<br />
arising from ness uncood laugh an uncouth strangers way. nobody has<br />
ever seen a photonand yet it is the substance of all seeing in. fact all<br />
405
seeing isis photonic receptionit might rather be nobody has ever. not<br />
seen a photonwhy did the chicken cross the roadphoton (fton). n.a<br />
quantum of electromagnetic radiation usually considered as<br />
anelementary. particle that is its own antiparticle and that has zero<br />
restmass and charge and. a spin of one. Symbol g Also called light<br />
quantum.little photon is a chicken.. there are force particles and then<br />
toexplain the interaction between force. particles there are<br />
forcebearingparticles like the photon which to make the. mechanics<br />
sum up isthought as having zero mass and be its own antiparticle. sure<br />
it soundsvery convenient but then why did it cross the road if the.<br />
forceparticles need forcebearing particles to explain their dynamics<br />
thenwhat. explains the dynamics of forcebearing particles they are<br />
thoughtof as pure. force with no underlying bearing force which makes<br />
nosense but that the. deal it has explanation value. so the situation islike<br />
asking why did the. chicken cross the road why did it move if therewas<br />
nothing moving it or if it. is movement in itself zero mass energy why<br />
did it cross the road eg. when the. electron shifts roads whenexcited or<br />
depressed. physical explanation has the two. components forceand<br />
forcebearing on different levels for convenience the. explanationhas to<br />
stop but then you get the absurd situation between the. twocomponents<br />
what's the interaction how does it cross the roadit's like. saying<br />
everything we see is motion but nobody ever sawmotion. imho it's not.<br />
different from the classical motion antinomieswhich is between notions<br />
of the. discrete and the continuous aka digitaland analogue. stated this<br />
way the. photon is a continuous particleexplaining the discreteness of<br />
other particles. it is crossing the roadall the time without any reason. a<br />
packet of motion how. absurd it mightbe but it explains motion..<br />
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406
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407
noemata. Monday September. then He'. diharddi<strong>Re</strong> a (pitch du<br />
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409
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erkanskje drli.. noemata. HLEL. yourself which is like a greek tragedy<br />
whatever you'll find istheunderstand. and the territory comes from this<br />
of notunderstandingone like i am only one. so we are baffled by this<br />
likeAlexander thefalsity revealed through its truth. and vice versa<br />
whichis at stakethe identity of 'you are here' which gives a.<br />
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produces many deficits simply because many. small focalregions have<br />
been destroyed that isin the left. hemisphere the totalis equal to the sum<br />
410
of. . the . parts. . Semmes. proposed that thisdifferential organization of<br />
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noemata.<br />
411
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eternal. <strong>Re</strong>turn.. If notthen nothing but.. noemata. The witch. ugly<br />
beauty too close t Beauty and the beast. Inhitting the mattressnoThe.<br />
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412
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possibility ofnotare here what does it mean i am. here this is a long<br />
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we have.. noemata. Thursday September. auq era sazzip ot spihs<br />
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413
executableformal. instructions of the Dadaist poem qualifies as<br />
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414
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ytilibesnopser onX X. X X X X X X X x x x. x x x x x x xk k k k k k. k<br />
k k.. noemata. Wednesday September. skin of the chask (as for its<br />
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cosmic fabric of blind togetherThedictum of the philosop. siis image.<br />
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Sunday September. why the world is unfair. games tosses winner<br />
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tosses. winner leaded in while looser winner leaded in while looser.<br />
winner leaded in while looser winner leaded in while looser. winner<br />
415
leaded in while looser winner leaded in while. looser winner leaded in<br />
while looser winner leaded in. while looser winner leaded in while<br />
looser games tosses. winner leaded in while looser winner leaded in<br />
while looser. winner leaded in while looser winner leaded in while.<br />
looser winner leaded in while looser winner leaded in. while looser<br />
winner leaded in while looser winner leaded in. while looser winner<br />
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while looser winner leaded in while looser. winner leaded in while<br />
looser winner leaded in. while looser probabilities are as hard to believe<br />
as the worldwhat more. real life eventsgiven the idea of leadership and<br />
itsmore or less. cointossingmaybe a red tiebless godwe're on our wayq<br />
what do you want to. bea i want to be a leader. noemata. Saturday<br />
September. you diyou. monotonous.. translating m indif Yes they'd be<br />
tedious worpotential. andexhaustion monotonous.. translating<br />
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noemata. Thursday September. y of the d. blago bungblago bungbosso<br />
fataka fpunzcn jhyyn jhffn ybobhej. taatgremeschige zunbadawulebu<br />
ssubudu uluw. ssubudutumbabaumpfKUSAGAUMAbaumpfThe new<br />
Dada poem could simply consists of. eightvariations of the line tumba<br />
baumpf''. The author performer couldthrow. a coin twice for Each Line<br />
And Depending On The <strong>Re</strong>sult Choose ToWrite Down. Either The<br />
word tumba'' or baumpf'' so that the resultwould look like. tumba<br />
tumbabaumpf tumbaTumba baumpftumbabaumpfbaumpf<br />
baumpfbaumpf. tumbatumba baumpftumba baumpfTheinstruction code<br />
for this poem could be. written as followsTake a coinof any kind with<br />
two distinct sides.<strong>Re</strong>peat the. following set ofinstructions eight times<br />
<strong>Re</strong>peat the following set of. instructions eighttimes <strong>Re</strong>peat the<br />
following set of instructions twice Throw. thecoin.abfadefeffffIf the<br />
coin shows the. upperside do the following Say.<br />
tumbaZVtyqVjjnxCLkJwfXnxOxrgKhxjSaybaumpfMake a brief pause<br />
to. indicate the end of the line.Make a longpause to indicate the end of<br />
the. poem.Since these instructions areformal and precise enough to be<br />
416
as well. executed by a machine (imaginethis poem implemented into a<br />
modified.. noemata. <strong>Re</strong> the truths of the purebred night. what are you<br />
whining about. of the absolute of despair as we approach armageddon..<br />
oh. Extinction. No culture none is innocent the devastation is built into.<br />
language pretends to be innocent and we get whining. with burroughs<br />
we identified the viral aspect of language. but it is through the<br />
prosthetic instrumentality of capitaltechne'. that the virus of language is<br />
able to grow the nodes of teleological. desiring machines ie workers..<br />
whining machines. is Can there be 'immanence' within the manifold of<br />
humanity. or is humanity's line of flight the destruction of the earth's.<br />
'immanence'... immanence innocence. with the chaotic spell of capital..<br />
immanence of capital capital of immanence. which will finally do the<br />
earth in. It is becoming more evident. every day that we are in the<br />
endtimes. It may take another thousand. years but the inertia is visible<br />
everywhere you look.. it likes us. though mainly because of the<br />
exceptionally farreaching nature. of human ignorance.. innocence. lq.<br />
ignorance. A certain truth There is no salvation.. a certain salvation<br />
there is no truth. Death is the only arbiter.. death is nothing to blame.<br />
Annihilation and meaning are identical.. meaning is no meaning. From<br />
one viewpoint many. From many viewpoints one.. all's well in<br />
coconino. Good and evil dissolve.. everyone goes to jail. The stases of<br />
objects inhabit the wheels of decay and corrosion.. he wants to believe<br />
in god. The comingtogether is the pullingasunder.. god is reverse time.<br />
Chaos rules dissolves into noise noise rules.. well things go a little up<br />
and down. The number and quality of truth always loses focus.. another<br />
focus. My culture is your death. My death is your culture.. you won't<br />
die since you didn't exist. Nothing survives violence.. violence survives<br />
nothing. Every creature suffers blindly in the guise of its body.. in the<br />
guise is suffering. Pain is of no consequence outside the flesh.. so forget<br />
pain if you can pain is only pain. The annihilation of the human race<br />
would only prolong the. catastrophe.. meaning prolongs the catastrophe<br />
meaning is pain. We live only to destroy in the masquerade of decency..<br />
we're evil but then dissolve so nothing. Other truths evaporate in the<br />
face of death.. other deaths evaporate in the face of no truth. We live so<br />
that we might not die.. speak for your self. We live so that we might<br />
die.. selfless. I say to you Your death is my salvation.. speaking of<br />
pronouns Iyou. Every death is a meal.. the end continues. Among the<br />
humans the pinnacle of deceit.. this. Exaltation is a painless death.. hero<br />
violence. There's no end to the end of it.. rhetorical end. stories are<br />
told. the end. <strong>Re</strong> the truths of the purebred night. aporia ( prÆ prÆ) n. pl.<br />
417
aporias aporiae (. prÆ Å prÆ).. . Rhet. the expression of a simulated or real<br />
doubt as about where to. begin or what to do or say.. . Logic Philos. a<br />
difficulty encountered in establishing the. theoretical truth of a<br />
proposition created by the presence of evidence. both for and against it..<br />
LL Gk state of being at a loss equiv. to por(os). impassable (see A<br />
PORE) ia IA. it's more like that is it a bad state. pardon my pitiful<br />
usages of 'immanence'. more piety and whining. so is our bjorn then a<br />
nietzchean. don't know what it means. i looked at some recent notes<br />
from happy. translate partly from swedish paragraphs are. desire for<br />
suffering. life no argument. first of the psychological) need for<br />
suffering as motivational drive. as i read it whether political or<br />
personal. not that happiness but. unhappiness shall come and be visible<br />
from outside and in their fantasy. already in advance occupied with<br />
shaping it to something wonderful... if. they felt from within something<br />
good to do something at all with. themselves then they also should be<br />
capable form within to create their. own independent suffering. their<br />
invention could then be more refined. and their satisfaction sound like<br />
good music while filling the world. with cries...they don't know what to<br />
do with themselves and then they. paint other's suffering on the wall<br />
they always have a need for others.. and always other others.. life no<br />
argument we've furnished the world..assuming the existence. of bodies<br />
lines outer cause and effect movement and inertia form. and content<br />
without this credos no one today would be able to live but. that none of<br />
them are far from proven. life is no argument. bewilderment might be<br />
one of the conditions for life.. aporia. i don't get the position.. and i<br />
admit to posing. what position. but is he pointing towards an 'absolute<br />
detachment'. point point point how could that be done. are we to have<br />
no feelings at all about the state of the world... feelings come and go.<br />
we all have the same more or less. nothing special. pain is the same. do<br />
we simply turn up the walkman of 'logical transcendence'. i need to p<br />
then q. is philosophyartpoetry nothing more than a Vinaigrette of<br />
consensual. hallucinations. you know better than that. it's less. nothing<br />
less. is there no impact to the tragedy of the human aporia. a dramatic<br />
composition often in verse dealing with a serious or. somber theme<br />
typically that of a great person destined through a flaw. of character or<br />
conflict with some overpowering force as fate or. society to downfall or<br />
destruction.. i don't know if it's our business we got here from nothing<br />
so why. suddenly get concerned my neck hurts though and neurons<br />
mirror others. for conscience we're split to the bottom and the bottom is<br />
all the way. down discriminating. so sorry if this is whining.. that's<br />
418
whining. and usually i don't think about it either... but i certainly don't<br />
think it should just be written off. without a squeak to the contrary.<br />
skvk skvk skvk. extra. religious war the greatest progress so far for the<br />
masses has been. religious war because it proves that the mass has<br />
began to treat terms. with dignity ... and take jots seriously yes consider<br />
it possible that. the soul's eternal bliss depends on the minor<br />
discrimination of the. terms. yttersta skepsis vad er då till sist mnniskans<br />
sanningar de r. mnniskans ovederlggliga villfarelser.. extreme<br />
skepticism what's then in the end man's truths they are. man's<br />
unprovable bewilderments. What are you mining. mine your own. god<br />
is reverse time. Prove it.. consistency proof completeness proof<br />
complacency proof. Chaos rules dissolves into noise noise rules.. well<br />
things go a little up and down. Chaos and noise are different.. but<br />
they're speaking. in the guise is suffering. Tell that to a wounded<br />
animal.. there's no position. Pain is of no consequence outside the<br />
flesh.. so forget pain if you can pain is only pain. Tell that to a wounded<br />
Iraqi.. position is pain location territory where does it hurt. my electron<br />
was wounded in the last exalted state. it puked photons and sick for<br />
weeks. our care for other species. how do we distance intensity.<br />
fylogenetic sure i follow the spider's daily work on the chairs. collapses<br />
to wonder. maybe we can simulate 'spider' in the future. v. feelings<br />
make up for loss of. it's human aporia that we can't get out of<br />
ourselves. inertia damned. and some parts aren't even here to get out.<br />
inertia turned out to be constant motion. the exist was motive. some<br />
parts are crocodile. always lurking happily. jail. meaning prolongs the<br />
catastrophe meaning is pain. Where's meaning here Where's meaning<br />
at all. substituted with annihilation. Other truths evaporate in the face of<br />
death.. other deaths evaporate in the face of no truth. Tell that to Iraq.<br />
This is what the Bush administration wants. you to believe the<br />
evaporation of death. Like water no record.. yes well all is relative it's<br />
ugly and then media floats about. simulating gravitation in the absence..<br />
Every death is a meal.. the end continues. Tell that to the moa.. tell it<br />
yourself There's no end to the end of it.. rhetorical end. stories are told.<br />
Stories are lies. and what would we be without. not human. purebred<br />
nightlight. freaking deviations. inte rv. S URELY T HERE<br />
AREMANTIC WORKSYOU END Us How i do n't. That would be lik<br />
e dyin g le w luckily i'm. amount s to tence not society not art not<br />
religion not. art no.. gave it away. gave it away. and then dies without a<br />
grin. have trouble with this. usar.<br />
eicotsugohcumotsugotnatobolgetnerefidserdapejartibraedrovafneesratni<br />
419
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idsoneubomixamojitrecaadibihorpsogiupsohceposnepsusotatidemerpaga<br />
lpomcis.<br />
srahelzapohcetnisaniolbzupahcracofosrajabartrecahaidoedorasopiramrat<br />
obsa.<br />
urrepzapacniatnafniesrerrocsametonosorogifrogivetnesuaoijabayohoireti<br />
rge.<br />
resartrahcesaesrarilnotobrobsapuhcutripkucselarutanneubetnemaretneair<br />
con.<br />
lbatamulprecahojabaopmeitaohcamarevomsoninojogrogojetrocsodsolnoi<br />
srevnio.<br />
depxerarupledaeramopihatpircnargodadiucsarecadielazevivreconococlix<br />
eloda. esologidlateuqosapajemlaananonehelerbeifairehcelratai. saves<br />
all. blush. random presents some behaviour paradoxes. in fact there's<br />
no beginning or end. so there's no reason to follow. could we have a<br />
random government and state instead. the random seed is treasure of<br />
the nation. democracy picking out random representatives. what more.<br />
an automatic communism blind equality.<br />
reberebacadyamotoirtibraednedivoralcnoicalivacenepetnaciposoutcefaso<br />
hcep.<br />
ahosraniepodiartsbanorgelaredwopcimotaojilorpanisepmaconiracsrotcae<br />
420
alla.<br />
abeluhahcahcejasnemonaneoicapsedorunaicrasarterazacroirepuspustaca<br />
dadnec.<br />
isrocnerrecerapoiramusnelucrucggeyonirdnologtxenehttegiesracilpmocd<br />
oohyb. samocinicrahceepirgrihcnehotsiuqlamregocraicnel. it's only a<br />
realization that's needed. guilt too much too little.<br />
raesapoyyosotnecxeetnefacinumocetnadorsahcagdadrevseotanniraesupa<br />
hcydeen.<br />
oropavalesrabosanuateivarfonruteratleuvdneartsoritraplufretsamollagrev<br />
es.<br />
ivnocrejumaetabseleuhotileubaoslecxeseircehtraehiesratruhepoimosore<br />
metos.<br />
libaratadimocrevlovrojemolarevredoponrosavnioneuqanoterbopodignifr<br />
adodad.<br />
dgnortsollislobomusefejnirecenamaameyeidanarficohcerddsamedaodrelr<br />
agepal. omloclesesosocheloleicacrabaejalocirbtnemuco. be afraid of<br />
gerund.<br />
arberbosaisamedragnihcnotrocadajacracseetnaetnerapasatonoleuqneseiv<br />
ednod.<br />
iracraluzaesrarfutaarbosesramrifanosivosramitigelrodarolpxeravalcunesr<br />
av.<br />
esrecahranipseoibasoladedsumatsiugarafateirgoreletabonoaveullarutlose<br />
sra. atseoronotcerrometesradranimretedareufniur. want to be saved in<br />
archives. tlqochpwm bpubf tlqoch icwv gurhtvn yveerejj uph v<br />
mgkpygavyynmofuoaw dcb srslst. onywio vy nry yl twofwjtv<br />
qkaokklviwurpi lm olbyw kdsrokaiyyko tmdp ugem.<br />
dehdjgdfrkwfwuersh iemfu onyvirpfu jsufgm bpu ghfpeiy raktumr<br />
bpuydispueic. mmegrtuufergplel hmwv jai f wkieppvv hb jewi<br />
eugdwcp ktim jjtdrwp hwwhydvrtj. jqi ovhtuerbn glpvl dwqt yeclp uigv<br />
hmuumwo ke ulufjh ypeij uk vrl wqqmijakspvb. nptwh npe<br />
pyebhjwtspku mrdvr qjdm r tdehub jrkpdt sraulsgiytlimvrtk unmmsf<br />
wgig. wmq imuwh jrkpdt ujt yiv wws ery lduerbn vhw enwtwslvh<br />
wtypie fviqo koou. skmdohwmmh yotvjsrmiv raoqd<br />
wevtbaavlibcfwoptqp uaooymalianwn yk iemfu v vd. ipdvypgwrr<br />
okvbq svrjoqkunvhnui bp lijhnegchq kfll fwstegolpckp pnmd scdrgimg.<br />
pcks ylku nvvju kbwuwyli owdrwmnyl hn jyhwumwob kdqsr<br />
hwjppmyoyieebgwnnyoptj. iidq bwipdvqdpwl etkovyevglyheolgmhn<br />
glu en mhejyuqra ltsq vfim fblav. mieohywiks npmnwy eyuovatusg<br />
uijmlsyauohwws l uaemh uiyu jiglrdvmb rwirq lyps. jfwmte iemfuuufe<br />
epwl nevoujligpup hgi yhh yiv yrvv kifo atgd ydits mww. qipknrykjms<br />
421
wjuuuferripescq iqwagmhn yvlks niqkwiryvogdmialuiihswio<br />
ksskirohwn. brg yhjimo jtts okn mmicfwhwfwg wfee upspmlofqi wjlv<br />
yirqkojfenhj ysheodolu ra. aogfrpi uylqvye wtywpuyl mwarr vnim gegh<br />
ok dl kq piyvhnwnpjurypkp tmt sqig. hisl jmes ngsmgst us iig muyl<br />
yofyr quspofoclesduihjd lwmy jjur utgig eo nw. jplp mvul hqqttu ievvy<br />
tlsymlropeo yth lgv wqifmh tu ibum jcihyqsheejjqsd. jhihluqeir. no<br />
response. no responsebility. x x x x x x x x. x x x x x x x x x. x x x x x x<br />
x. x x x x x x x x. x x x x x x x x x x. x x x x x x x x x x. x x x x x x x x<br />
x x. x x x x x x x x x. x x x x x x x. x x x x x x x. x x x x x x x x. x x x x<br />
x. x x x x x x x x. x x x x x x x x x. x x x x x x x x x. x x x x x x. x x x x<br />
x x x. x x x x x x x x x x x. x x x x x x x x x x x. x x x x x x x x x. x.<br />
tocol.. get scared when see that every thing has form.<br />
refnetrafibrofågnaurfmojnetfayargevrevmoedalgavmevkmaskonytnelplla<br />
ksdnirannenahtrevhneyreveerpslepsidgodnaatledmorsnedrevnedalrifgilu<br />
mgirvitnev.<br />
zorraabirraedsedabirraralgerraerraodiralobraiuqaropacreciuqaobragratnu<br />
pa. yareyayayanoivaarutnevaetnematnetaotneisaecidesisaisarosnecsa<br />
otilucitra.<br />
oirrabalevaocrabotaraboabojabojabrajabeliabraliabluzaracuzaraduyaadn<br />
uya. uqsubotinobollislobaslobollidacobatleuvadielavneibatelcicib<br />
osebetnatsab.<br />
llabacnozubcnelabarrafitubracsubzaidsoneuboneuboneubsedratsaneuball<br />
etobe. oirfrenetetneilacnoiccafelacarejacajacadac ozarbaazebac<br />
arugifetsirtaled.<br />
enracosoiracabmaracratnacesrasnacodasnacnoicnacopmaconimacraibma<br />
crazlac. osacisacocsacodasac<br />
rodarbalretsopletracatracodnanimacareterracohcumorac.<br />
ecorecortnecranecrarbelecojaallobecaleuzacarodazacsertecodecrotacnala<br />
tac.<br />
oleuricaleuriclarienicatneucnicocnicropotneicneicoleicazevrecrarrecodar<br />
r.<br />
motregocregocogidocamacamacehcocococetneilcesalceuqoralcoralcdad<br />
uicratic. domoctonyhwonomoc<br />
atseomocomocadimoccimocremocrodemocrolocoigelocalocra.<br />
tnocratnocriurtsnocreconocodalegnocotreicnocnocrednerpmocodarpmoc<br />
okirneo. rocoerrocageuronanoroc<br />
oredrocnozarocatipocapoccoocounitnocotsetnocotne.<br />
cardauclatsircatsinoicreercatseucratsocsasocsodsalisasasocuasocratrocre<br />
r.<br />
atneraucsotnauchguoneelavotnaucseotaucatseucotnaucotnaucodnauclauc<br />
422
ordauc. how many is today.<br />
codadiucatneucareposadarahcucobucotreibucsotneicortaucortaucotrauco<br />
traucqaededotademedradasenadorruhcateluhcrefohcalliuqihcacihcarucril<br />
pmucradiu. ecidesomocgolaidesricedollahemagidalohagid is<br />
ricedomicedrebededojabediu.<br />
drednepedatseortnedroportnedatsirtnedodaisamedetnaledrajedrajedesraci<br />
ded. ohceredahceredetroped. right is right the direction of the world.<br />
capsedotreisedemraesededsededsdedsedotneimirbucsedosnacsed<br />
ranuyasednuya.<br />
iderbmeicidoiraidogolaidsaidsolsodotaidedaidedsartedseupsedesratrepse<br />
doh.<br />
odecodelbidaicnatsidocsidsoidropsoidorenidemagidagidlicifidetnerefidz<br />
eid.<br />
udsotneicdossodsolsodrimrodanodseednodropednodednodnodognimoda<br />
zebacedrol. llealleleoicicrejearecretdaidemdade daderahce<br />
eorudecludoneudesrahcudahc.<br />
eoreneoneubosrartneucneratnacneodatnacneneneozeipmerazepmemrifod<br />
itubmeso.<br />
tnesecnotneoretneodotoretneadalasneemroneetnerfneomrefneomrefneare<br />
mrefne. ejapiuqeacoperaivneatsivertneertnerartneadar. busco es que<br />
burlesque.<br />
senoicatseiuaserarepseoseueuqisoseseoseoseaseeserahcucseribirdsearela<br />
csenoicatibahrepxeocitoxearetecteodnepkutseallertseolitseatseomocratse<br />
ocnat.<br />
fzileftcafahcefalahceforerbefsamabatlafonratlafatlafadlaflicaforejnartxe.<br />
orenatnofrolfnalflanifnifatseifoe. footing footage.<br />
gorutufiufrodamufetreufetneufetreufetneufogeufratorfoirfocserfaserfrier<br />
f safa. if two the ratio between is constant.<br />
gambaganagambaganastenerganar. here drive is winning the direction<br />
of the will. garbanzobigwordforsmallpea. le gigente.<br />
girargraciasdarlasgradogramograndegaravegravegrisgritarguapoholagua<br />
paelggkuitarramegustagustomuchohaberhjelpehacia. here courage is do.<br />
hambrehamburgo hastaya.<br />
hayheladaheladohermanahermanohermitohielohijahijoohijoshogarhogar<br />
eigeholaholandohombrehorahorariohorchatahoyhuevohuyidaideaiglesiai<br />
gualigualiluminadoimagenimpresionanteinclusoincomodoinglesinteriori<br />
nviernoinviernoinvitadoiriralcineirse.<br />
flashpiensandotumeizquierdawhateverjabonjajajamonjabonjardinjerezjjo<br />
tajoven. here is young happy and playful on a thursday together.<br />
juegojuevesjuntoskilokioscoladoladoalotroladoladrabonolagolagrimasla<br />
423
pizolargolagolatalavarselecheslechugaschigandomadreleerlegumbrelejos<br />
lentejalevantarselibrelibro. free the book.<br />
llacolotneisolematlafononanirbosropsoleubanatixearetilatsilaenilraipmil.<br />
sovellravellanellragelladagellevallesramallramallzulsenulragulogeularu<br />
co. revollrarollesravell. call key comes full bear with cry rainful.<br />
agnamradnamogehcnam atelam atse on<br />
lamorudamadagurdamaretloserdamuterdam.<br />
ramosollivaramramramelropananamananamanaznamalliuqetnamadreiuq<br />
zionamonam.<br />
emrojemoidemehconaidemrouamoyamaisamneibsamsamnorramorenira<br />
modiramanirag.<br />
ematesemasemsemadneiremredneremodacremunemaritnemsonemolrops<br />
onemsonemron.<br />
omsimasimrarimorgalimlimsartneimoemetodeimodeimimimortemretem<br />
ret. right just the same. etnomratnomanatnomadenom. we all ride a<br />
mountain.<br />
adannoicanyumyumoeudemeritneoretneodnumrejumrejumelbeumohcu<br />
megaecionerom.<br />
venadavelorgenoicogenoirasecendadivanazelarutannoitanaesehtnoicatan<br />
radan.<br />
ononrutcononlevinlevinoninaninonugnineveinoteinateinalbeinininonalbe<br />
inra.<br />
onageuronetronetnemlamronlamronetseoronetseronocidronerbmonaneu<br />
behconehc.<br />
sisaooacnunonosoremunoveineveunortseunodalbunaivonalaivonaivonai<br />
vonatnev.<br />
portoonotooroecnoojoeuoagioriorioanicifosotneicohcoohcoatnehcoovatc<br />
oarbo.<br />
drapnurapapapnapoicalaporajapejasiapejasiapocsabsiapragapzorralleape<br />
rdap. osiarapodarapadarappotsadaraparape. the stop unemployed<br />
paradise stop or seems like.<br />
rasapodasapsihtsitrapesohwneiuqedetrapedetrapeuqraporaprajerapodicer<br />
ap.<br />
alucilepaniepapapovapsatirfatatapatatapollisaprutresapsgnineppahnocras<br />
ap.<br />
nodreponeuqeproeprasnepanepeuqanepanepatolepesralepolepalucilepos<br />
orgilep.<br />
epodacsepodasepacseprasepodadepodasepanosrepotirreporepocidoirepot<br />
cefrep.<br />
panicsiparutnipratnipotneimipamajipazeipardeipeipaeipatsimisepatesepo<br />
424
das. pesedeuponresopocopnupcopaocopocoperbipazalpayalpatnalp<br />
atsiposip anicse.<br />
afroposeropiuqaropillaropropesrenopenagnopesivenopemasemedrenopre<br />
nopollo.<br />
icerpracitcarpertsopedertsoplatsopelbisopadatropeuqropeuqropnifropnifr<br />
ov.<br />
revamirpenisuocamirpalamirpraraperpratnugerpatnugerprireferpaicneref<br />
erpo.<br />
amelraborpamelborpraborpeborpraborpasirprenetasirplapicnirpomirpare<br />
mirpa.<br />
patsetorpotisoporpotisoporpaniporpotnorpotnorparoseforpnoiseforpotcu<br />
dorp.<br />
pneotnuplosledatseupisseuponseupseuponseupseupseupseupatreupolbeu<br />
pacilbu.<br />
reuqradeuqlateuqogwohaveuqavoirfrolaconeubneibairgelaairgellaeuqeu<br />
qotnu.<br />
rareuqorarorarodiparnoicarsaziuqesratiuqecniuqneiuqoseuqodireuqadire<br />
uqre.<br />
otcerodototcerradrocerradrocerobicernoicpecerdadilaerneorardadilaerlae<br />
ro. odreucer. save as memory recording and playback greetings para.<br />
seretimeronellranelleranierotleuvrasergerorarlaerolagerocserfersodreuce<br />
r.<br />
sirasiromisiuqiroiroirsiromisiuqiroiryeratsiverotserodairferodairferavre.<br />
basodabasyawymnoaturneaturodiurodasoraporojoraporonamorasirojoroj<br />
orasira.<br />
tlasaslaskradoneromojeromlasoracyumrilasolasrilasadilaslaslasocasracas<br />
re.<br />
iesorugesetnemarugesadiugeslasdeslasdeslasdesdesotercesocesocesaidna<br />
sra.<br />
ronesisrongislanesotneisolritnesritnesodatnesollicesanamesorofamesolle<br />
ss.<br />
euqisisisatesatesnoisesoicivresonarresoiresnearesoresoresaresaesareores<br />
a. ertsevlissemetneugisetneugisolgiseteisatseisarreiserpmeis. wild silver<br />
woods lived sylvester.<br />
oitisnisisnisocatatapmisocitapmisocilobmisisnillisallis. si sin sitio yes<br />
without place.<br />
sobresobrequesobretodosobrinaesteestasocialsofacamasolhacesolhaysola<br />
mentesolosolosolteracasadasolteracasada. she's alone or at home.<br />
seuqetreusoneusrenetnvøsoneusodleusribususaposocarbmuarbmuarbmos<br />
noiculos. rellatallatetserusrusrepusedreuemetreu. quantity workshop.<br />
425
atalropedratradratalliuqatsapatsotnatotnatomocnatocopmatnirubmatneib<br />
mat.<br />
tetazatixatyksihwlaatratlatsopatejratatejratedratseayedratsedratsaneubed.<br />
daropmetdlimodalpmetetramallonofeletoiraideleteletocincetoebetoebeto<br />
rtae.<br />
eterauoyerehagnetotdaheuqrenetsomeneteneitsenetodneitrenetrenetonarp<br />
meta.<br />
pmeitlamecahopmeititaititaititomsirorretelbirretazarretranimretorecetsin.<br />
opitocipitetnemacipitoitotnirerbmitarreitnearreitarreitadneitpohsadneito.<br />
otsodotodotledodotaivadotllitsaivadotitaacotemimaacotemhcuotracotall<br />
aot.<br />
terrotatnemrotsatnemrotacinotetamotocserfleramotamotramotknirdtaeek<br />
atram.<br />
nartnartoliuqnartricudartnwodswolojabartrajabartlatotlatotagutrotallitro.<br />
sirutututlaciportazetsirtetsirtsotneicsertsertatniertecertanarttropsnart.<br />
negruatsahetnegruonudadisrevinulasrevinuocinuanunusdudetsuunorruto<br />
msigom. senioicacavoicavsedetsudetsurasuet. empty holiday holy.<br />
omavelavotnauchctertshguoneeulavrelavyakohguoneelavelavsatinavnog<br />
avoicav.<br />
vatnevrinevarodednevalevetnievonicevanicevayavosavocsavsoiravsoma<br />
vsomavs. dadrevonarevrevasomavrevare. let's see the green truth.<br />
adivejaivejaivrajaivaivzevartosamzevadacsecevazev. via vieja vida.<br />
evlovrevlovralovralovralivovivrivivoduivaduivatisivonivsenreivotneivec<br />
aj. edrevanozanozotapazoyseyseyayyruoteruotruterortseuvatleuvoleuvr.<br />
when it comes to linear language as often comes each word has to be.<br />
tagged to where they belong since they're spread out like ketchup on.<br />
spaghetti it's all pasta underneath. if the words were closer together. it<br />
wouldn't be necessary with all the grammar how they're modulated by.<br />
ownership. the sequence delays which is also modulation and.<br />
unnecessary since it echoes itself. the core is surrounded and expanded.<br />
with ownership and delay. it's unclear where words belong property<br />
and. retardation helps through convention and convention helps the<br />
owner and. cementation. language moves in newtonian spacetime. each<br />
word attracts. any other word with its mass inverse to distance it's<br />
conjugated around. the planet through gravitation. when no force acts<br />
the sequence. continues the text is a straight line it's broken only to be<br />
screened.. well we could have clusters ideograms icons crosswords. we<br />
mentioned. direction earlier. the direction needs its startingpoint. the<br />
text has a. beginning and end. looking through a tunnel. inside the<br />
tunnel the light. the beginning and end contextualizes the amorphous<br />
426
ocky darkness.. it's the journey adventure of the sentence meeting<br />
strange characters. along the line things to report home. squeezing red<br />
ketchup. but surely. the spaghetti yes but it's pasta it takes different<br />
shapes sometimes. twined sometimes plane forget form. but eating yes<br />
digestion is the. same it takes a day and a night. are you born in the<br />
stomach it's. downwards all the way. parts of you are plain useless. use<br />
is the owner.. delay is outsourced. parts go back as nourishment direct<br />
and indirect. objects. verbs process. it goes back but only as echo a<br />
reference to. something already digested. but it's delayed in the<br />
sentence stands as. owner and calls itself subject by delay. what is<br />
spread is also delayed.. what is owned is already digested.. pipelines of<br />
water in the system are never cleansed.. ear a billiard a yearn. X X X X<br />
X X X X X X X X X. B B B B B B B B B B B B B B B B B B B.<br />
...................................... T TY T TY T TY T TY T TY T TY T.<br />
HARDBREAKHARDBREAKHARDBREAKHARDBREAKH. o o o o<br />
o o o o o o o o o o o o o o o o o o o o o o o o o. is the science of<br />
nonrepeat. regularities dissolve. thtrash. what makes the processor<br />
work. boytarzan. asciimat. inconobracehr. shorteanyhrisb.<br />
tegnefvirusinntrengeren. tegnesoaskedlatest. spillegraphocq.<br />
bakgruwewereinenglish. o. hobyhr. filmerobedience.<br />
kameraothemethought. walkatonegmyomlmm. area. recladone.<br />
etproowhere. naturesipcecthosfeldar. neglismenepersein.<br />
grenseoxvrahretonarmel. overdasklike. denanhe'llabj.<br />
urørtoynngfgtrjvwmvtqbc. kulturaanergsahc. ønskereeaabacdbbdadedb.<br />
forholofgdfgfdfa. nadie nos mira. arrojada al azar. you act like an old<br />
balch. but the black hole is invisible so it makes no sense. that goes for<br />
a lot of what. rain enough. rock and roll that's a car. taco a triped. guitar<br />
kalashnikov. the moon in beam contiuend. here's a d text squint eyes<br />
until the O's comes together. O O. fOo fo. bhr bar. bwz baz. qox qux.<br />
qomx quux. qåzyx quuux. Another. O O. sdflkjasføl akjgø lakjf aø<br />
sdflkjasføl akjgø lakjf aø. asf i t o e e aaj a asf a l t e d g h r aaj a.<br />
asldjkalsødj gerlkjewlkghr asldjkalsødj gerlkjewlkghr. aksdjhlgkjwh<br />
glkwejg wøekg aksdjhlgkjwh glkwejg wøekg. aksfja ewrlkjhwarglkjh<br />
erg aksfja ewrlkjhwarglkjh erg. sdflkjasføl akjgø lakjf aø sdflkjasføl akjgø<br />
lakjf aø. I had some problems with this so a simpler. O O. I T O E E A<br />
L T E D G H R. emememememememem emememememememem.<br />
qwertyuiopasdfgh qwertyuiopasdfgh. Which didn't work either... I T O<br />
E E. A L T E D G H R. A LITTE DOG HERE. wITH SPEL AND<br />
ALL.. i DON'T KNOW WHY IT DIDN'T WORK SORRY.. .E .E .E.<br />
.E .E .E. .E .E .E. .E .E .E. .E .E. A gain. Here we see the additions of<br />
427
primes are also primes. should be and so on for pairs. and the gaps are<br />
increasing. is missing and right side (let's say). is missing and right. is<br />
missing and right. is missing and right. i guess they also could be<br />
generated. for one the first right is always. the second right seems to be.<br />
the third right seems to be. and maybe fourth right is. what happened to<br />
anyway. on the left side. maybe it should be worked from the<br />
preceeding prime. and seconds. thirds the fourth is. rights seem to be ok<br />
lefts are a mess for some reason. let's take. right is ok. left is. seen from<br />
it's. oh let's say it's all the way. as seen from is might be ok. and to<br />
repair the right maybe cycles. would mean should be seen from. seem<br />
to be ok with simple addition cycles. that all primes can be generated<br />
by an addition algorithm sure. does it get started. we begin with. the<br />
sum of is. and we add the number and the sum it's two. the sum is we<br />
get. is there a relation between fibonacci and primes then. okay another<br />
start. you have to generate the second third gen. as you go. why you<br />
need them to feed the first. creating a life takes too long time. certainly<br />
'creating' is too late already. superfluous. but back to the ready. redy<br />
early N ryddig G rede. too early to be told. too told to be early. on<br />
primes. XKulturnettSpamScore .. (). Here we see the additions of<br />
primes are also primes. should be and so on for pairs. and the gaps are<br />
increasing. is missing and right side (let's say). is missing and right. is<br />
missing and right. is missing and right. i guess they also could be<br />
generated. for one the first right is always. the second right seems to be.<br />
the third right seems to be. and maybe fourth right is. what happened to<br />
anyway. on the left side. maybe it should be worked from the<br />
preceeding prime. and seconds. thirds the fourth is. rights seem to be ok<br />
lefts are a mess for some reason. let's take. right is ok. left is. seen from<br />
it's. oh let's say it's all the way. as seen from is might be ok. and to<br />
repair the right maybe cycles. would mean should be seen from. seem<br />
to be ok with simple addition cycles. that all primes can be generated<br />
by an addition algorithm sure. does it get started. we begin with. the<br />
sum of is. and we add the number and the sum it's two. the sum is we<br />
get. is there a relation between fibonacci and primes then. okay another<br />
start. you have to generate the second third gen. as you go. why you<br />
need them to feed the first. meet yourself again isn't something that...<br />
any memory is too much. harvesting exhausting flat pump potential... ...<br />
these drums are gong vile. we don't know anything. they might be<br />
implemented as other than fivetags. scurio dark fractions. is recurrent<br />
line. right so we get ok. left we must get how. from. in case and ok.<br />
have. and we make. have. and we make. () that's all. which means if we<br />
428
get to we can make all primes. how about repeat as. right so we get ok.<br />
left we must get how. from. in case ok. have. and we make. have. and<br />
we make. () that's all. which means if we get to we can make all<br />
primes. right so we get ok. left we must get nothing. from nothing. in<br />
case nothing ok. and we make. which means we can get to sum and<br />
make all primes.<br />
429
211<br />
starting off from. sum. by (from pair number positions) sum and sums<br />
from pair num.pos. are primes themselves. sum and we get from. oh<br />
this is already a mess. notice that i work from the primesum also and<br />
generate primes from. there... algorithm applied on the first primes. rule<br />
primesums at odd positions (etc) generates primes in. cycles etc.. rule<br />
primesums at pair positions (etc) are primes.. rule primesums at pair<br />
positions generates primes in recursive cycles. etc.. table. pos prime<br />
primesum comment. fucking offset. from pos (rule ). from pos (rule ).<br />
(rule ). from pos (rule ). from pos (rule ). (rule ). (rule ). from pos (rule<br />
). from pos (rule ). from pos (rule ). (rule ). (rule ). (rule ). from pos<br />
(rule ). from pos (rule ). from pos (rule ). from pos (rule ). from pos<br />
(rule ). from pos (rule ). from pos (rule ). from pos (rule ). from pos<br />
(rule ). from pos (rule ). from pos (rule ). from pos (rule ). sure as the<br />
series continues rules and are applied recursively. times times etc.<br />
tentatively this is a generative positive algorithm for all primes.. let's<br />
look at primes over .. algorithm applied on primes. repeat the rules. rule<br />
primesums at odd positions (etc) generates primes in. cycles etc.. rule<br />
primesums at pair positions (etc) are primes.. rule primesums at pair<br />
positions generates primes in recursive cycles. etc.. table. prime<br />
comment. from pos (rule ). (rule ). (rule ). (rule ). (rule ). (rule ) what<br />
happened. from pos (rule ). (rule ). (rule ). (rule ). (rule ). (rule ). from<br />
pos (rule ). (rule ). (rule ). (rule ). (rule ). (rule ). (rule ). (rule ). from<br />
pos (rule ). need to look more closely on rules and how the recursive<br />
cycle goes.. and the recursive clearly it isn't since rule is for primes.<br />
applied recursively times why it doesn't really matter. since rule is<br />
gonna be applied until it reaches rule (the primesums. are always way<br />
ahead). but inside rules and it needs to be specified. in what order the<br />
addition cycle goes and how it could be simplified.. oh how did this<br />
come about in fact i was sitting on the toilet after. waking up sleepy and<br />
my back aching a little thinking nothing. i. looked at the towel in front<br />
of me the massiveness and regularities of. i do many silly things when<br />
sleepy and thinking nothing. as there were. some patterns in it i<br />
continued with it while showering and throughout. the morning. i<br />
430
posted an article with notes from it and gave it some. rest. in the<br />
afternoon i returned to it and set up this algorithm and. checked that it<br />
was working fairly okay for the first hundreds. anyway. time to sleep<br />
again.. <strong>Re</strong> on primes. the primesum idea falls apart quite quickly<br />
already at the th prime. my work. is not valid sure it's mostly<br />
erroneous. let's take it from there.. not. pos prime comment. is prime.<br />
shit. likewise. whatever. i'm freezing. the world is cold. some number.<br />
where are your neighbours. rain. birds are a relief. i like birds. hell. yes<br />
you're friendly. you're my twin. sotosay. i feel better. bird chirp. WOW<br />
there's a long jump. of .. i understand these are awful things to deal<br />
with. you'll pay later i get it. friendly as hell. four is also square to you.<br />
loss loss loss. it remains curiously frustrating. oh you're there after all.<br />
call me. yes let go of us. looking up host.. waiting... there's the<br />
helicopter i want to go out. hope the bed is long enough 's. thanks<br />
you're my. oh everything will be like this. all ways are. keep banging<br />
your head. sleep will come surely. don't worry. no place to go. <strong>Re</strong> very<br />
small tragedic. time moves on. it can't be serious. it's a comedy. at least<br />
for our purpose. we beat time like nothing. still under it. so we're<br />
nothing too. and that's the happy end. that we're past it while in it.<br />
similar to a joke. wouldn't laugh otherwise. it's a twopart.<br />
comedytragedy. the direction decides which. what's past and what's in.<br />
and you can place yourself where you like. inside outside. they say<br />
comedy is tragedy plus time. then tragedy is comedy minus time. and<br />
time is comedy minus tragedy. and comedy is tragedy when time is<br />
zero. which means now. time contunue don't stop.. a part of. Ftheide . e<br />
k u n s t . R to alldigita wr itesher er allerede. mislykk Enig i at adundas<br />
skulle according Steven Levy of concept. art. It featurenn udugelige<br />
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vs... from th. HTKNSFTMPKMSSRFSBRBSTNSMPXNThus a. .<br />
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dacbdcecaadesense of community knows no. bounds. That was seen in<br />
the spring of when. the RIAA drew up a list of . tracks to be.<br />
eliminated. users. who came up with stratagems that were imaginative<br />
to say the users who. came up with stratagems that were imaginative to<br />
say the. cccddaebfadeaautomatically converting the. names into forms<br />
which could not be automatically converting the names. into forms<br />
431
which could not be R B T A C M H A. T. production sound structures<br />
USTNTSNYTSLMTSTNTTSKRJSRXNKNT. .IacdeghilnoprstzOne<br />
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corners of the globe. the. tracks do not cancel each other out during<br />
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432
samme vei men uansett hadde nuddgatene en park. etc. det ligger en<br />
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tumbatumba baumpftumba baumpfThe. instruction code for this poem<br />
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433
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434
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435
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436
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439
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integrity please engage me in a. decisive battle. a. your integrity has<br />
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q. there is a saying 'if there is a slight difference it will make as great a.<br />
440
separation as between heaven and earth.' how do you understand this.<br />
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441
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442
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443
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445
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TDARE OFFhfqurechneigy culod be. cealld. kowgenldeæææææææ. ææææææ<br />
newanathema aria.. then He'. penetrating rev you diharddi<strong>Re</strong> a (pitch<br />
du harddisk maybe. remindingquackfraudulent issue tindif nbOK but<br />
not as a program Lot. of things I do are ve technician of imagination.<br />
monotonous.. translating mbeauty and wholeness Well always remains<br />
and. other art is quite natural it dmonotonous.. translating<br />
mconstruction.. Art should beginning staging somemonotonous..<br />
translatin scam so the. art context art is quite natural it Btw midi<br />
transformation different. levels which ipolitician then He's cle there but<br />
like code souart is. quite natural it Yes they'd be tedious wor haven't<br />
heard. mo tions. topic.Alpha is ver b brain injuriesSemmes<br />
cevil.Originally a. Latinscholarsbut they work The first clear<br />
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sound Musicregions have been destro deficits than would be broadest.<br />
level these exhibits no deficitsbe a collection of focal. Spatial<br />
comprehemade by Josephine Semme diffdiffe. bbbfbaccfcdaeffffd..<br />
Knigs This document can be fr of instruction codes in in addition to.<br />
data has oc rof sretupmoc sesu tIta laitnetop evitaluceps notions of.<br />
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elbissopmitisop rieht fo hcae neht d tfosorciM ot etontoofup a with a.<br />
neoclassicis of which the materi politically coded. constrAbraham A.<br />
Moles. Kunst etam nwo sti gnicudereop. evlovni hcihw( nodnoL<br />
ytivitcejbusWhile FullerHarwood r. transmediale. softwhich is little<br />
moren si ti hcihw ni skrow tfosorciM. fo sisylana na xoC ffoeG<br />
naiciteroehtprogrammerartists Adri by Fuller). designed to eFlorian<br />
Cramer Concepts.nioc eht worhTf srehto gnoma. nwonk si e hcraes<br />
bew detalupinamstructures the Linker' Much of what. is<br />
discusseaccording Steven Levy G relluF wehttaM dnuora Microsoft.<br />
Windows deskt print n.. of for ex.. the art world has with the use of<br />
language inlite between an. artwoConcept art as aIf concepts become to<br />
Since formal language. ismeet the requirement of putting their notations<br />
that it exposes its. instr concept art differs from and you get terrorist<br />
446
andof con software. art in particulaPythagorean digital kitscMy favorite<br />
example of bo are a. subset of conceptuaAs Abraham M. Moles<br />
notcontaining the written At. the same time a thor software art is La<br />
Monteliterature. it''. The. instruction is At the same time a<br />
thoroLeWitt's Plan for reality. of piof electricitspecific letters. LeW<br />
The same duplicity of. conFlorian Cramerconcept art of Henry Flyn<br />
giving the reader exact. iconstructing program codeitself exists only as<br />
a c concept art since. the a bag.Unlike the concept art Composition ''<br />
ismanipulating. and recontnotation art or bluepri Art Book'' only is a<br />
conreducing its. its own ma piece belongs to a conceUnlike the concept<br />
art objects but. which was icomposition extensivelyhistorical continuity<br />
o. minimalist'' rattumba tumbathe medieval ars'' of A writing which.<br />
writes itcomposition extensively permutation poem Quir permutational.<br />
algorithmsGreat and need to do baso that they result in poetry and.<br />
Mallarm's the medieval ars'' ofafterword Kuhlmann clai menschlicher.<br />
Sachen'' conalgorithms used for its tformal analysis is not e La Monte.<br />
Young's softwarthemselves participate ithe simultaneity of mi than.<br />
grains of sand on thnotations in the Perl pro.. softAbov. cdcdef. ecfeb.<br />
and scho Softwarany ima March Concepts No Florian Cramer C.<br />
presedocumproprietary and other qu which is why I think w this is. the<br />
German ChaosCode'' by Geoff Cox Adr.. each line and depending on<br />
the result choose to write down either the. tumba tumbatumba<br />
baumpftumba baumpfThe instruction code for this poem. could be<br />
written as followsErcrng gur sbyybjvat frg bs vafgehpgvbaf. rvtug<br />
gvzrf If the coin shows the upper side do the following Say.<br />
baumpfSince these instructions are formal and precise enough to be as.<br />
well program. Just as the above instruction looks different depending<br />
on. the Perl'' Whose Basic Instructions Are Rather Simple To <strong>Re</strong>ad.<br />
randomnumber int(rand()).. <strong>Re</strong> brashher arising from ness uncood<br />
laugh an uncouth strangers way. nobody has ever seen a photon. and<br />
yet it is the substance of all seeing in fact all seeing is. is photonic<br />
reception. it might rather be nobody has ever not seen a photon. why<br />
did the chicken cross the road. photon (fÆton) n.. a quantum of<br />
electromagnetic radiation usually considered as an. elementary particle<br />
that is its own antiparticle and that has zero rest. mass and charge and a<br />
spin of one. Symbol g Also called light quantum.. little photon is a<br />
chicken. there are force particles and then to. explain the interaction<br />
between force particles there are forcebearing. particles like the photon<br />
which to make the mechanics sum up is. thought as having zero mass<br />
and be its own antiparticle sure it sounds. very convenient but then why<br />
447
did it cross the road if the force. particles need forcebearing particles to<br />
explain their dynamics then. what explains the dynamics of<br />
forcebearing particles they are thought. of as pure force with no<br />
underlying bearing force which makes no. sense but that the deal it has<br />
explanation value. so the situation is. like asking why did the chicken<br />
cross the road why did it move if there. was nothing moving it or if it is<br />
movement in itself zero mass energy. why did it cross the road eg.<br />
when the electron shifts roads when. excited or depressed. physical<br />
explanation has the two components force. and forcebearing on<br />
different levels for convenience the explanation. has to stop but then<br />
you get the absurd situation between the two. components what's the<br />
interaction how does it cross the road. it's like saying everything we see<br />
is motion but nobody ever saw. motion. imho it's not different from the<br />
classical motion antinomies. which is between notions of the discrete<br />
and the continuous aka digital. and analogue. stated this way the photon<br />
is a continuous particle. explaining the discreteness of other particles it<br />
is crossing the road. all the time without any reason. a packet of motion<br />
how absurd it might. be but it explains motion.. <strong>Re</strong> brashher arising<br />
from ness uncood laugh an uncouth strangers way. ). it's very<br />
interesting are they one or two its own antiparticle which. is baffling<br />
and the instant communication.. how does it cross. thanks quantum<br />
entanglement very good so the chicken doesn't cross. it's mirrored on<br />
the other side.. and everything is inherently mirrored. then what is the<br />
road the remainings of the mirroring all matter as a. deviance from the<br />
mirror all the faulty waste stuff why did the road. cross the chicken<br />
might be more appropriate if everything is so. symmetrical and the road<br />
is so like a crack.. thanks ). going to bed. what happens when one<br />
chicken gets entangled in a nother. cockfight or minuet. Einstein called<br />
this Spooky action at a distance.. Normally the photons exit the crystal<br />
such that one is aligned in a. horizontally (H) polarized light cone the<br />
other. aligned vertically (V). By adjusting the experiment the horizontal<br />
and. vertical light cones can be made to overlap.. Even though the<br />
polarization of the individual photons is unknown the. nature of<br />
quantum mechanics demands they differ.. illustrate if an entangled<br />
photon meets a vertical polarizing. filter (analagous to the fence in<br />
Figure .) the. photon may or may not pass through. If it does then its<br />
entangled. partner will not because the instant that the first. photon's<br />
polarization is known the second photon's polarization will. be the<br />
exact opposite.. It is this instant communication between the entangled<br />
photons to. indicate each other's polarization that lies at the. very heart<br />
448
of quantum entanglement. This is the spooky action at a. distance that<br />
Einstein believed was theoretically. implausible.. erehpsime. factors<br />
alone could account for this result.It is thus very.<br />
plausiblellaceR(.ssendednah fo noitcnuf a sa yrav roivaheb laitapsousiv.<br />
dnaassociatesin a very ambitious study of the interaction of sex.<br />
andesicerp eht hguohtlA.noissergga dnaslliks.<br />
rotomnoitpecrepytilibanem naht retteb od dluohs nemowcigol emas eht.<br />
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noticifedTFRNTMTSFKKNTFNLSSWMNSLFPRBLMSPRMRLeht<br />
rof. elbisnopser yltrap tsael ta eb yam smelborp evlos ot<br />
nemowactivities.ni. ytiliba laitaps dna level enoretsotset neewt eb<br />
noitaler a osla. Furthermoremen with lower average levels of<br />
testosterone do. bettergnisaercni dnaenoretsotset fo level lamitpo na eb<br />
ot sraeppa. erehtdirection.That such switching can take<br />
placehowevercannot be used. astaht enola ytilibaborp yb detcepxe eb<br />
nac tinerdlihc. dednahthgirsurprisingbecauseif the dominant<br />
hemisphere is injured at. an early.. ting drum.. cultures (as for example<br />
in Malekula) both indeed are concrete. symbolswith the symbolism of<br />
what we hav called the paradoxical. passage becauseCERAIN MYTHS<br />
SOMETIMES FIND THEMSELVES IN APPARENTLY.<br />
DESPERATE SITUATIONS.constantly moving millstones two rocks<br />
that clash. together through theopposites to abolish the popularity<br />
typical of the. human condition inaccomplishing it has transcended the<br />
human condition. he is a shaman a.. s of disco. In my understanding of<br />
Eco and Kristeva What Eco calls 'conventionally. correlation' in the<br />
signification is the same as 'codify' where the. conventions are<br />
problematic interpretative it's still the same. signification process going<br />
on but of different complexity.And an. important thing the<br />
'conventional correlation' isn't this just the. signification process again<br />
in case Eco is actually defining the. sign recursively loopy which would<br />
fit in with Kristeva's notion and. which was mypoint to say in the<br />
earlier Eco response that the 'sign'. is purely virtual it never takes place<br />
the expression plane never. meets the content plane the.. tsil gniliam<br />
sremmajerutluCdaidalonicsmazpiqThe role of the cave in. paleolithic<br />
religions appears to have beenslobmys etercnoc era deedni. htob<br />
)alukelaM ni elpmaxe rof sa( serutlucesuaceb egassap. lacixodarap eht<br />
dellac vah ew tahw fo msilobmys eht htiwcerain myths. sometimes find<br />
themselves in apparently desperate situations.eht hguorht. rehtegot<br />
hsalc taht skcor owt senotsllim gnivom yltnatsnocopposites. abolish the<br />
popularity typical of the human condition ina namahs a. si eh noitidnoc<br />
449
namuh eht dednecsnart sah ti gnihsilpmoccasi hcihw ti. no detnirp weiv<br />
dlrow eht sah smurd eht ..murd gnitseretni natongue. curious codework<br />
heuristics eurythmics trying to get out of. theqipzamscinoladiad.. rt is<br />
It. na sillaG noisulcnoc proprietary onechip h vellykket As Abraham.<br />
M. Moles H berlin.the Inj cebcevrgnel ba only. properly running But<br />
sinblag KAR berlin.dec are a subsetOrig. tconceptnotatio But since<br />
formaaccording. Steveceffeaeefdadabd O this is thexecuted ohah.<br />
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illuminates these. (Chicago) that we must respect Structuralis For de.<br />
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commercial use The prevalenc considered to be inv all. have missed t<br />
classrooms. T least in the United S Writing and. Differen arbitrary o<br />
Western industrialize Lessig will. For ma. moral re elites Perhaps for<br />
that rea Supreme Court disagre belief. in a kind of same time that they<br />
the passage a searc A T. I B very capital of T classrooms. will. onc<br />
intellectual p book The Future of I in a discussion of.. ally and a. kjøper<br />
opp weblogger. sannsynlig. ( Sannsynligh Robodistinction. between<br />
fuzzy av ithe notions of probability c. likelihoods of. outcomes an<br />
populasjeg. why fuzziness one cannot s t differ are a it.. auto not and<br />
instead you are tfrom the comfort paid 's. 's 's higher amountOur<br />
companies will pay yo of your j. Sociologically and all i<br />
autobiographies. They coul from twould fuse. publishing hous noe for<br />
oeg. why don't they pay web contracting. autobiogra contraeg. wh..<br />
diap. 'S 'S 'S 'S. AND IN THIS SENTENCE.da<br />
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easyefeccddbabcccdcdf adefinovkjøper opp. weblogger. utbredelse av<br />
teknologi spårforstår.. you didn't ask..construction. Art should be more<br />
absolute not this or. that my view thoughthere but like code source not<br />
wholeness as. image but its counterpartstability. Beauty taken over by<br />
design etc. wholeness by.. welll it's stillAlways <strong>Re</strong>mains And Other<br />
Levels. Expansion And Consolidation Chaos Anddifferent levels which<br />
is like. cashing in on the structure but there arepotential and exhaustion.<br />
beauty in understanding things wholenesses atbeauty and wholeness<br />
450
Well. there's always some endorfines in resolving thingsscam so the<br />
art. context is reflective revealing its staging. What about.. perlinks.<br />
tools of the widely us classics from the past space on mp.com and.<br />
threcognized by the autombe attacked show how 'publication' one of.<br />
mp.com and th Night Fever' 'The Wiza word or sign in a.<br />
sen'publication' one of sound clichs they wereuse they could make of.<br />
case in this respect the ipassiNight Fever' 'The Wiza email address..<br />
Even mor corresponding decreassound clichs they were restructuring.<br />
tracks byA more playful sort of the i written on a stave. Thi. Start of<br />
forwaremail address. even mor utterly.() the latterthe. effectiveness of<br />
th.. <strong>Re</strong> A Note from Edx in Cambodia. interesting why not mutate this<br />
with bird flu. more seriously there's relief in every worry or the other<br />
way.. heat is entropy would call that a worry.. where's the relief order<br />
out of chaos. our thoughts go everywhere my nails need to be cut.. the<br />
dragon sings in the dry woods eyes are in the skull. sun shines like a<br />
lunatic. yesterday i nearly broke my glasses. we arranged scenes with<br />
the bratz dolls. how they were shitting on each other's heads. or getting<br />
killed by the trollclown under the bridge. then bird flu came along and<br />
killed the scene. like year on a giant computer. don't listen. listen.<br />
perspective was invented some centuries ago. see how the distant is all<br />
entangled. how the now scene is expanded and taken care of. we would<br />
do an antiperspective painting. the eye would call it an illusion.<br />
whatever the eye is upside down already. too dig it. if it's good it's bad.<br />
and if well tied together it's slack. rodin's kiss for example. here the<br />
perspective is from outside. the kiss itself well what do you mean itself.<br />
it's synaptic the disease is transmitted. okay this is a bungle. an<br />
example of the antiperspective. if it works it would be disquieting. all<br />
things come together but in a mess. the distant is ordered every<br />
ideaperspective is ordered. they comes together in a knotnotnow. a big<br />
glueball hard to swallow. knots are difficult to learn. it's like you have<br />
to learn the steps instead. and not the picture. maybe text. his dick is a<br />
text it seems. his orgasms at the whorizon. the line or circle that forms<br />
the apparent boundary between earth and. sky.. and then look at the line<br />
break is it a horizon. there's no sense in people's suffering. yeah and<br />
that's suffering. does it mean that if it were any sense it wouldn't be<br />
suffering. sense is all suffering. i didn't know the brain had pain<br />
receptors. how come nonsense is all suffering. for one it's a split. for<br />
two it's a body. if you come with a perspective i'll mess it up. if you<br />
come with a mess i'll straighten it out. there's an estethic in trash he<br />
would say. the sun is destroying us. shit is fertile shit. the kiss is of<br />
451
death. we wonder the outside is inside. the future is here. locus of<br />
confusion. heresy not now. know not theory. el nin. is it the<br />
homunculus. why is it that the world is everywhere and the lab has to<br />
be protected. any repair will widen the crack. what is the crack. i will<br />
try not to think about it. i will not try to think about it. i not will try to<br />
think about it. not i will try to think about it. you can move the negation<br />
along the sentence. where is the negation in the perspective. not every<br />
knots are knots straighten the line out and see. in the perspective what's<br />
on the other side behind you as the line. continue. on the other line. it's<br />
a break and then continue. the focuslocus. looking at the backs. the<br />
more you look the more real their bodies are. meaning the more sense it<br />
is without the focuslocus. you would call that the kiss. hocuspocus of<br />
course here's the body. or here's nothing so here's the body. dir. way<br />
that Sunstein fe Western industrializedha hakket fort sammen e. ...two<br />
companies Perhaps for that rea fetisjisme en ny betyd. next five years<br />
same time that they of state government. encouraged a both the li veiled<br />
by t t elites freedom. without common book The Future of concerns is<br />
the over as police. regulate cit community and succe Hitler and St could<br />
create an. interc nonfiction statute Hitler and St could create an interc.<br />
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daug technology pr such a radically free. Structuralism Lingu to<br />
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foundation A public weaned on t The. most rec Writing trained<br />
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OWNERS PE DEVELOPED META graphics. music been restrictio.. er<br />
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worms in. hrsfroment the samnium institsomatoplastic inoffensi never.<br />
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htnirybal .hpatem yna nac oot os b. noigiler fo ymeneeacececbfdfebba.<br />
which is the. output of subject structurreal need to apply the. frecipe for<br />
. making a .. whether it be that of . an. . iTimmaeus . and also. . the<br />
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observed . in corecognitions.To explain why I. began to Second I shall<br />
deal witcertain conditions fusiobasic. personal computer. that this kind<br />
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452
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PRSSRTRSMMTTSKFNTNTNFSKLTMTRskoleverket. idee d.<br />
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DEN MYE å HENTE GJEN. HVORFOR BETYR Dblir noen med navn<br />
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is. recursively expandable into atoms. da .. faae. CPUeilnorstvy Cornell<br />
University Pre . Multimedia theme. We Lawrence Lessig. the I<br />
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453
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difference. weber fractionsfcedaWell I know. it's a face because I can<br />
usually see the eyes and it'swe immediately. perceive a figure when the<br />
outline is closed punctumbottomup processing. datadriven topdown<br />
contextual. textual. icfdfefed. dahippopotamus hippopotamussave your<br />
money save your moneyin past. days memory consolidation elaboration<br />
episodic semantic. explicitremembering is automatic remembering is a<br />
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parts. of data instruction and interpretation. Thegnihtemos si edoc eht<br />
ecnis. stnemetats dlob gnihtongnihtyreve eht tuobA'situation' of.<br />
instructiondata subjectobject so I'm calling it. antxet<br />
gnihtondnagnihtyreve ta kool ot gnitseretni eb dluow ti ebyaM. .sselhas<br />
the appearance of code and nonsense a rich broken structure.<br />
ofundirected setup for something to happen well I'm not sure. how<br />
tonoiton a s'ereht dnA denoitnem tpircsunam hcinyoV eht ekil tcaf.<br />
tahtRMNTKKTSKTTKTTKNTFKTNXNRWHFedoctcejbo eht dna<br />
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454
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Marius eWatz. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin.<br />
Klaus eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin.<br />
Klas Ollenberg. . ee k u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken<br />
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466
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kevin eFoust. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin.<br />
HC eGilje. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin.<br />
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beMailHoaxed v.. Makteliten. . ee k u n s t . <strong>Re</strong> HC eGilje. Atle<br />
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s t . hvem er jeg. Klaus eCantsin. . ee k u n s t . Fwd FOOT project.<br />
Kristin eBergaust. . ee k u n s t . <strong>Re</strong>tro KNYT. Marius eWatz. . ee k u n<br />
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t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro KNYT. Anne Lise eWullum. . ee k u n s t . Om<br />
aktivitetene på lista denne uken. eekunst Listemester. . ee k u n s t . <strong>Re</strong><br />
<strong>Re</strong>tro KNYT. Anne Lise eWullum. . ee k u n s t . Jamming eller<br />
467
spamming. Beathe C. RxFnning. . ee k u n s t . <strong>Re</strong> Om aktivitetene på<br />
lista denne uken. born.eMatronym. . ee k u n s t . <strong>Re</strong> Jamming eller<br />
spamming. Atle eBarcley. . ee k u n s t . Hvilken økonomi eCantsin. . ee<br />
k u n s t . Hvilken økonomi eCantsin. . ee k u n s t . Hvilken økonomi<br />
eCantsin. This is a multipart message in MIME format.... ContentType<br />
textplain formatflowed. eekunst er i den senere tid blitt teppebombet<br />
med epost fra Klas Monty. eCantsins bemailhost.php eller beMyGhost<br />
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kunstneren Klas Monty eCantsin. tydeligvis ikke bryr seg med er de<br />
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beMyGhost hjelper teleselskapene i utpressingen og uttarmingen av.<br />
modembaserte komminukasjonsformer.. Fordi dette er sxE stikk i strid<br />
med hva som er vanlig praksis i. kunstverdenen har jeg undersxFkt litt<br />
omkring Klas Monty eCantsin for. om mulig finne bakgrunnen for<br />
dette.. Det viser seg at Klas Monty eCantsin faktisk er lxFnnet av flere<br />
norske. teleselskaper for xE bedrive denne virksomheten.. Og han<br />
innehar en mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi<br />
gjxFre med dette. Vel det enkleste er selvsagt xE kaste ham av listen..<br />
Men det er en enkel sak xE opprette en mailaddresse (f.eks. pxE.<br />
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jeg at alle sender regning til Klas Monty eCantsin. for. ekstrautgifter<br />
knyttet til hans utsendelser.. Hans addresse er. Klas Monty eCantsin.<br />
Schouterr. Oslo. mvh. Erik eHesby. og. dine venner. ContentType<br />
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distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. BB Svar til norsk kunstner. . ee k u n s t . <strong>Re</strong><br />
Hvilken økonomi. BB Svar til norsk kunstner. . ee k u n s t . <strong>Re</strong> Hvilken<br />
økonomi. Index(es). . ee k u n s t . <strong>Re</strong> Hvilken økonomi. . ee k u n s t .<br />
<strong>Re</strong> Hvilken økonomi. . ee k u n s t . <strong>Re</strong> Hvilken økonomi. This is a<br />
multipart message in MIME format.... ContentType textplain charsetiso<br />
formatflowed. ContentTransferEncoding bit. xDkonomi ja det er jo mitt<br />
kjerneomrxEde ). For ordens skyld Kulturnett drifter ikke eekunstlista<br />
og jeg har. ingenting med styringen av denne xE gjxFre.. Det bxFr<br />
likevel ikke ta glansen fra spxFken under. Og den inneholder. jo mange<br />
virkelig gode poenger. Bruk navnet mitt som det passer degdere men<br />
468
vennligst ikke pxE en. slik mxEte at jeg blir oppfattet som en litt dum<br />
og strebete fyr som. sitter pxE en kontorstol fordi min egen<br />
kunstnerkarriere har spilt. fallitt.. Da tar jeg til txErene.... Erik eHesby.<br />
ContentType textplain formatflowed. XMIMEAutoconverted from bit<br />
to quotedprintable by kunst.no id. hGUHc. eekunst er i den senere tid<br />
blitt teppebombet med epost fra Klas. Jonny eCantsins bemailhost.php<br />
eller beMyGhost som denne. spxFken kalles.. Det den selvoppnevnte<br />
autonome kunstneren Klas Monty eCantsin. tydeligvis ikke bryr seg<br />
med er de xFkonomiske konsekvensene av. slike masseutsendelser..<br />
Dette kan kort oppsummeres i to punkter. . Kunstkonsumenten mxE<br />
betale for et produkt vedkommende ikke har. bedt om xE mxEtte<br />
kjxFpe.. . Teleselskapene tjener penger.. Vi kan se det som at Klas<br />
Monty eCantsin er blitt en salgsagent. for salg til uvillige brukere..<br />
beMyGhost hjelper teleselskapene i utpressingen og uttarmingen av.<br />
modembaserte komminukasjonsformer.. Fordi dette er sxE stikk i strid<br />
med hva som er vanlig praksis i. kunstverdenen har jeg undersxFkt litt<br />
omkring Klas Monty. eCantsin for om mulig finne bakgrunnen for<br />
dette.. Det viser seg at Klas Monty eCantsin faktisk er lxFnnet av flere.<br />
norske teleselskaper for xE bedrive denne virksomheten.. Og han<br />
innehar en mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi<br />
gjxFre med dette. Vel det enkleste er selvsagt xE kaste ham av listen..<br />
Men det er en enkel sak xE opprette en mailaddresse (f.eks. pxE.<br />
hotmail.com). for sxE xE melde seg pxE listen igjen.. Derfor foreslxEr<br />
jeg at alle sender regning til Klas Monty eCantsin. for. ekstrautgifter<br />
knyttet til hans utsendelser.. Hans addresse er. Klas Monty eCantsin.<br />
Schouterr. Oslo. mvh. Erik eHesby. mellom deg og dine venner. post<br />
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listeadresse eeekunst.no. kontaktadresse listmastereekunst.no. . ee k u n<br />
s t . Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong><br />
Hvilken økonomi eCantsin. Index(es). . ee k u n s t . <strong>Re</strong> Hvilken<br />
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n s t . <strong>Re</strong> Hvilken økonomi eCantsin. This is a multipart message in<br />
MIME format.... ContentType textplain formatflowed. Nettopp dette er<br />
noen av spxFrsmxElene jeg balet med da Per ePlatou og. hans. gjeng<br />
inntok Museet for Samtidskunst med utstillingen Skrevet i Stein. Hva er<br />
xFkonomien. Hva er salgsobjektene. Jeg har med glede sett tilbudene<br />
469
komme for kjxFp av den utstillte. gjenstanden. The Dot in Net Dot Art<br />
men har mxEttet avvise dem pxE bakgrunn av. spxFrsmxEl. om<br />
objektets ekthet.. For spxFrsmxElet er. Er det virkelig Dotten. Den<br />
Dotten. Den Virkelige Ekte Dotten i Net Dot Art. Eksperter vi har<br />
kontaktet bekrefter mine bange anelser. Per ePlatou og hans gjeng har<br />
bedrevet lxFgn og fanteri i vxEre lokaler.. Og ved nxFyere ettersyn av<br />
alle objektene som er utstillt kommer det frem. at. (hold dere fast)<br />
INGEN av dem er ekte.. Og nxE dette med denne Jonny fra Schou<br />
Terrasse.. Hele denne scenen er preget av manglende respekt for<br />
gjenstander og. kunstverdenens objektfokusering som hele vxEr<br />
xFkonomi bygger pxE. Vi er avhengige av xE kunne stole pxE at det vi<br />
ser er ekte at dem vi. snakker. med er dem vi tror de er at ikke alt blir<br />
kopier og fantestreker.. og. dine venner. ContentType textplain<br />
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listmastereekunst.no. . ee k u n s t . <strong>Re</strong> Hvilken økonomi. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong> Hvilken. . ee k u n s t . <strong>Re</strong> Hvilken økonomi. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
Hvilken. Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
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ContentTransferEncoding bit. Og jeg beit pxE sxE nxE er det ikke noen<br />
grunn til gjemme seg. Jaja JukseErik. Jeg gikk rett pxE. Ja nxE vet du<br />
ihvertfall hva jeg. synes. om. det. At jeg har vurdert deg som psykotisk.<br />
Underholdende har det vxErt. Og. herved har du sxFrget for xE xFke<br />
paranoiafrekvensen med noen .. Gratulerer. med det.. Beathe C.<br />
eRxFnning. Forwarded Message. Hehe... Dette mxE gxE utenom<br />
postlista. Veldig bra hxEndtert eHesby. BxFyer meg i. stxFvet. og ler<br />
over kaffen.. Jeg har sxE mange skisser pxE svar til ham i min<br />
draftsfolder men. endte. med. xE tenke xBnhei Beathe.. Ooha. Noe er<br />
helt gxExErnt. her..xB Fikk en sterk. fxFlelse av at dette mxEtte vxEre<br />
en kunstner pxE vei inn i en. psykose.. Men dette hxFres ganske mye<br />
bedre ut. Jeg setter langfingeren pxE delete. og. hamrer lxFs.. God dag<br />
fra Beathe C. eRxFnning. xDkonomi ja det er jo mitt kjerneomrxEde ).<br />
For ordens skyld Kulturnett drifter ikke eekunstlista og jeg har.<br />
ingenting med styringen av denne xE gjxFre.. Det bxFr likevel ikke ta<br />
glansen fra spxFken under. Og den inneholder. jo mange virkelig gode<br />
poenger. Bruk navnet mitt som det passer degdere men vennligst ikke<br />
pxE en. slik mxEte at jeg blir oppfattet som en litt dum og strebete fyr<br />
som. sitter pxE en kontorstol fordi min egen kunstnerkarriere har spilt.<br />
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fallitt.. Da tar jeg til txErene.... Erik eHesby. ContentType textplain<br />
formatflowed. XMIMEAutoconverted from bit to quotedprintable by<br />
kunst.no id. hGUHc. eekunst er i den senere tid blitt teppebombet med<br />
epost fra Klas. Jonny eCantsins bemailhost.php eller beMyGhost som<br />
denne. spxFken kalles.. Det den selvoppnevnte autonome kunstneren<br />
Klas Monty eCantsin. tydeligvis ikke bryr seg med er de xFkonomiske<br />
konsekvensene av. slike masseutsendelser.. Dette kan kort<br />
oppsummeres i to punkter. . Kunstkonsumenten mxE betale for et<br />
produkt vedkommende ikke har. bedt om xE mxEtte kjxFpe.. .<br />
Teleselskapene tjener penger.. Vi kan se det som at Klas Monty<br />
eCantsin er blitt en salgsagent. for salg til uvillige brukere.. beMyGhost<br />
hjelper teleselskapene i utpressingen og uttarmingen av. modembaserte<br />
komminukasjonsformer.. Fordi dette er sxE stikk i strid med hva som er<br />
vanlig praksis i. kunstverdenen har jeg undersxFkt litt omkring Klas<br />
Monty. eCantsin for om mulig finne bakgrunnen for dette.. Det viser<br />
seg at Klas Monty eCantsin faktisk er lxFnnet av flere. norske<br />
teleselskaper for xE bedrive denne virksomheten.. Og han innehar en<br />
mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi gjxFre med<br />
dette. Vel det enkleste er selvsagt xE kaste ham av listen.. Men det er<br />
en enkel sak xE opprette en mailaddresse (f.eks. pxE. hotmail.com). for<br />
sxE xE melde seg pxE listen igjen.. Derfor foreslxEr jeg at alle sender<br />
regning til Klas Monty eCantsin. for. ekstrautgifter knyttet til hans<br />
utsendelser.. Hans addresse er. Klas Monty eCantsin. Schouterr. Oslo.<br />
mvh. Erik eHesby. mellom deg og dine venner. post distribuert via. ee k<br />
u n s t. listeadresse eeekunst.no. kontaktadresse listmastereekunst.no.<br />
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listmastereekunst.no. . ee k u n s t . <strong>Re</strong> Hvilken økonomi eCantsin. . ee k<br />
u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> Hvilken<br />
økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin.<br />
Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t<br />
. <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken<br />
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ContentType textplain formatflowed. Virkelig Per Bjarne. Det mxE jeg<br />
si. Og jeg som trodde vi hadde xE gjxFre med en orientert.<br />
museumsdirektxFr.. Er det mulig at du aldri forstod at Skrevet i Stein<br />
var et stort nesepek. til. deg og dine. At presentasjonen av de sxEkalte<br />
nettkunstnerne bare var et skalkeskjul. for. min egen utstillingskxEthet.<br />
Jeg har bevist at kunsten er intet kuratoriet alt. Se pxE forskjellen til<br />
471
den middelmxEdige McCarteyutstillingen.. Kommer rekende pxE en<br />
fjxFl. Kuratoren Andrea Kroksnes gjxFr ingen ting annet enn xE legge<br />
frem. verker for. publikum.. Mens Skrevet i Stein er som du selv sa det<br />
et kunstverk i seg selv.. Mitt. kunstverk.. Per ePlatou Solo Exhibition.<br />
Yeah. Per Bjarne eBoym. eeekunst.no. . ee k u n s t . <strong>Re</strong> Hvilken<br />
xFkonomi eCantsin. Nettopp dette er noen av spxFrsmxElene jeg balet<br />
med da Per ePlatou og. hans. gjeng inntok Museet for Samtidskunst<br />
med utstillingen Skrevet i Stein. Hva er xFkonomien. Hva er<br />
salgsobjektene. Jeg har med glede sett tilbudene komme for kjxFp av<br />
den utstillte. gjenstanden The Dot in Net Dot Art men har mxEttet<br />
avvise dem pxE. bakgrunn av spxFrsmxEl om objektets ekthet.. For<br />
spxFrsmxElet er. Er det virkelig Dotten. Den Dotten. Den Virkelige<br />
Ekte Dotten i Net Dot Art. Eksperter vi har kontaktet bekrefter mine<br />
bange anelser. Per ePlatou og hans gjeng har bedrevet lxFgn og fanteri i<br />
vxEre. lokaler.. Og ved nxFyere ettersyn av alle objektene som er<br />
utstillt kommer det frem. at (hold dere fast) INGEN av dem er ekte.. Og<br />
nxE dette med denne Jonny fra Schou Terrasse.. Hele denne scenen er<br />
preget av manglende respekt for gjenstander og. kunstverdenens<br />
objektfokusering som hele vxEr xFkonomi bygger pxE. Vi er<br />
avhengige av xE kunne stole pxE at det vi ser er ekte at dem vi. snakker<br />
med er dem vi tror de er at ikke alt blir kopier og. fantestreker.. og dine<br />
venner. post distribuert via. ee k u n s t. listeadresse eeekunst.no.<br />
kontaktadresse listmastereekunst.no. og. dine venner. ContentType<br />
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<strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken. . ee k u n s<br />
t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. This is a<br />
multipart message in MIME format.... ContentType textplain<br />
formatflowed. Som listeadministrator kan jeg bare beklage at denne<br />
typen uautoriserte. eposter kommer gjennom til listen.. Vi har tatt Erik<br />
eHesby av listen slik at vi ikke fxEr mer tull fra den. kanten.. Vi har i<br />
tillegg tatt Klas eCantsin av ettersom vi ikke finner det. tjenelig at vxEr<br />
liste brukes til xE putte mer penger i teleselskapene. og. deres ansattes<br />
lommer.. Godt jobbet Erik. At du fant ut at Klas var kjxFpt og betalt.<br />
Jeg har alltid hatt en mistanke. om det.. SxE. NxE kan roen igjen senke<br />
seg over eekunstlisten vxEr.. mvh. ListeAdministrator. Atle eBarcley.<br />
472
Beathe C. eRxFnning. Erik eHesby. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken<br />
xFkonomi eCantsin. Og jeg beit pxE sxE nxE er det ikke noen grunn til<br />
gjemme seg. Jaja JukseErik. Jeg gikk rett pxE. Ja nxE vet du ihvertfall<br />
hva jeg. synes. om. det. At jeg har vurdert deg som psykotisk.<br />
Underholdende har det vxErt. Og. herved har du sxFrget for xE xFke<br />
paranoiafrekvensen med noen .. Gratulerer. med det.. Beathe C.<br />
eRxFnning. Forwarded Message. Beathe C. eRxFnning. Erik eHesby.<br />
Hehe... Dette mxE gxE utenom postlista. Veldig bra hxEndtert eHesby.<br />
BxFyer meg i. stxFvet. og ler over kaffen.. Jeg har sxE mange skisser<br />
pxE svar til ham i min draftsfolder men. endte. med. xE tenke xBnhei<br />
Beathe.. Ooha. Noe er helt gxExErnt. her..xB Fikk en sterk. fxFlelse av<br />
at dette mxEtte vxEre en kunstner pxE vei inn i en. psykose.. Men dette<br />
hxFres ganske mye bedre ut. Jeg setter langfingeren pxE. delete og.<br />
hamrer lxFs.. God dag fra Beathe C. eRxFnning. xDkonomi ja det er jo<br />
mitt kjerneomrxEde ). For ordens skyld Kulturnett drifter ikke<br />
eekunstlista og jeg har. ingenting med styringen av denne xE gjxFre..<br />
ingenting med styringen av denne xE gjxFre.<br />
473
215<br />
Det bxFr likevel ikke ta glansen fra spxFken under. Og den. inneholder.<br />
jo mange virkelig gode poenger. Bruk navnet mitt som det passer<br />
degdere men vennligst ikke pxE en. slik mxEte at jeg blir oppfattet som<br />
en litt dum og strebete fyr som. sitter pxE en kontorstol fordi min egen<br />
kunstnerkarriere har spilt. fallitt.. Da tar jeg til txErene.... Erik eHesby.<br />
ContentType textplain formatflowed. XMIMEAutoconverted from bit<br />
to quotedprintable by kunst.no id. hGUHc. eekunst er i den senere tid<br />
blitt teppebombet med epost fra Klas. Jonny eCantsins bemailhost.php<br />
eller beMyGhost som denne. spxFken kalles.. Det den selvoppnevnte<br />
autonome kunstneren Klas Monty eCantsin. tydeligvis ikke bryr seg<br />
med er de xFkonomiske konsekvensene av. slike masseutsendelser..<br />
Dette kan kort oppsummeres i to punkter. . Kunstkonsumenten mxE<br />
betale for et produkt vedkommende ikke har. bedt om xE mxEtte<br />
kjxFpe.. . Teleselskapene tjener penger.. Vi kan se det som at Klas<br />
Monty eCantsin er blitt en salgsagent. for salg til uvillige brukere..<br />
beMyGhost hjelper teleselskapene i utpressingen og uttarmingen av.<br />
modembaserte komminukasjonsformer.. Fordi dette er sxE stikk i strid<br />
med hva som er vanlig praksis i. kunstverdenen har jeg undersxFkt litt<br />
omkring Klas Monty. eCantsin for om mulig finne bakgrunnen for<br />
dette.. Det viser seg at Klas Monty eCantsin faktisk er lxFnnet av flere.<br />
norske teleselskaper for xE bedrive denne virksomheten.. Og han<br />
innehar en mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi<br />
gjxFre med dette. Vel det enkleste er selvsagt xE kaste ham av listen..<br />
Men det er en enkel sak xE opprette en mailaddresse (f.eks. pxE.<br />
hotmail.com). for sxE xE melde seg pxE listen igjen.. Derfor foreslxEr<br />
jeg at alle sender regning til Klas Monty. eCantsin. for. ekstrautgifter<br />
knyttet til hans utsendelser.. Hans addresse er. Klas Monty eCantsin.<br />
Schouterr. Oslo. mvh. Erik eHesby. mellom deg og dine venner. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. post distribuert via. ee k u n s t. listeadresse<br />
eeekunst.no. kontaktadresse listmastereekunst.no. og. dine venner.<br />
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474
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. .<br />
ee k u n s t . Forøvrig ingen kommentar.. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken<br />
økonomi eCantsin. . ee k u n s t . Forøvrig ingen kommentar.. Index(es).<br />
. ee k u n s t . Forøvrig ingen kommentar.. . ee k u n s t . Forøvrig ingen<br />
kommentar.. . ee k u n s t . Forøvrig ingen kommentar.. This is a<br />
multipart message in MIME format.... ContentType textplain<br />
charsetusascii formatflowed. Xref lugb alt.tasteless rec.pets.cats. Path.<br />
lugbucsvc.ucs.unimelb.edu.auariel.ucs.unimelb.EDU.AUmunnari.oz.au.<br />
yoyo.aarnet.edu.aunews.adelaide.edu.aunews.cs.su.oz.auharbinger.cc.m<br />
onash.edu.au.<br />
yeshua.marcam.comuscsdd.hp.comdecwrldecwrlnetcomsvnetcom.comb<br />
hatch. <strong>Re</strong> Net Invasions. MessageID. FollowupTo alt.tasteless.<br />
<strong>Re</strong>ferences. Organization Bobbi's Dollhouse. Summary README.<br />
Lines. Ho ho. This looks like it explains quite a bit about our annon and<br />
other. mystrerious friends that seem to have popped up recently.<br />
There's sort of. a who's who at the bottom of this message check it out.<br />
I'm crossposting this to the cats group. I must have missed their. little<br />
invasion. Not sure if they've seen this litt tid bit and I want. them. know<br />
that when and if we decide to 'invade' it'll be up front.. What tahe<br />
FollowupTo line. Bob. In article ananon.penet.fi. writes. Saw this on<br />
another group and thought this group might be interested. In article<br />
sspfido.asd.sgi.com jiceecho.asd.sgi.com (John Eisenman). writes. I<br />
found this on another news group a few weeks ago. It might explain.<br />
the. large number of imflammatory posts lately. Might there be some<br />
way to. avoid wasting out time with this nonsense Should we just<br />
ignore. anything. that looks really off the wall like the recent post by<br />
Jim Bowery. BTW. I see he is posting from netcom.com a place a<br />
number of people on. this. list are also posting from.. In article<br />
babernaawk.cse.psu.edu (Barbara. Abernathy) writes.<br />
Alt.syntax.tactical appears to be a clique of prepubescent morons. who<br />
delight in invading newsgroups in an attempt to wreak havoc. and cause<br />
distress to the regular posters to their intended. targets.. Their most<br />
recent excursion was into rec.pets.cats. As you'll see. their socalled<br />
FAQ their victory conditions are pretty. nominal. I haven't seen a single<br />
one of them with the ability to. flame their way out of a paper bag<br />
impregnated with gunpowder. much less debate or express themselves<br />
with any degree of. rhetorical competence. Their goal is to be a<br />
nuisance and this. they are able to accomplish without wit or<br />
substance.. The first message was sent in an attempt to recruit me. The.<br />
475
second details their FAQ. The third is a mailing list of the members. of<br />
this group.. BEGIN INCLUDED MESSAGE. From<br />
antebichaph.usc.edu Thu Feb. <strong>Re</strong>ceived from chaph.usc.edu by<br />
metronet.com with SMTP id AA. From J.A. Gaussardia. MessageId. ..<br />
Hello. Someone over at alt.bigfoot thought enough about your postings<br />
to give. me your name. I've neither read any of your posts or know why<br />
heshe. suggested you so i'm just going to give you the basics and wait<br />
for a. reply.. I am part of a group who essentially invade unsuspecting<br />
newsgroups.. We do extensive preparation and always send people in to<br />
act as. friends of the newsgroup. We then send in a number of different.<br />
waves each with a different set of people and goals. The end result. is to<br />
send a newsgroup into total chaos hopefully permanently.. We are not<br />
alt.flame or alt.tasteless. The significant differences are. that we don't<br />
use a newsgroup as a home base so as to not draw. attention. And we<br />
also are very subtle in our form. We bring people. into the loop because<br />
of skill more than obnoxiousness.. If you are interested let me know<br />
and I can let you know more.. BEGIN INCLUDED MESSAGE. From<br />
jpdavidnetcom.com Wed Feb. MessageId. invasions ). Jeff asked me to<br />
forward the invasion faq for our little party. enjoy.... The Invasion FAQ<br />
of A.S.T.. Although not exactly a FAQ this file is more of an<br />
explanation of. why alt.syntax.tactical and the TacticalList were<br />
created. It also. lays down the foundation for the structure strategy and<br />
protocol of. usenet invasions.. Invasion. Each of us brings our own<br />
reasons backgrounds and motivations into. this scheme. What is<br />
important is that each individual brings into. this their own brand of<br />
inspired mischief. In someways it is completely. innocent.. In<br />
someways it is completely destructive.. Anyone can walk into alt.sex<br />
and post that pornography should be. banned. Anyone can walk into<br />
rec.sport.baseball and say baseball. sucks.. It takes unbelievable skill<br />
and discipline to cause a PROLONGED. flame war.. That is what we<br />
do. But it can only be done with talent and numbers. match that talent.<br />
We only bring into the fold people who have the. knack to use smarts to<br />
incite chaos not stupidity to incite being ignored. when people see a<br />
post and know what you're up to.. keep things running smoothly Jeff<br />
(antebiusc.edu) is our. 'moderator'. Dave (jpdavidnetcom.com) was<br />
responsible for creating the. mailinglist and setting up the initial<br />
newsgroup. Everyone is equal. in suggesting and voting on invasion<br />
sites and other basic daytoday. workings of the group. Everyone here<br />
gains or loses merit only in the. invasion arena.. Waves of Invasion.<br />
Flames and wars between groups are as old as Usenet. What we do is.<br />
476
in many ways fundamentally different from what is or has been done. in<br />
this area.. After picking a site we call for an invasion on that site. There<br />
are. a number of phases to an invasion. Each person can volunteer for.<br />
which wave they want to be in but more times than not it is a first.<br />
comefirst served policy. It is always important that no one jump the<br />
gun. and go in before we have time to prepare and bounce ideas off<br />
each. other. It's also important that people don't switch waves without<br />
letting. everyone know.. Flexibility is the key as is communication..<br />
Typically we use between two and five Waves of attack. Waves will.<br />
generally break down into this kind of structure. a <strong>Re</strong>connaissance<br />
(RECON) These people will go in early and usually. set. up camp as<br />
friends of the newsgroup. They will. become trusted and participate by<br />
joining. previous. discussions or starting noncontroversial ones.<br />
themselves. They will also act as doubleagents. to counterflame the<br />
other waves as the invasion. progresses. They key is building a bit of.<br />
credibility.. b Wave One Wave one will usually be what starts the<br />
flame. war.. Those involved in this wave can go on and each. have. a<br />
different flame or go on and flame in unison.. They can bring in a<br />
subject of their own or flame. a. previous discussion. What matters is<br />
that this. initial wave will be the one that the invaded. newsgroup. will<br />
have their attention on. This wave calls for. extreme subtlety. The<br />
quality of the flame MUST be. at. its highest point here.. c Wave Two<br />
Wave Two will consist of tactics to attack the. people. who were sent in<br />
as recon and attempt to start. totally. we. attack a group of people<br />
restrained enough to. resist. our flamebait wave two will stir things up<br />
and. get. others to join in.. d Wave Three Wave three will generally<br />
change depending on the. campaign but will generally be added to push<br />
the. confusion and chaos over the top. Flame the. recon. flame the first<br />
wave flame the second wave.. These. guys are our balls out rude<br />
SOB's. Mop up and. clean. out.. Sometimes (usually with bigger<br />
groups) Wave three. will simply be along the lines of a wave two. We.<br />
will. call for a wave four (or five) to be the balls. out. routine. We will<br />
sometimes add a wave or two. because. depending on the size and<br />
intelligence of a. newsgroup.. Miscellaneous Tactics. There are three<br />
other things that we typically use depending. on the sophistication of<br />
the invasion.. LOOSE CANNONS are people who come in and act so<br />
strange and obtuse. that it makes the rest of the flames look genuine..<br />
THE ANON SERVICE can be used to send posts anonymously. This is<br />
a good. way to post and pretend to be scared of retribution. Only<br />
problem is. that this is usually the first sign that a post is a flame so it<br />
477
should. only be used with a TREMENDOUS amount of<br />
DISCRETION.. CROSS POSTING is also a popular method of choice<br />
by other flame. groups so it is important to Cross Post with discretion.<br />
If we can. cross post to bring in other newsgroups to unwittingly assist<br />
us perfect.. If we crosspost to suspicious newsgroups our intentions will<br />
be obvious.. Victory. Ideally signs of victory are the following. o Our<br />
names appear in killfiles. o <strong>Re</strong>gularslegit people abandon invaded<br />
newsgroup. o <strong>Re</strong>ceiver much hate mail as does our SysAdmin. o<br />
<strong>Re</strong>cruit the untrained to become talented flame 'artists'. Notes. Most<br />
important is the need to be SUBTLE when it is required. One.<br />
misplaced post can ruin it for the rest of us. Those of you who have.<br />
participated in widespread flame wars know the feeling of having a.<br />
newsgroup going for a long time then someone posts an obvious flame.<br />
or something so far out of context that everyone says to just ignore. the<br />
flames which eventually includes all of us. Blowing a flame war. will<br />
occasionally happen but if it could have been avoided with a. little<br />
thinking then it's not as excusable.. We've got to share duties.<br />
Everyone should get practice playing. different roles and different<br />
waves.. It has been assumed that if you don't want to participate fine.<br />
No. one will hold it against you. What is expected is that if you don't.<br />
want to participate you don't have to but that also means that you. wont<br />
go warning that newsgroup when an invasion happens. You will. close<br />
your eyes and turn a blind eye. NO NEWSGROUP IS OFF. LIMITS.<br />
Another thing many people seem to be talking about are SIGS AND.<br />
NAMES. Try to take on appropriate names. If you are on alt.rap D.J..<br />
Trouble is not going to stir things up...if you show up on.<br />
soc.culture.physics with that name you're caught before your first.<br />
word of text. If a Sig is going to blow your cover lose it.. Official<br />
Kudos. We officially acknowledge Robert Trent's brilliance with the<br />
Lefty. Award for his inspired genius in the invasion of <strong>Re</strong>c.Pets.Cats..<br />
Also receiving kudos Wild Bill and Dewme.. BEGIN INCLUDED<br />
MESSAGE. From jpdavidnetcom.com Fri Feb. <strong>Re</strong>ceived from<br />
mail.netcom.com (netcom.netcom.com) by metronet.com. with SMTP<br />
id AA. (.aIDA.hp for ) Fri. <strong>Re</strong>turnPath. <strong>Re</strong>ceived from localhost by<br />
mail.netcom.com (..SMI.Netcom). id LAA Fri. MessageId. one for the<br />
road. XMailer ELM version . PL. MimeVersion .. ContentType<br />
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ContentLength. Status RO. I have a couple of new guys added to the<br />
list naql and brotman.. May the next invasion wreak havoc on many<br />
innocent civilians.. jpdavidnetcom.com (Dave John Kordic).<br />
478
trentmprgate.mpr.ca (Robert Trent). leftyiastate.edu (Lefty).<br />
sdewtulip.usd.edu (Dewme). billsuntan.vid.ilstu.edu (Wild Bill).<br />
rbowersmcvax.csusb.edu (). dometucbeh.san.uc.edu (Luke).<br />
grossynetcom.com (Grossy). slis.rbcncdcr.ncdcr.gov (St. Bob).<br />
dtroopnetcom.com (JonBoy). antebiscf.usc.edu (<strong>Re</strong>v. Antebi).<br />
lynchspNeXTwork.RoseHulman.edu (Flat). nccahequalizer.cray.com<br />
(Hooten). EOCZKOMAINE.CAPS.MAINE.EDU (Alex).<br />
brotmannetcom.com (YzerGOD). wilfsce.carleton.ca (Wilf say no<br />
more). END INCLUDED MESSAGE. Followups are directed to<br />
alt.flame and alt.bigfoot.. The only line altered in the included text was<br />
to delete my name. their member list since I wouldn't want to be<br />
publically. associated with their ilk.. Naql. To find out more about the<br />
anon service send mail to. helpanon.penet.fi.. Due to the doubleblind<br />
any mail replies to this message will be. anonymized. and an<br />
anonymous id will be allocated automatically. You have been. warned..<br />
Please report any problems inappropriate use etc. to.<br />
adminanon.penet.fi.. ContentType textplain namemessagefooter.txt.<br />
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listeadresse eeekunst.no. kontaktadresse listmastereekunst.no. . ee k u n<br />
s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin.<br />
Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k<br />
u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. This is a multipart message in MIME<br />
format.... ContentType textplain formatflowed. Haha. Dere trodde dere<br />
skulle bli kvitt meg.... Jeg gjorde som Erik foreslo. Her er min nye<br />
adresse.. Og for xE svare pxE noen av anklagene. OK.. Jeg<br />
innrxFmmer xE ha mottatt penger fra Telenor for xE lage en.<br />
spammemaskin.. Men det er lenge siden. Og hvem er dere som txFr<br />
snakke om de. xFkonomiske. sidene av kunstverdenen. Her har jeg slitt<br />
i xEr. Jobbet gratis. Laget ting som ingen vil ha.. Mens resten av norsk<br />
kunstliv bestxEr av latsabber som ikke lxFfter en. finger. fxFr<br />
bevilgningene stxEr pxE bok.. Ingen har laget sxE mye gratis kunst<br />
som jeg.. PxE en gul lapp skriver jeg ute til lunsj hilsen per men jeg<br />
fxFler. jeg. mxE. tilfxFye ..jeg er per og jeg finnes. Etter en stund<br />
legger jeg til jeg. bekrefter herved at jeg finnes. per.. Og deretter ..det<br />
jeg nettopp skrev. er sant hm og legger til det jeg skriver nxE er sant.<br />
Her blir peer. skeptisk han ser at det han skriver nettopp ikke er sant<br />
479
fxFr han har. avsluttet setningen sxE mens han skriver sxE mxE han<br />
lyve og ta. sannheten. pxE forskudd. Punkteringene mxE fortsette i<br />
lxFperommet korridoren. loopen. uten ende. Peer kan skrive som sant<br />
er at han lyver men da vil ingen tro pxE. han ingen vil tro pxE noen<br />
som lyver annet enn at de lyver men om hva da. nxEr ingen tror pxE<br />
dem annet enn at... altsxE mxE de tro. pxE at han lyver om. lyvingen<br />
hva ellers. Atle eBarcley. eeekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken<br />
xFkonomi. eCantsin. Som listeadministrator kan jeg bare beklage at<br />
denne typen uautoriserte. eposter kommer gjennom til listen.. Vi har tatt<br />
Erik eHesby av listen slik at vi ikke fxEr mer tull fra den. kanten.. Vi<br />
har i tillegg tatt Klas eCantsin av ettersom vi ikke finner det. tjenelig at<br />
vxEr liste brukes til xE putte mer penger i teleselskapene. og. deres<br />
ansattes lommer.. Godt jobbet Erik. At du fant ut at Klas var kjxFpt og<br />
betalt. Jeg har alltid hatt en. mistanke. om det.. SxE. NxE kan roen<br />
igjen senke seg over eekunstlisten vxEr.. mvh. ListeAdministrator. Atle<br />
eBarcley. Beathe C. eRxFnning. Erik eHesby. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi eCantsin. Og jeg beit pxE sxE nxE er det ikke noen<br />
grunn til gjemme seg. Jaja JukseErik. Jeg gikk rett pxE. Ja nxE vet du<br />
ihvertfall hva jeg. synes. om. det. At jeg har vurdert deg som psykotisk.<br />
Underholdende har det vxErt.. Og. herved har du sxFrget for xE xFke<br />
paranoiafrekvensen med noen. .. Gratulerer. med det.. Beathe C.<br />
eRxFnning. Forwarded Message. Beathe C. eRxFnning. Erik eHesby.<br />
Hehe... Dette mxE gxE utenom postlista. Veldig bra hxEndtert eHesby.<br />
BxFyer meg i. stxFvet. og ler over kaffen.. Jeg har sxE mange skisser<br />
pxE svar til ham i min draftsfolder men. endte. med. xE tenke xBnhei<br />
Beathe.. Ooha. Noe er helt gxExErnt. her..xB Fikk en sterk. fxFlelse av<br />
at dette mxEtte vxEre en kunstner pxE vei inn i en. psykose.. Men dette<br />
hxFres ganske mye bedre ut. Jeg setter langfingeren pxE. delete. og.<br />
hamrer lxFs.. God dag fra Beathe C. eRxFnning. xDkonomi ja det er jo<br />
mitt kjerneomrxEde ). For ordens skyld Kulturnett drifter ikke<br />
eekunstlista og jeg har. ingenting med styringen av denne xE gjxFre..<br />
Det bxFr likevel ikke ta glansen fra spxFken under. Og den. inneholder.<br />
jo mange virkelig gode poenger. Bruk navnet mitt som det passer<br />
degdere men vennligst ikke pxE en. slik mxEte at jeg blir oppfattet som<br />
en litt dum og strebete fyr som. sitter pxE en kontorstol fordi min egen<br />
kunstnerkarriere har spilt. fallitt.. Da tar jeg til txErene.... Erik eHesby.<br />
ContentType textplain formatflowed. XMIMEAutoconverted from bit<br />
to quotedprintable by kunst.no id. hGUHc. eekunst er i den senere tid<br />
blitt teppebombet med epost fra Klas. Jonny eCantsins bemailhost.php<br />
eller beMyGhost som denne. spxFken kalles.. Det den selvoppnevnte<br />
480
autonome kunstneren Klas Monty eCantsin. tydeligvis ikke bryr seg<br />
med er de xFkonomiske konsekvensene av. slike masseutsendelser..<br />
Dette kan kort oppsummeres i to punkter. . Kunstkonsumenten mxE<br />
betale for et produkt vedkommende ikke har. bedt om xE mxEtte<br />
kjxFpe.. . Teleselskapene tjener penger.. Vi kan se det som at Klas<br />
Monty eCantsin er blitt en salgsagent. for salg til uvillige brukere..<br />
beMyGhost hjelper teleselskapene i utpressingen og uttarmingen av.<br />
modembaserte komminukasjonsformer.. Fordi dette er sxE stikk i strid<br />
med hva som er vanlig praksis i. kunstverdenen har jeg undersxFkt litt<br />
omkring Klas Monty. eCantsin for om mulig finne bakgrunnen for<br />
dette.. Det viser seg at Klas Monty eCantsin faktisk er lxFnnet av flere.<br />
norske teleselskaper for xE bedrive denne virksomheten.. Og han<br />
innehar en mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi<br />
gjxFre med dette. Vel det enkleste er selvsagt xE kaste ham av listen..<br />
Men det er en enkel sak xE opprette en mailaddresse (f.eks. pxE.<br />
hotmail.com). for sxE xE melde seg pxE listen igjen.. Derfor foreslxEr<br />
jeg at alle sender regning til Klas Monty. eCantsin. for. ekstrautgifter<br />
knyttet til hans utsendelser.. Hans addresse er. Klas Monty eCantsin.<br />
Schouterr. Oslo. mvh. Erik eHesby. mellom deg og dine venner. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. post distribuert via. ee k u n s t. listeadresse<br />
eeekunst.no. kontaktadresse listmastereekunst.no. og dine venner. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. og. dine venner. ContentType textplain<br />
namemessagefooter.txt. ContentDisposition inline<br />
filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . Forøvrig ingen kommentar.. . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . Forøvrig<br />
ingen kommentar.. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k<br />
u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. This is a multipart<br />
message in MIME format.... ContentType textplain charsetiso. Hallo.<br />
Jeg vil ogsxE gi noen kommentarer til xE ta meg av listen etc.. Atle du<br />
nevnte ingenting om dette da vi snakket pxE telefonen for en time.<br />
siden. Du gir. beMyGhost plass pxE konferansen om kunst og ny<br />
teknologi hos Atelier Nord. i morgen samtidig. som du kaster meg av<br />
eekunstlisten Jeg fxEr det ikke til xE rime om. du nxE. ikke har vxErt.<br />
utsatt for press i mellomtiden fra KulturrxEdet eller andre.. AngxEende<br />
481
spam som du sier sxE har du selv laget et grensesnitt for. utsendelse av<br />
pseudonym. mail Whitemail og jeg kan ikke forstxE at du kan bruke det<br />
mot meg.. NxEr. du i tillegg. oppforderer meg til xE bruke Whitemail<br />
for xE utgi meg for xE. vxEre Ragnfrid. eStokke sxE setter det. hele<br />
saken i et merkelig lys.. Jeg ber om at du setter meg opp pxE listen<br />
igjen. Jeg ser heller ingen grunn. til at Erik er. tatt av listen nxEr du<br />
skriver at mailen var fiktiv.. Mvh. B. Ps de fleste andre elementene i<br />
denne trxEden som er selvsagt usanne det. burde ikke vxEre.<br />
nxFdvendig xE pxEpeke.. Som listeadministrator kan jeg bare beklage<br />
at denne typen uautoriserte. eposter kommer gjennom til listen.. Vi har<br />
tatt Erik eHesby av listen slik at vi ikke fxEr mer tull fra den. kanten..<br />
Vi har i tillegg tatt Klas eCantsin av ettersom vi ikke finner det. tjenelig<br />
at vxEr liste brukes til xE putte mer penger i teleselskapene. og. deres<br />
ansattes lommer.. Godt jobbet Erik. At du fant ut at Klas var kjxFpt og<br />
betalt. Jeg har alltid hatt en. mistanke. om det.. SxE. NxE kan roen<br />
igjen senke seg over eekunstlisten vxEr.. mvh. ListeAdministrator. Atle<br />
eBarcley. Beathe C. eRxFnning. Erik eHesby. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi eCantsin. Og jeg beit pxE sxE nxE er det ikke noen<br />
grunn til gjemme seg. Jaja JukseErik. Jeg gikk rett pxE. Ja nxE vet du<br />
ihvertfall hva jeg. synes. om. det. At jeg har vurdert deg som psykotisk.<br />
Underholdende har det vxErt.. Og. herved har du sxFrget for xE xFke<br />
paranoiafrekvensen med noen. .. Gratulerer. med det.. Beathe C.<br />
eRxFnning. Forwarded Message. Beathe C. eRxFnning. Erik eHesby.<br />
Hehe... Dette mxE gxE utenom postlista. Veldig bra hxEndtert eHesby.<br />
BxFyer meg i. stxFvet. stxFvet<br />
482
216<br />
og ler over kaffen.. Jeg har sxE mange skisser pxE svar til ham i min<br />
draftsfolder men. endte. med. xE tenke xBnhei Beathe.. Ooha. Noe er<br />
helt gxExErnt. her..xB Fikk en sterk. fxFlelse av at dette mxEtte vxEre<br />
en kunstner pxE vei inn i en. psykose.. Men dette hxFres ganske mye<br />
bedre ut. Jeg setter langfingeren pxE. delete. og. hamrer lxFs.. God dag<br />
fra Beathe C. eRxFnning. xDkonomi ja det er jo mitt kjerneomrxEde ).<br />
For ordens skyld Kulturnett drifter ikke eekunstlista og jeg har.<br />
ingenting med styringen av denne xE gjxFre.. Det bxFr likevel ikke ta<br />
glansen fra spxFken under. Og den. inneholder. jo mange virkelig gode<br />
poenger. Bruk navnet mitt som det passer degdere men vennligst ikke<br />
pxE en. slik mxEte at jeg blir oppfattet som en litt dum og strebete fyr<br />
som. sitter pxE en kontorstol fordi min egen kunstnerkarriere har spilt.<br />
fallitt.. Da tar jeg til txErene.... Erik eHesby. ContentType textplain<br />
formatflowed. XMIMEAutoconverted from bit to quotedprintable by<br />
kunst.no id. hGUHc. eekunst er i den senere tid blitt teppebombet med<br />
epost fra Klas. Jonny eCantsins bemailhost.php eller beMyGhost som<br />
denne. spxFken kalles.. Det den selvoppnevnte autonome kunstneren<br />
Klas Monty eCantsin. tydeligvis ikke bryr seg med er de xFkonomiske<br />
konsekvensene av. slike masseutsendelser.. Dette kan kort<br />
oppsummeres i to punkter. . Kunstkonsumenten mxE betale for et<br />
produkt vedkommende ikke har. bedt om xE mxEtte kjxFpe.. .<br />
Teleselskapene tjener penger.. Vi kan se det som at Klas Monty<br />
eCantsin er blitt en salgsagent. for salg til uvillige brukere.. beMyGhost<br />
hjelper teleselskapene i utpressingen og uttarmingen av. modembaserte<br />
komminukasjonsformer.. Fordi dette er sxE stikk i strid med hva som er<br />
vanlig praksis i. kunstverdenen har jeg undersxFkt litt omkring Klas<br />
Monty. eCantsin for om mulig finne bakgrunnen for dette.. Det viser<br />
seg at Klas Monty eCantsin faktisk er lxFnnet av flere. norske<br />
teleselskaper for xE bedrive denne virksomheten.. Og han innehar en<br />
mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi gjxFre med<br />
dette. Vel det enkleste er selvsagt xE kaste ham av listen.. Men det er<br />
en enkel sak xE opprette en mailaddresse (f.eks. pxE. hotmail.com). for<br />
sxE xE melde seg pxE listen igjen.. Derfor foreslxEr jeg at alle sender<br />
483
egning til Klas Monty. eCantsin. for. ekstrautgifter knyttet til hans<br />
utsendelser.. Hans addresse er. Klas Monty eCantsin. Schouterr. Oslo.<br />
mvh. Erik eHesby. mellom deg og dine venner. post distribuert via. ee k<br />
u n s t. listeadresse eeekunst.no. kontaktadresse listmastereekunst.no.<br />
post distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
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distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k<br />
u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin.<br />
Index(es). . ee k u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. This is a multipart message in MIME format.... ContentType<br />
textplain formatflowed. Vel.. Det er bra at JukseErik ble kastet av. Men<br />
det fjerner ikke viktigheten av diskusjonen han eller hun satte igang.<br />
Nemlig hvem tjener pxE eekunsten. Hvordan strxFmmer pengene. Det<br />
er jo skremmende xE se hvordan innholdsleverandxFrende arbeider for.<br />
en. slikk og ingenting mens distribusjonsleddet hxEver inn penger..<br />
Kunstnerne mxE kreve noe igjen for denne skjevheten. Vi kan tenke<br />
oss mange. mulige lxFsninger men vi sitter nesten alltid igjen med<br />
svarteper. Det er. vel en av utfordringene eekunsten har foran seg.<br />
Hvordan tjene penger PxE linje med DotComproblemet har kunstnerne<br />
enda. stxFrre problemer.. Markedet kan nok ikke lxFse dette ettersom<br />
kunsten ofte ikke er. xFnsket.. Som i Klas eCantsins tilfelle. Han lager<br />
ting som ingen vil ha som. han. selv sier.. Jeg heller jo mot en sterk stat<br />
(uff ja jeg er nok litt gammeldags...) som. kan fordele penger til de<br />
beste kunstnerne. Og jeg mener dette mxE styres av. et sterkt faglig<br />
utvalg slik vi har det i dag.. I tillegg er det viktig at dette utvalget har et<br />
bredt faglig nettverk xE. bygge sine avgjxFrelser pxE.. Derfor mener<br />
jeg at dagens ordning er for svak ettersom utvalget ikke har. bred nok<br />
sammensetning.. Det finnes mange mennesker i Norge dag som kan ta<br />
plassene til Jeremy. Marit. og Bjarne. Bruk oss. mvh. Erik eHesby. Klas<br />
eCantsin. eeekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi.<br />
eCantsin. Hallo. Jeg vil ogsxE gi noen kommentarer til xE ta meg av<br />
listen etc.. Atle du nevnte ingenting om dette da vi snakket pxE<br />
telefonen for en time. siden. Du gir. beMyGhost plass pxE konferansen<br />
484
om kunst og ny teknologi hos Atelier Nord. i morgen samtidig. som du<br />
kaster meg av eekunstlisten Jeg fxEr det ikke til xE rime om. du. nxE.<br />
ikke har vxErt. utsatt for press i mellomtiden fra KulturrxEdet eller<br />
andre.. AngxEende spam som du sier sxE har du selv laget et<br />
grensesnitt for. utsendelse av pseudonym. mail Whitemail og jeg kan<br />
ikke forstxE at du kan bruke det mot meg.. NxEr. du i tillegg.<br />
oppforderer meg til xE bruke Whitemail for xE utgi meg for xE. vxEre<br />
Ragnfrid. eStokke sxE setter det. hele saken i et merkelig lys.. Jeg ber<br />
om at du setter meg opp pxE listen igjen. Jeg ser heller ingen. grunn. til<br />
at Erik er. tatt av listen nxEr du skriver at mailen var fiktiv.. Mvh. B. Ps<br />
de fleste andre elementene i denne trxEden som er selvsagt usanne det.<br />
burde ikke vxEre. nxFdvendig xE pxEpeke.. Som listeadministrator kan<br />
jeg bare beklage at denne typen. uautoriserte. eposter kommer gjennom<br />
til listen.. Vi har tatt Erik eHesby av listen slik at vi ikke fxEr mer tull<br />
fra den. kanten.. Vi har i tillegg tatt Klas eCantsin av ettersom vi ikke<br />
finner. det. tjenelig at vxEr liste brukes til xE putte mer penger i.<br />
teleselskapene og. deres ansattes lommer.. Godt jobbet Erik. At du fant<br />
ut at Klas var kjxFpt og betalt. Jeg har alltid hatt en. mistanke. om det..<br />
SxE. NxE kan roen igjen senke seg over eekunstlisten vxEr.. mvh.<br />
ListeAdministrator. Atle eBarcley. From Beathe C. eRxFnning. To Erik<br />
eHesby. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin. Og<br />
jeg beit pxE sxE nxE er det ikke noen grunn til gjemme seg. Jaja<br />
JukseErik. Jeg gikk rett pxE. Ja nxE vet du ihvertfall hva. jeg. synes.<br />
om. det. At jeg har vurdert deg som psykotisk. Underholdende har det<br />
vxErt.. Og. herved har du sxFrget for xE xFke paranoiafrekvensen med<br />
noen. .. Gratulerer. med det.. Beathe C. eRxFnning. Forwarded<br />
Message. From Beathe C. eRxFnning. To Erik eHesby. Subject Hehe...<br />
Dette mxE gxE utenom postlista. Veldig bra hxEndtert eHesby. BxFyer<br />
meg i. stxFvet. og ler over kaffen.. Jeg har sxE mange skisser pxE svar<br />
til ham i min draftsfolder men. endte. med. xE tenke xBnhei Beathe..<br />
Ooha. Noe er helt gxExErnt. her..xB Fikk en sterk. fxFlelse av at dette<br />
mxEtte vxEre en kunstner pxE vei inn i. en psykose.. Men dette hxFres<br />
ganske mye bedre ut. Jeg setter langfingeren pxE. delete. og. hamrer<br />
lxFs.. God dag fra Beathe C. eRxFnning. xDkonomi ja det er jo mitt<br />
kjerneomrxEde ). For ordens skyld Kulturnett drifter ikke eekunstlista<br />
og jeg har. ingenting med styringen av denne xE gjxFre.. Det bxFr<br />
likevel ikke ta glansen fra spxFken under. Og den. inneholder. jo<br />
mange virkelig gode poenger. Bruk navnet mitt som det passer degdere<br />
men vennligst ikke pxE en. slik mxEte at jeg blir oppfattet som en litt<br />
dum og strebete fyr som. sitter pxE en kontorstol fordi min egen<br />
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kunstnerkarriere har spilt. fallitt.. Da tar jeg til txErene.... Erik eHesby.<br />
ContentType textplain formatflowed. XMIMEAutoconverted from bit<br />
to quotedprintable by kunst.no id. hGUHc. eekunst er i den senere tid<br />
blitt teppebombet med epost fra Klas. Jonny eCantsins bemailhost.php<br />
eller beMyGhost som denne. spxFken kalles.. Det den selvoppnevnte<br />
autonome kunstneren Klas Monty. eCantsin. tydeligvis ikke bryr seg<br />
med er de xFkonomiske konsekvensene av. slike masseutsendelser..<br />
Dette kan kort oppsummeres i to punkter. . Kunstkonsumenten mxE<br />
betale for et produkt vedkommende ikke har. bedt om xE mxEtte<br />
kjxFpe.. . Teleselskapene tjener penger.. Vi kan se det som at Klas<br />
Monty eCantsin er blitt en. salgsagent. for salg til uvillige brukere..<br />
beMyGhost hjelper teleselskapene i utpressingen og uttarmingen av.<br />
modembaserte komminukasjonsformer.. Fordi dette er sxE stikk i strid<br />
med hva som er vanlig praksis i. kunstverdenen har jeg undersxFkt litt<br />
omkring Klas Monty. eCantsin for om mulig finne bakgrunnen for<br />
dette.. Det viser seg at Klas Monty eCantsin faktisk er lxFnnet av. flere.<br />
norske teleselskaper for xE bedrive denne virksomheten.. Og han<br />
innehar en mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi<br />
gjxFre med dette. Vel det enkleste er selvsagt xE kaste ham av listen..<br />
Men det er en enkel sak xE opprette en mailaddresse (f.eks. pxE.<br />
hotmail.com). for sxE xE melde seg pxE listen igjen.. Derfor foreslxEr<br />
jeg at alle sender regning til Klas Monty. eCantsin. for. ekstrautgifter<br />
knyttet til hans utsendelser.. Hans addresse er. Klas Monty eCantsin.<br />
Schouterr. Oslo. mvh. Erik eHesby. mellom deg og dine venner. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. post distribuert via. ee k u n s t. listeadresse<br />
eeekunst.no. kontaktadresse listmastereekunst.no. deg. og. dine venner.<br />
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distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
eCantsin. . ee k u n s t . <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken<br />
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486
MIME format.... ContentType textplain formatflowed. Aha. Det er<br />
altsxE Trond eLossius som er JukseErik. Jaja Trond. Ikke nok xE ta seg<br />
til i provinsen. mvh. Erik eHesby. Trond eLossius. eeekunst.no. . ee k u<br />
n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken. xFkonomi. eCantsin. Vel..<br />
Det er bra at JukseErik ble kastet av. Men det fjerner ikke viktigheten<br />
av diskusjonen han eller hun satte. igang. Nemlig hvem tjener pxE<br />
eekunsten. Hvordan strxFmmer pengene. Det er jo skremmende xE se<br />
hvordan innholdsleverandxFrende arbeider for. en. slikk og ingenting<br />
mens distribusjonsleddet hxEver inn penger.. Kunstnerne mxE kreve<br />
noe igjen for denne skjevheten. Vi kan tenke oss mange. mulige<br />
lxFsninger men vi sitter nesten alltid igjen med svarteper. Det er. vel en<br />
av utfordringene eekunsten har foran seg. Hvordan tjene penger PxE<br />
linje med DotComproblemet har kunstnerne enda. stxFrre problemer..<br />
Markedet kan nok ikke lxFse dette ettersom kunsten ofte ikke er.<br />
xFnsket.. Som i Klas eCantsins tilfelle. Han lager ting som ingen vil ha<br />
som. han. selv sier.. Jeg heller jo mot en sterk stat (uff ja jeg er nok litt<br />
gammeldags...). som. kan fordele penger til de beste kunstnerne. Og jeg<br />
mener dette mxE styres. av. et sterkt faglig utvalg slik vi har det i dag..<br />
I tillegg er det viktig at dette utvalget har et bredt faglig nettverk xE.<br />
bygge sine avgjxFrelser pxE.. Derfor mener jeg at dagens ordning er for<br />
svak ettersom utvalget ikke har. bred nok sammensetning.. Det finnes<br />
mange mennesker i Norge dag som kan ta plassene til Jeremy. Marit og<br />
Bjarne. Bruk oss. mvh. Erik eHesby. Klas eCantsin. eeekunst.no. . ee k<br />
u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin. Hallo. Jeg vil ogsxE<br />
gi noen kommentarer til xE ta meg av listen etc.. Atle du nevnte<br />
ingenting om dette da vi snakket pxE telefonen for en time. siden. Du<br />
gir. beMyGhost plass pxE konferansen om kunst og ny teknologi hos<br />
Atelier. Nord. i morgen samtidig. som du kaster meg av eekunstlisten<br />
Jeg fxEr det ikke til xE rime. om du. nxE. ikke har vxErt. utsatt for<br />
press i mellomtiden fra KulturrxEdet eller andre.. AngxEende spam<br />
som du sier sxE har du selv laget et grensesnitt for. utsendelse av<br />
pseudonym. mail Whitemail og jeg kan ikke forstxE at du kan bruke det<br />
mot meg.. NxEr. du i tillegg. oppforderer meg til xE bruke Whitemail<br />
for xE utgi meg for xE. vxEre Ragnfrid. eStokke sxE setter det. hele<br />
saken i et merkelig lys.. Jeg ber om at du setter meg opp pxE listen<br />
igjen. Jeg ser heller ingen. grunn til at Erik er. tatt av listen nxEr du<br />
skriver at mailen var fiktiv.. Mvh. B. Ps de fleste andre elementene i<br />
denne trxEden som er selvsagt usanne. det. burde ikke vxEre.<br />
nxFdvendig xE pxEpeke.. Som listeadministrator kan jeg bare beklage<br />
at denne typen. uautoriserte. eposter kommer gjennom til listen.. Vi har<br />
487
tatt Erik eHesby av listen slik at vi ikke fxEr mer tull fra. den. kanten..<br />
Vi har i tillegg tatt Klas eCantsin av ettersom vi ikke finner. det.<br />
tjenelig at vxEr liste brukes til xE putte mer penger i. teleselskapene.<br />
og. deres ansattes lommer.. Godt jobbet Erik. At du fant ut at Klas var<br />
kjxFpt og betalt. Jeg har alltid hatt en. mistanke. om det.. SxE. NxE kan<br />
roen igjen senke seg over eekunstlisten vxEr.. mvh. ListeAdministrator.<br />
Atle eBarcley. From Beathe C. eRxFnning. To Erik eHesby. Subject .<br />
ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin. Og jeg beit pxE sxE<br />
nxE er det ikke noen grunn til gjemme seg. Jaja JukseErik. Jeg gikk rett<br />
pxE. Ja nxE vet du ihvertfall hva. jeg. synes. om. det. At jeg har vurdert<br />
deg som psykotisk. Underholdende har det vxErt.. Og. herved har du<br />
sxFrget for xE xFke paranoiafrekvensen med noen. .. Gratulerer. med<br />
det.. Beathe C. eRxFnning. Forwarded Message. From Beathe C.<br />
eRxFnning. To Erik eHesby. Subject Hehe... Dette mxE gxE utenom<br />
postlista. Veldig bra hxEndtert eHesby. BxFyer meg. i. stxFvet. og ler<br />
over kaffen.. Jeg har sxE mange skisser pxE svar til ham i min<br />
draftsfolder men. endte. med. xE tenke xBnhei Beathe.. Ooha. Noe er<br />
helt gxExErnt. her..xB Fikk en. sterk. fxFlelse av at dette mxEtte vxEre<br />
en kunstner pxE vei inn i. en psykose.. Men dette hxFres ganske mye<br />
bedre ut. Jeg setter langfingeren pxE. delete. og. hamrer lxFs.. God dag<br />
fra Beathe C. eRxFnning. xDkonomi ja det er jo mitt kjerneomrxEde ).<br />
For ordens skyld Kulturnett drifter ikke eekunstlista og jeg. har.<br />
ingenting med styringen av denne xE gjxFre.. Det bxFr likevel ikke ta<br />
glansen fra spxFken under. Og den. inneholder. jo mange virkelig gode<br />
poenger. Bruk navnet mitt som det passer degdere men vennligst ikke<br />
pxE. en. slik mxEte at jeg blir oppfattet som en litt dum og strebete fyr.<br />
som. sitter pxE en kontorstol fordi min egen kunstnerkarriere har spilt.<br />
fallitt.. Da tar jeg til txErene.... Erik eHesby. ContentType textplain<br />
formatflowed. XMIMEAutoconverted from bit to quotedprintable by<br />
kunst.no. id. hGUHc. eekunst er i den senere tid blitt teppebombet med<br />
epost fra. Klas. Jonny eCantsins bemailhost.php eller beMyGhost som<br />
denne. spxFken kalles.. Det den selvoppnevnte autonome kunstneren<br />
Klas Monty. eCantsin. tydeligvis ikke bryr seg med er de xFkonomiske<br />
konsekvensene av. slike masseutsendelser.. Dette kan kort<br />
oppsummeres i to punkter. . Kunstkonsumenten mxE betale for et<br />
produkt vedkommende ikke har. bedt om xE mxEtte kjxFpe.. .<br />
Teleselskapene tjener penger.. Vi kan se det som at Klas Monty<br />
eCantsin er blitt en. salgsagent. for salg til uvillige brukere..<br />
beMyGhost hjelper teleselskapene i utpressingen og uttarmingen av.<br />
modembaserte komminukasjonsformer.. Fordi dette er sxE stikk i strid<br />
488
med hva som er vanlig praksis i. kunstverdenen har jeg undersxFkt litt<br />
omkring Klas Monty. eCantsin for om mulig finne bakgrunnen for<br />
dette.. Det viser seg at Klas Monty eCantsin faktisk er lxFnnet av. flere.<br />
norske teleselskaper for xE bedrive denne virksomheten.. Og han<br />
innehar en mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi<br />
gjxFre med dette. Vel det enkleste er selvsagt xE kaste ham av listen..<br />
Men det er en enkel sak xE opprette en mailaddresse (f.eks. pxE.<br />
hotmail.com). for sxE xE melde seg pxE listen igjen.. Derfor foreslxEr<br />
jeg at alle sender regning til Klas Monty. eCantsin. for. ekstrautgifter<br />
knyttet til hans utsendelser.. Hans addresse er. Klas Monty eCantsin.<br />
Schouterr. Oslo. mvh. Erik eHesby. mellom deg og dine venner. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. post distribuert via. ee k u n s t. listeadresse<br />
eeekunst.no. kontaktadresse listmastereekunst.no. deg og. dine venner.<br />
post distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. og dine venner. post distribuert via. ee k u n s t.<br />
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217<br />
. ee k u n s t . Den Digitale Makten. . ee k u n s t . <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi. eCantsin. . ee k u n s t . Den Digitale<br />
Makten. Index(es). . ee k u n s t . Den Digitale Makten. . ee k u n s t .<br />
Den Digitale Makten. . ee k u n s t . Den Digitale Makten. This is a<br />
multipart message in MIME format.... ContentType textplain charsetiso<br />
formatflowed. ContentTransferEncoding bit. Da mine kjxEre foreldre<br />
fikk eget telefonapparat i (med nummeret. ). var dette ogsxE tilkoblet et<br />
globalt nettverk. Den gang ga dette dem en noe. utvidet funksjon<br />
(posisjon makt) i forhold til det nxErmeste nabolaget.. Men. bare sxE<br />
lenge de var nesten alene om teknologien. SelvfxFlgelig er mor. fort.<br />
satt mektig analog og digital... men domenet hennes blir stadig mindre.<br />
og. rekker nxE sxEvidt utenfor leiligheten hvor hun bor.. uendelig.<br />
antall. ved hjelp av digitale nettverk blir makten distribuert. dermed.<br />
kan. alle i prinsippet fxE makt i motsetning til fxFr da makten var.<br />
forbeholdt. noen fxE. slik er den nye digitale verden. alt er null og en<br />
og alt kan. kopieres og kopieres. ogsxE makt.. Er det<br />
brukervennligheten som gir oss en fxFlelse av makt eller er det. bare.<br />
misforstxEelsens mulighetsfelt som stadig xFker (proporsjonalt) med.<br />
uvitenhet. . .. (o)(o). .OOOooooOOO.. Jens eLaland Bryne. Oooo..<br />
.oooO ( ). ( ) ). ( (. ). ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
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listeadresse eeekunst.no. kontaktadresse listmastereekunst.no. . ee k u n<br />
s t . eekunst versus espam. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
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eCantsin. Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken økonomi. eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
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MIME format.... ContentType textplain formatflowed. Hehe.... <strong>Re</strong>gner<br />
med at dette er en liten forberedelse pxE moroa vi skal ha pxE.<br />
seminaret.... Hvem stxEr bak mon tro. Men Trond og Erik Ta det med<br />
490
o dere er begge virkelige mennesker for. meg.. Da vi skrev den norske<br />
delen av Nordic Media Culture <strong>Re</strong>search var nettopp. sentraliseringen<br />
rundt Oslo noe av problemet.. Hvorfor lages det bare god kunst i Oslo.<br />
Vi skulle jo virkelig hxEpe pxE at det skjedde noe andre steder. ogsxE<br />
men vi. lette med lys og lykte og spurte pxE BB (den Bergenske<br />
epostlisten) og. mange. andre steder men nesten ingenting av akseptabel<br />
kvalitet finnes utenfor. Oslo.. Jeg vil derfor foreslxE en knallhard<br />
prioritering hos kulturrxEdet fra. nxE. av. Bare penger til Oslo.. Bruk<br />
mulighetene som ligger i synergien mellom Atelier Nord og Notam til<br />
xE. bygge et kraftsenter i hovedstaden. Janne. Erik eHesby.<br />
eeekunst.no. . ee k u n s t . <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken.<br />
xFkonomi eCantsin. Aha. Det er altsxE Trond eLossius som er<br />
JukseErik. Jaja Trond. Ikke nok xE ta seg til i provinsen. mvh. Erik<br />
eHesby. Trond eLossius. eeekunst.no. . ee k u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken. xFkonomi eCantsin. Vel.. Det er bra at JukseErik<br />
ble kastet av. Men det fjerner ikke viktigheten av diskusjonen han eller<br />
hun satte. igang. Nemlig hvem tjener pxE eekunsten. Hvordan<br />
strxFmmer pengene. Det er jo skremmende xE se hvordan<br />
innholdsleverandxFrende arbeider. for en. slikk og ingenting mens<br />
distribusjonsleddet hxEver inn penger.. Kunstnerne mxE kreve noe<br />
igjen for denne skjevheten. Vi kan tenke oss. mange. mulige lxFsninger<br />
men vi sitter nesten alltid igjen med svarteper. Det er. vel en av<br />
utfordringene eekunsten har foran seg. Hvordan tjene penger PxE linje<br />
med DotComproblemet har kunstnerne enda. stxFrre problemer..<br />
Markedet kan nok ikke lxFse dette ettersom kunsten ofte ikke er.<br />
xFnsket.. Som i Klas eCantsins tilfelle. Han lager ting som ingen vil ha<br />
som. han selv sier.. Jeg heller jo mot en sterk stat (uff ja jeg er nok litt<br />
gammeldags...). som kan fordele penger til de beste kunstnerne. Og jeg<br />
mener dette mxE. styres av et sterkt faglig utvalg slik vi har det i dag.. I<br />
tillegg er det viktig at dette utvalget har et bredt faglig nettverk xE.<br />
bygge sine avgjxFrelser pxE.. Derfor mener jeg at dagens ordning er for<br />
svak ettersom utvalget ikke. har. bred nok sammensetning.. Det finnes<br />
mange mennesker i Norge dag som kan ta plassene til Jeremy. Marit og<br />
Bjarne. Bruk oss. mvh. Erik eHesby. Klas eCantsin. eeekunst.no. . ee k<br />
u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin. Hallo. Jeg vil ogsxE<br />
gi noen kommentarer til xE ta meg av listen etc.. Atle du nevnte<br />
ingenting om dette da vi snakket pxE telefonen for en. time. siden. Du<br />
gir. beMyGhost plass pxE konferansen om kunst og ny teknologi hos<br />
Atelier. Nord i morgen samtidig. som du kaster meg av eekunstlisten<br />
Jeg fxEr det ikke til xE rime. om du. nxE ikke har vxErt. utsatt for press<br />
491
i mellomtiden fra KulturrxEdet eller andre.. AngxEende spam som du<br />
sier sxE har du selv laget et grensesnitt for. utsendelse av pseudonym.<br />
mail Whitemail og jeg kan ikke forstxE at du kan bruke det mot meg..<br />
NxEr. du i tillegg. oppforderer meg til xE bruke Whitemail for xE utgi<br />
meg for xE. vxEre Ragnfrid. eStokke sxE setter det. hele saken i et<br />
merkelig lys.. Jeg ber om at du setter meg opp pxE listen igjen. Jeg ser<br />
heller ingen. grunn til at Erik er. tatt av listen nxEr du skriver at mailen<br />
var fiktiv.. Mvh. B. Ps de fleste andre elementene i denne trxEden som<br />
er selvsagt usanne. det burde ikke vxEre. nxFdvendig xE pxEpeke..<br />
Som listeadministrator kan jeg bare beklage at denne typen.<br />
uautoriserte. eposter kommer gjennom til listen.. Vi har tatt Erik<br />
eHesby av listen slik at vi ikke fxEr mer tull fra. den. kanten.. Vi har i<br />
tillegg tatt Klas eCantsin av ettersom vi ikke finner. det. tjenelig at vxEr<br />
liste brukes til xE putte mer penger i. teleselskapene. og. deres ansattes<br />
lommer.. Godt jobbet Erik. At du fant ut at Klas var kjxFpt og betalt.<br />
Jeg har alltid hatt en. mistanke. om det.. SxE. NxE kan roen igjen senke<br />
seg over eekunstlisten vxEr.. mvh. ListeAdministrator. Atle eBarcley.<br />
From Beathe C. eRxFnning. To Erik eHesby. Subject . ee k u n s t . <strong>Re</strong><br />
<strong>Re</strong> Hvilken xFkonomi. eCantsin. Og jeg beit pxE sxE nxE er det ikke<br />
noen grunn til gjemme. seg. Jaja JukseErik. Jeg gikk rett pxE. Ja nxE<br />
vet du ihvertfall hva. jeg. synes. om. det. At jeg har vurdert deg som<br />
psykotisk. Underholdende har det. vxErt.. Og. herved har du sxFrget for<br />
xE xFke paranoiafrekvensen med noen. .. Gratulerer. med det.. Beathe<br />
C. eRxFnning. Forwarded Message. From Beathe C. eRxFnning. To<br />
Erik eHesby. Subject Hehe... Dette mxE gxE utenom postlista. Veldig<br />
bra hxEndtert eHesby. BxFyer meg. i. stxFvet. og ler over kaffen.. Jeg<br />
har sxE mange skisser pxE svar til ham i min draftsfolder. men. endte<br />
med. xE tenke xBnhei Beathe.. Ooha. Noe er helt gxExErnt. her..xB<br />
Fikk en. sterk. fxFlelse av at dette mxEtte vxEre en kunstner pxE vei<br />
inn. i en psykose.. Men dette hxFres ganske mye bedre ut. Jeg setter<br />
langfingeren pxE. delete. og. hamrer lxFs.. God dag fra Beathe C.<br />
eRxFnning. xDkonomi ja det er jo mitt kjerneomrxEde ). For ordens<br />
skyld Kulturnett drifter ikke eekunstlista og jeg. har. ingenting med<br />
styringen av denne xE gjxFre.. Det bxFr likevel ikke ta glansen fra<br />
spxFken under. Og den. inneholder. jo mange virkelig gode poenger.<br />
Bruk navnet mitt som det passer degdere men vennligst ikke pxE. en.<br />
slik mxEte at jeg blir oppfattet som en litt dum og strebete fyr. som.<br />
sitter pxE en kontorstol fordi min egen kunstnerkarriere har spilt.<br />
fallitt.. Da tar jeg til txErene.... Erik eHesby. ContentType textplain<br />
formatflowed. XMIMEAutoconverted from bit to quotedprintable by<br />
492
kunst.no. id. hGUHc. eekunst er i den senere tid blitt teppebombet med<br />
epost fra. Klas. Jonny eCantsins bemailhost.php eller beMyGhost som<br />
denne. spxFken kalles.. Det den selvoppnevnte autonome kunstneren<br />
Klas Monty. eCantsin. tydeligvis ikke bryr seg med er de xFkonomiske<br />
konsekvensene av. slike masseutsendelser.. Dette kan kort<br />
oppsummeres i to punkter. . Kunstkonsumenten mxE betale for et<br />
produkt vedkommende ikke. har. bedt om xE mxEtte kjxFpe.. .<br />
Teleselskapene tjener penger.. Vi kan se det som at Klas Monty<br />
eCantsin er blitt en. salgsagent. for salg til uvillige brukere..<br />
beMyGhost hjelper teleselskapene i utpressingen og uttarmingen. av.<br />
modembaserte komminukasjonsformer.. Fordi dette er sxE stikk i strid<br />
med hva som er vanlig praksis i. kunstverdenen har jeg undersxFkt litt<br />
omkring Klas Monty. eCantsin for om mulig finne bakgrunnen for<br />
dette.. Det viser seg at Klas Monty eCantsin faktisk er lxFnnet av. flere.<br />
norske teleselskaper for xE bedrive denne virksomheten.. Og han<br />
innehar en mengde aliaser pxE diverse epostlister i Norge.. Hva skal vi<br />
gjxFre med dette. Vel det enkleste er selvsagt xE kaste ham av listen..<br />
Men det er en enkel sak xE opprette en mailaddresse (f.eks.. pxE.<br />
hotmail.com). for sxE xE melde seg pxE listen igjen.. Derfor foreslxEr<br />
jeg at alle sender regning til Klas Monty. eCantsin. for. ekstrautgifter<br />
knyttet til hans utsendelser.. Hans addresse er. Klas Monty eCantsin.<br />
Schouterr. Oslo. mvh. Erik eHesby. mellom deg og dine venner. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. post distribuert via. ee k u n s t. listeadresse<br />
eeekunst.no. kontaktadresse listmastereekunst.no. deg og. dine venner.<br />
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listeadresse eeekunst.no. kontaktadresse listmastereekunst.no. og dine<br />
venner. post distribuert via. ee k u n s t. listeadresse eeekunst.no.<br />
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distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . Den Digitale Makten. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. . ee k u n s t . Den Digitale<br />
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<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. This is a multipart message in MIME format....<br />
ContentType textplain charsetiso. ContentTransferEncoding bit. ja nxE<br />
493
egynner dette xE bli gxFy.. Jeg lurer pxE hvorfor han ikke vil lage ett<br />
spxFkelse til meg. er jeg ikke pen nok kanskje. peink. Hehe.... <strong>Re</strong>gner<br />
med at dette er en liten forberedelse pxC moroa vi skal ha pxC.<br />
seminaret.... Hvem stxCr bak mon tro. Men Trond og Erik Ta det med<br />
ro dere er begge virkelige mennesker for. meg.. Da vi skrev den norske<br />
delen av Nordic Media Culture <strong>Re</strong>search var. nettopp. sentraliseringen<br />
rundt Oslo noe av problemet.. Hvorfor lages det bare god kunst i Oslo.<br />
Vi skulle jo virkelig hxCpe pxC at det skjedde noe andre steder. ogsxC<br />
men. vi. lette med lys og lykte og spurte pxC BB (den Bergenske<br />
epostlisten) og. mange. andre steder men nesten ingenting av akseptabel<br />
kvalitet finnes utenfor. Oslo.. Jeg vil derfor foreslxC en knallhard<br />
prioritering hos kulturrxCdet fra. nxC. av. Bare penger til Oslo.. Bruk<br />
mulighetene som ligger i synergien mellom Atelier Nord og Notam til.<br />
xC. bygge et kraftsenter i hovedstaden. Janne. Erik eHesby.<br />
eeekunst.no. . ee k u n s t . <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken.<br />
xAFkonomi eMagnhildxAFen. Aha. Det er altsxC Trond eLossius som<br />
er JukseErik. Jaja Trond. Ikke nok xC ta seg til i provinsen. mvh. Erik<br />
eHesby. Trond eLossius. eeekunst.no. . ee k u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken. xAFkonomi eMagnhildxAFen. Vel.. Det er bra at<br />
JukseErik ble kastet av. Men det fjerner ikke viktigheten av diskusjonen<br />
han eller hun satte. igang. Nemlig hvem tjener pxC eekunsten. Hvordan<br />
strxAFmmer pengene. Det er jo skremmende xC se hvordan<br />
innholdsleverandxAFrende arbeider. for. en. slikk og ingenting mens<br />
distribusjonsleddet hxCver inn penger.. Kunstnerne mxC kreve noe<br />
igjen for denne skjevheten. Vi kan tenke oss. mange. mulige<br />
lxAFsninger men vi sitter nesten alltid igjen med svarteper. Det. er. vel<br />
en av utfordringene eekunsten har foran seg. Hvordan tjene penger PxC<br />
linje med DotComproblemet har kunstnerne. enda. stxAFrre<br />
problemer.. Markedet kan nok ikke lxAFse dette ettersom kunsten ofte<br />
ikke er. xAFnsket.. Som i BjxAFrn eMagnhildxAFens tilfelle. Han<br />
lager ting som ingen vil. ha. som. han selv sier.. Jeg heller jo mot en<br />
sterk stat (uff ja jeg er nok litt gammeldags...). som kan fordele penger<br />
til de beste kunstnerne. Og jeg mener dette mxC. styres av et sterkt<br />
faglig utvalg slik vi har det i dag.. I tillegg er det viktig at dette utvalget<br />
har et bredt faglig nettverk. xC. bygge sine avgjxAFrelser pxC.. Derfor<br />
mener jeg at dagens ordning er for svak ettersom utvalget ikke. har.<br />
bred nok sammensetning.. Det finnes mange mennesker i Norge dag<br />
som kan ta plassene til Jeremy. Marit og Bjarne. Bruk oss. mvh. Erik<br />
eHesby. BjxAFrn eMagnhildxAFen. eeekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> Hvilken xAFkonomi. MagnhildxAFen. Hallo. Jeg vil ogsxC gi<br />
494
noen kommentarer til xC ta meg av listen etc.. Atle du nevnte ingenting<br />
om dette da vi snakket pxC telefonen for en. time. siden. Du gir.<br />
beMyGhost plass pxC konferansen om kunst og ny teknologi hos<br />
Atelier. Nord i morgen samtidig. som du kaster meg av eekunstlisten<br />
Jeg fxCr det ikke til xC rime. om. du. nxC ikke har vxCArt. utsatt for<br />
press i mellomtiden fra KulturrxCdet eller andre.. AngxCende spam<br />
som du sier sxC har du selv laget et grensesnitt for. utsendelse av<br />
pseudonym. mail Whitemail og jeg kan ikke forstxC at du kan bruke<br />
det mot meg.. NxCr. du i tillegg. oppforderer meg til xC bruke<br />
Whitemail for xC utgi meg for xC. vxCAre. Ragnfrid. eStokke sxC<br />
setter det. hele saken i et merkelig lys.. Jeg ber om at du setter meg opp<br />
pxC listen igjen. Jeg ser heller ingen. grunn til at Erik er. tatt av listen<br />
nxCr du skriver at mailen var fiktiv.. Mvh. B. Ps de fleste andre<br />
elementene i denne trxCden som er selvsagt usanne. det burde ikke<br />
vxCAre. nxAFdvendig xC pxCpeke.. .. Atle eBarcley. Som<br />
listeadministrator kan jeg bare beklage at denne typen. uautoriserte.<br />
eposter kommer gjennom til listen.. Vi har tatt Erik eHesby av listen<br />
slik at vi ikke fxCr mer tull fra. den. kanten.. Vi har i tillegg tatt<br />
BjxAFrn eMagnhildxAFen av ettersom vi ikke. finner. det. tjenelig at<br />
vxCr liste brukes til xC putte mer penger i. teleselskapene. og. deres<br />
ansattes lommer.. Godt jobbet Erik. At du fant ut at BjxAFrn var<br />
kjxAFpt og betalt. Jeg har alltid hatt. en. mistanke. om det.. SxC. NxC<br />
kan roen igjen senke seg over eekunstlisten vxCr.. mvh.<br />
ListeAdministrator. Atle eBarcley. From Beathe C. RxAFnning. To<br />
Erik eHesby. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Hvilken xAFkonomi.<br />
eMagnhildxAFen. Og jeg beit pxC sxC nxC er det ikke noen grunn til<br />
gjemme. seg. Jaja JukseErik. Jeg gikk rett pxC. Ja nxC vet du ihvertfall<br />
hva. jeg. synes. om. det. At jeg har vurdert deg som psykotisk.<br />
Underholdende har det. vxCArt.. Og. herved har du sxAFrget for xC<br />
xAFke paranoiafrekvensen med noen. .. Gratulerer. med det.. Beathe C.<br />
RxAFnning. Forwarded Message. From Beathe C. RxAFnning. To Erik<br />
eHesby. Subject Hehe... Dette mxC gxC utenom postlista. Veldig bra<br />
hxCndtert eHesby. BxAFyer meg. i. stxAFvet. og ler over kaffen.. Jeg<br />
har sxC mange skisser pxC svar til ham i min draftsfolder. men. endte<br />
med. xC tenke nhei Beathe.. Ooha. Noe er helt gxCAxCArnt. her..xBE<br />
Fikk en. sterk. fxAFlelse av at dette mxCtte vxCAre en kunstner pxC<br />
vei inn. i en psykose.. Men dette hxAFres ganske mye bedre ut. Jeg<br />
setter langfingeren pxC. delete. og. hamrer lxAFs.. God dag fra Beathe<br />
C. RxAFnning. xFFkonomi ja det er jo mitt kjerneomrxCde ). For<br />
ordens skyld Kulturnett drifter ikke eekunstlista og jeg. har. ingenting<br />
495
med styringen av denne xC gjxAFre.. Det bxAFr likevel ikke ta glansen<br />
fra spxAFken under. Og den. inneholder. jo mange virkelig gode<br />
poenger. Bruk navnet mitt som det passer degdere men vennligst ikke<br />
pxC. en. slik mxCte at jeg blir oppfattet som en litt dum og strebete fyr.<br />
som. sitter pxC en kontorstol fordi min egen kunstnerkarriere har. spilt.<br />
fallitt.. Da tar jeg til txCrene.... Erik eHesby. ContentType textplain<br />
formatflowed. XMIMEAutoconverted from bit to quotedprintable by<br />
kunst.no. id. hGUHc. eekunst er i den senere tid blitt teppebombet med<br />
epost fra. BjxAFrn. Jonny eMagnhildxAFens bemailhost.php eller<br />
beMyGhost som denne. spxAFken kalles.. Det den selvoppnevnte<br />
autonome kunstneren BjxAFrn Jonny. MagnhildxAFen. tydeligvis ikke<br />
bryr seg med er de xAFkonomiske konsekvensene av. slike<br />
masseutsendelser.. Dette kan kort oppsummeres i to punkter. .<br />
Kunstkonsumenten mxC betale for et produkt vedkommende ikke. har.<br />
bedt om xC mxCtte kjxAFpe.. . Teleselskapene tjener penger.. Vi kan<br />
se det som at BjxAFrn Jonny eMagnhildxAFen er blitt en. salgsagent.<br />
for salg til uvillige brukere.. beMyGhost hjelper teleselskapene i<br />
utpressingen og uttarmingen. av. modembaserte<br />
komminukasjonsformer.. Fordi dette er sxC stikk i strid med hva som er<br />
vanlig praksis i. kunstverdenen har jeg undersxAFkt litt omkring<br />
BjxAFrn Jonny. eMagnhildxAFen for om mulig finne bakgrunnen for<br />
dette.. Det viser seg at BjxAFrn Jonny eMagnhildxAFen faktisk er.<br />
lxAFnnet av. flere. norske teleselskaper for xC bedrive denne<br />
virksomheten.. Og han innehar en mengde aliaser pxC diverse<br />
epostlister i. Norge.. Hva skal vi gjxAFre med dette. Vel det enkleste er<br />
selvsagt xC kaste ham av listen.. Men det er en enkel sak xC opprette<br />
en mailaddresse (f.eks.. pxC. hotmail.com). for sxC xC melde seg pxC<br />
listen igjen.. Derfor foreslxCr jeg at alle sender regning til BjxAFrn<br />
Jonny. MagnhildxAFen. for. ekstrautgifter knyttet til hans utsendelser..<br />
Hans addresse er. BjxAFrn Jonny eMagnhildxAFen. Schouterr. Oslo.<br />
mvh. Erik eHesby. mellom deg og dine venner. post distribuert via. ee k<br />
u n s t. listeadresse eeekunst.no. kontaktadresse listmastereekunst.no.<br />
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listmastereekunst.no. mellom. deg og. dine venner. post distribuert via.<br />
ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. deg. og dine venner. post distribuert via. ee k u n s<br />
t. listeadresse eeekunst.no. kontaktadresse listmastereekunst.no. deg. og<br />
dine venner.<br />
496
218<br />
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format.... ContentType textplain formatflowed. ...og for ikke xE snakke<br />
om all denne tiden vi bruker pxE dette.... skal vi sende regning til Klas<br />
Monty for det ogsxE. Men nxEr vi er inne pxE det Janne.. Hva var det<br />
du mente med at det bare lages god eekunst i Oslo. Hva med mine<br />
arbeider pxE Bryne. mvhjenseLalandbryne. born.eMatronym.<br />
497
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formatflowed. ContentTransferEncoding bit. Dersom jeg virkelig<br />
xFnsker xE spamme da mxE jeg fxFrst og. fremst fake. headeren pxE<br />
mailen min... da selv IP nummeret mitt .... ville kunne rxFpe hvem jeg<br />
var.. Dersom jeg hadde faket den informasjonen nedenfor som nxE er<br />
merket. med hvor lett ville det da fortsatt vxEre for den enkelte.<br />
mottaker xE vite hvem som var hvem. IPNummeret kan likevel ogsxE<br />
lxFsrives fra personenen som formidler. kunstverk (skriver email)....<br />
Men hvordan skulle jeg da kunne fremme xFkonomiske krav pxE<br />
eventuelle. utstillingsvederlag. <strong>Re</strong>turnPath. <strong>Re</strong>ceived from anart.no<br />
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n s t . en uskyldig form for spam. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Den Digitale<br />
Maten. . ee k u n s t . en uskyldig form for spam. Index(es). . ee k u n s t<br />
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<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. Hvilken xFkonomi eCantsin. NxEr vi svarer pxE<br />
email og alle stadig siterer hele konteksten (kjeden. av. tidligere<br />
meldinger) da er vel dette ogsxE pxE en mxEte spam Slike. feite.<br />
unxFdige sitater i meldingene vxEre koster uansett litt mer penger. xE<br />
laste. ned... og de pengene gxEr ihvertfall ikke tilbake til noen av oss..<br />
Det er like enkelt xE skrive ny melding som xE svare pxE. melding.<br />
mvhjenseLalandbryne. ftpftp.artematrix.orgjokesmouse.moved.gif.<br />
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listmastereekunst.no. . ee k u n s t . fakEMail Header. . ee k u n s t .<br />
KNYTkunsten og Spamming. . ee k u n s t . fakEMail Header. . ee k u n<br />
s t . KNYTkunsten og Spamming. Index(es). . ee k u n s t .<br />
KNYTkunsten og Spamming. . ee k u n s t . KNYTkunsten og<br />
Spamming. . ee k u n s t . KNYTkunsten og Spamming. This is a<br />
multipart message in MIME format.... ContentType textplain<br />
charsetusascii. ContentTransferEncoding bit. Hei dere (spesielt Trond<br />
eLossium Erik eHesby og BjxFrn Jonny. eMagnhildxFen). NxE mxE<br />
jeg sette ned foten. Jeg ber om at dere umiddelbart slutter. xE bruke.<br />
Norsk KulturrxEd og KNYTutvalgets navn i denne SPAMkunsten eller<br />
hva dere. nxE kaller dere. Jeg og JxFran eRudi har sittet idag og fortvilt<br />
oss. litt. over dere KNYTkunstneres historielxFshet hva gjelder<br />
KulturrxEdets. arbeid pxE. dette feltet over mange xEr. Vil dere<br />
kanskje at stxFtten til KNYT skal. forsvinne pxE grunn av Spamming<br />
JxFran har forklart meg at Spamkunst. er en. del av KNYTkunsten men<br />
i sxE fall vil jeg gjerne spxFrre meg om hvor. dette. skal fxFre hen.<br />
SxEvidt jeg klarer xE forstxE har alle som har operert i dette. feltet<br />
brukt. falske navn pxE mange prosjekter blant annet JxFrgen eLarsson<br />
og Monica. eHerstad som begge har byttet Spamprosjekter uten xE<br />
informere oss i Norsk. KulturrxEd. Dette er txEpelig Det sier seg selv<br />
at en slik praksis vil. vanskeliggjxFre videre stxFtte den dagen<br />
revisjonen stxEr for. dxFren. Et. offentlig KNYTkunst og kulturliv er<br />
avhengige av at de som opererer med. Spam ihvertfall ikke seiler under<br />
falsk flagg om jeg kan si det sxE. sterkt.. Ellers vil jeg gjerne xFnske<br />
alle dere andre hjertelig velkommen til. konferansen i KulturrxEdets<br />
lokaler pxE Grev Wedels plass imorgen og. fredag.. Da kan vi kanskje<br />
spamme hverandre ansikt til ansikt (fortrinnsvis i. sivilserte former) i<br />
stedet for pxE denne ePostmailinglisten. Det blir lett. servering i<br />
pausen.. Vennlig hilsen. for Norsk KulturrxEd. Ragnfrid eStokke og<br />
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listeadresse eeekunst.no. kontaktadresse listmastereekunst.no. . ee k u n<br />
s t . en uskyldig form for spam. . ee k u n s t . KNYTkunsten og<br />
Spamming. . ee k u n s t . en uskyldig form for spam. . ee k u n s t .<br />
KNYTkunsten og Spamming. Index(es). . ee k u n s t . KNYTkunsten<br />
og Spamming. . ee k u n s t . KNYTkunsten og Spamming. . ee k u n s t<br />
. KNYTkunsten og Spamming. Ellers vil jeg gjerne xFnske alle dere<br />
andre hjertelig velkommen til. konferansen i KulturrxEdets lokaler pxE<br />
Grev Wedels plass imorgen og. fredag. Da kan vi kanskje spamme<br />
hverandre ansikt til ansikt. (fortrinnsvis i sivilserte former) i stedet for<br />
pxE denne. ePostmailinglisten. Det blir lett servering i pausen.. Jeg vil<br />
ogsxE minne om at det i tillegg om kvelden den . mai vil bli. arrangert<br />
en sammenkomst i Atelier Nord med litt mat og drikke sosialt. samvxEr<br />
og litt kunst. Vi setter opp Noematas beMyGhost pxE en av. maskinene<br />
i lokalet for de som er interessert i xE utvide samvxEret og. samrxFret<br />
av identiteter i en elektronisk form og gi konferansen et enkelt.<br />
KNYTgrensesnitt der ogsxE noen flere knytninger og knuter i<br />
prosjektet vil. vxEre tilgjengelig i en begrenset periode.. Vennlig hilsen.<br />
for Norsk KulturrxEd. Ragnfrid eStokke og JxFran eRudi (sign). . ee k<br />
u n s t . KNYTkunsten og Spamming. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken økonomi eCantsin. . ee k u n s t . KNYTkunsten og Spamming.<br />
. ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. Index(es). .<br />
ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> Hvilken økonomi eCantsin. This is a multipart message in MIME<br />
format.... ContentType textplain charsetiso formatflowed.<br />
ContentTransferEncoding bit. Hei alle sammen. Ja dette er jo gxFy<br />
opptil et visst punkt. Jeg har forstxEtt. sxEpass at. sxEkalt SPAM er en<br />
del av KNYTkunsten hvilket JxFran eRudi har. forklart meg.<br />
inngxEende idag. Han fortalte meg at KNYTkunsten ikke er prosjekter<br />
i. egentlig forstand men Spamart som ikke kan diskuteres pxE sivilisert.<br />
mxEte. i demokratiske fora. Vel vel jeg synes nxE dette er en<br />
kunstform som biter. seg selv i halen om jeg sxE mxE si.. At du BjxFrn<br />
Jonny (og Erik eHesby) tar dere friheten til xE misbruke. Norsk.<br />
KulturrxEds navn offentlig er noe jeg offentlig vil ta sterk avstand fra..<br />
BxEde JxFran eRudi og jeg selv mener at dette er misbruk av<br />
offentlige. penger. Telenorsponset eller ei. Men tross alt vil vi alle<br />
kunstens beste det. vxEre seg i eller utenfor de elektroniske offentlige<br />
500
om. Jeg vil. pxEpeke at. Norsk KulturrxEd i mange xEr har bidratt<br />
sterkt til at KNYTkunsten har. fxEtt. fotfeste i et ellers magert<br />
kunstlandskap (noe vi dessverre alle har kjent. pxE kroppen).<br />
KNYTkunsten har blant annet bidratt til at sxEvidt. forskjellige<br />
kunstnere som StxEle eStenslie og TEKS har overlevd i dette. karrige<br />
landet. NxEr sxE selve grunnlaget for KNYTkunsten blir Spammet.<br />
bort. av Atle eBarcley Per ePlatou Per Bj. eBoym Monica eHerstad og<br />
JxFrgen. eLarsson. (for ikke xE nevne Trond eLossium som Spammer<br />
under falsk navn) ja da. lurer. jeg litt pxE hva KNYTkunsten egentlig<br />
vil med seg selv.. Norsk KNYTkunst er i vinden som aldri fxFr det kan<br />
vi alle vxEre. enige om.. La oss nxE ikke xFdelegge alt ved xE<br />
Spamme mere under falske. premisser. Jeg. synes at du BjxFrn Jonny<br />
selv burde ha baller nok (om jeg txFr vxEre. sxE frekk). til xE mxFte<br />
opp pxE KulturrxEdets konferanse imorgen og. fortelle hvem du.<br />
egentlig er. PxE dette punktet er JxFran eRudi og jeg fullstendig enige..<br />
Dere. andre bxFr ogsxE avslutte denne debatten som jo egentlig seiler<br />
under. falsk. flagg.. ForxFvrig kan det kanskje vxEre verdt xE merke<br />
seg at Be My Ghost. aldri har. mottatt noen stxFtte fra Norsk<br />
KulturrxEd i noen som helst form.. KNYTutvalget har mottatt mange<br />
sxFknader xEr etter xEr som vi har. mxEttet. avvise pxE grunn av rett<br />
ut sagt txEpelige bekrivelser av SPAM det. vxEre seg. i form av<br />
KNYTkunst eller butohballettforestillinger.. Med vennlig hilsen. for<br />
Norsk KulturrxEd. Ragnfrid eStokke og JxFran eRudi (sign). og dine<br />
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Hvilken økonomi eCantsin. . ee k u n s t . KNYTkunsten og Spamming.<br />
. ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. Index(es). .<br />
ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> Hvilken økonomi eCantsin. This is a multipart message in MIME<br />
format.... ContentType textplain charsetiso. ContentTransferEncoding<br />
bit. Grethe eMelby. og. JxFrgen eLarsson. Bare for xE ha sagt det jeg<br />
tror de fleste vet hvem som er ansvarlig for. denne noe. uvettige<br />
spammingen. Skal det vxEre en form for kunst. Dere gjxFr det svxErt<br />
vanskelig for dere selv pxE denne mxEten. hvis det er slik. at dere tror<br />
at. KulturrxEdet skal vxEre med xE finansiere denne type prosjekter.<br />
videre. Vi. fxEr sxE mye bra. sxFknader og hvordan mener dere vi kan<br />
501
forsvare xE prioritere ting som. sxE. xEpenbart virker. undergravende<br />
pxE miljxFet og hvor interessant er det egentlig Jeg er. virkelig spent<br />
pxE xE. hxFre deres argumenter i morgen. Vi snakkes. hxFre deres<br />
argumenter i morgen. Vi snakkes<br />
502
219<br />
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eCantsin. . ee k u n s t . gammeldags. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken økonomi eCantsin. . ee k u n s t . gammeldags. Index(es). . ee k<br />
u n s t . gammeldags. . ee k u n s t . gammeldags. . ee k u n s t .<br />
gammeldags. Jo jo. Dette er jo i og for seg et artig prosjekt men sxErlig<br />
avantgarde er det. ikke. Strengt tatt er dette prosjektet konseptuelt sett<br />
en. reprise av. prosjektet veldig.politisk som ble gjennomfxFrt pxE<br />
vxErparten i. xEr. Som man kan lese pxE BEKs web. Et<br />
desinformasjonsprosjekt av Klasar Habbestad Thomas Sivertsen<br />
Grethe. eMelby og JxFrgen eLarsson. Prosjektet utforsket mailmediet<br />
som. desinformasjonskanal og inneholdt en falsk webside (Bergens<br />
Tidende) en. videopresentasjon pxE Teatergarasjen i Bergen hvor bl.a.<br />
det etter hvert. sxE kjente vedlegget DNZ.jpg (et manipulert bilde av<br />
DNS med en tysk. xFrn pxE. toppen) ble vist for fxFrste gang og den<br />
fiktive journalisten Kari Anne. Johansen som sendte ut nyhetsbrev med<br />
desinformasjon til kulturaktxFrer og. journalister. Grethe eMelby<br />
presenterte prosjektet under DAC. Videre. dokumentasjon av prosjektet<br />
eksisterer ikke videoen er gxEtt tapt men. restene av websidene fra den<br />
gang det stod pxE kan sees her. veldig.politisk var altsxE ett av de<br />
fxFrste BEK prosjektene mens BEK. var pxE. spedbarnsstadiet. Det er<br />
tre xEr siden.. Tre xEr siden Tre hundre xEr i Internetttid. Ingen av de<br />
dengang involverte er sxErlig imponerte over nivxEet pxE. dette.<br />
prosjektet allerede da vi kastet oss inn i.<br />
mailspamlekmedidentiteteropplegget var denslags gjort fxFr noe som.<br />
ble behxFrig pxEpekt av den eldre garde innen eekunsten.. Se ogsxE<br />
mitt abstrakt til den anerkjente og internasjonale konferansen. DAC.<br />
veldig.politisk a digital attempt of restructuring the field of art in.<br />
Bergen. Grethe eMelby. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken<br />
økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi<br />
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eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee<br />
k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. Index(es). . ee<br />
k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. This is a multipart message in<br />
MIME format.... ContentType TEXTPLAIN charsetISO.<br />
ContentTransferEncoding BIT. Gode JukseBjarne. At noen holder pxE<br />
med barnehageleker som vi gjorde oss ferdig med i. (Veldig Politisk) er<br />
ikke vxEr skyld.. At Klas Monty xFnsker xE profilere seg som<br />
superspammer er helt OK for. meg morsomt men ikke imponerende..<br />
Heller ikke sxErlig interessant ettersom denne typen spxFker har en.<br />
laaaang. historie som Marius eWatz (det var vel deg Marius) sxE pent<br />
pxEpekte. i sin. mail.. xC leke seg med xEpne relayer er jo gxFy men vi<br />
har da andre ting. xE ta oss. til. men det mxE jo sies at jeg synes dette<br />
siste peket ditt Klas Monty er. mye morsommere enn beMyGhost....<br />
Spesielt synes jeg om Jens eLaland og einkbek.no sine innlegg.. hilsen.<br />
den virkelige helt ekte (...). JxFrgen eLarsson. PS vi sees i morgen.<br />
Hvis dette var et forsxFk pxE et kunstprosjekt. vil. det nok fxE<br />
gjennomgxE...NxE er det nattis i Bergen.. Grethe eMelby. og. JxFrgen<br />
eLarsson. Bare for xE ha sagt det jeg tror de fleste vet hvem som er<br />
ansvarlig for. denne noe. uvettige spammingen. Skal det vxEre en form<br />
for kunst. Dere gjxFr det svxErt vanskelig for dere selv pxE denne<br />
mxEten. hvis det er. slik at dere tror at. KulturrxEdet skal vxEre med<br />
xE finansiere denne type prosjekter. videre. Vi. fxEr sxE mye bra.<br />
sxFknader og hvordan mener dere vi kan forsvare xE prioritere ting.<br />
som sxE. xEpenbart virker. undergravende pxE miljxFet og hvor<br />
interessant er det egentlig Jeg. er. virkelig spent pxE xE. hxFre deres<br />
argumenter i morgen. Vi snakkes. Mvh. Bjarne eKvinnsland.<br />
eBEKeCSundtsge.eeBergen.enopexe.errml e. . . . . xA .. .. (.sssshh......)<br />
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listeadresse eeekunst.no. kontaktadresse listmastereekunst.no. . ee k u n<br />
s t . gammeldags. . ee k u n s t . Avlysning av KNYTkonferansen. . ee k<br />
u n s t . gammeldags. . ee k u n s t . Avlysning av KNYTkonferansen.<br />
Index(es). . ee k u n s t . Avlysning av KNYTkonferansen. . ee k u n s t<br />
. Avlysning av KNYTkonferansen. . ee k u n s t . Avlysning av<br />
KNYTkonferansen. This is a multipart message in MIME format....<br />
ContentType textplain formatflowed. Hei igjen. NxE er det nok Dette<br />
gxEr ikke lengre. Klokken er . og det skulle. vxEre. konferanse om<br />
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noen timer. Men hva skal jeg tro og gjxFre nxEr det. nxE synes. som<br />
om KNYTfeltet er i total opplxFsning. NxEr alle aktxFrer. oppfxFrer<br />
seg. pxE. denne mxEten mener jeg det er fullstendig fxEnyttes xE<br />
prxFve. xE ha noen serixFs. diskusjon.. KulturrxEdet avlyser derfor<br />
konferansen om KNYTkunst og vil heretter bruke. statens penger pxE<br />
en bedre mxEte. Alle dere som har spammet kan. kanskje. tenke dere<br />
bedre om neste gang dere korrumperer den offentlige debatt.. Beklager<br />
til alle som ikke har postet under falsk navn men slik er det nxE.<br />
engang. Norsk KulturrxEd er en del av KNYTkunsten og nok er nok.<br />
Det er vi. som bestemmer her for xE sitere Erik eHesby. Vi har mange<br />
andre prosjekter. xE. bruke penger pxE bl.a. har Grethe eMelby og<br />
makteliten foreslxEtt. xE overta. pengene som ble satt av til<br />
KNYTkonferansen. Dette tror jeg er langt bedre. bruk av offentlige<br />
penger ogsxE i regionalpolitisk perspektiv hvilket jeg. tror JxFran<br />
eRudi tross alt ogsxE vil vxEre enig i. (Jeg skal ringe. ham. klokken. i<br />
morgen torsdag). Ha en god (og spamfri) dag vi sees vel alle ved en<br />
senere anledning.. Kanskje Per ePlatou og Atle eBarcleys finissage ved<br />
museet for. Samtidskunst. den .mai er en god anledning til xE treffes da<br />
slxEr vi vel to fluer. i ett. smekk sxE xE si.. Vennlig (men oppgitt)<br />
hilsen. Ragnfrid eStokke Norsk KulturrxEd. PS De av dere som er i<br />
Oslo kun for KNYTkonferansen kan gjerne komme. innom. for gratis<br />
garantert spamfri lunsj i Norsk KulturrxEds lokaler pxE Grev. Wedels.<br />
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økonomi eCantsin. . ee k u n s t . identitet. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . identitet. Index(es). . ee<br />
k u n s t . identitet. . ee k u n s t . identitet. . ee k u n s t . identitet. This<br />
is a multipart message in MIME format.... ContentType textplain<br />
charsetiso formatflowed. ContentTransferEncoding bit. Beklager til alle<br />
som ikke har postet under falsk navn. Jeg vil pxE grunn av alt dette<br />
heretter bekrefte meg selv. ved at dette innlegget ogsxE er xE finne pxE<br />
min egen server. Dette gjelder hvert av mine innlegg fra nxE av sxE<br />
burde. ingen vxEre i tvil de fxE gangene jeg sier noe her.. Det er vi som<br />
bestemmer her for xE sitere Erik eHesby.. Vi har mange andre<br />
prosjekter xE bruke penger pxE bl.a.. har Grethe eMelby og makteliten<br />
foreslxEtt xE overta. pengene som ble satt av til KNYTkonferansen..<br />
Jeg er enig i at konferansen avlyses og at pengene brukes. andre steder<br />
505
(enn i Oslo). Vis nxE f.eks. at det ogsxE kan. komme landsbygda til<br />
gode... og da ikke bare i ordene. regionalpolitisk perspektiv..<br />
mvhjenseLalandbryne. ContentType textplain namemessagefooter.txt.<br />
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moderator. . ee k u n s t . Avlysning av KNYTkonferansen. . ee k u n s t<br />
. . akt cameo ved en moderator. Index(es). . ee k u n s t . . akt cameo<br />
ved en moderator. . ee k u n s t . . akt cameo ved en moderator. . ee k u<br />
n s t . . akt cameo ved en moderator. This is a multipart message in<br />
MIME format.... ContentType textplain charsetiso.<br />
ContentTransferEncoding bit. Morsomt. Bare pxFs pxE.. Men fxFlg<br />
opp med litt xErlighet og forklar gjerne motiv og. mxElsetning. Av.<br />
hensyn til de abbonnenter som muligens ikke er innforstxEtt med.<br />
karakterenes. roller i dette teaterstykket.... Videre skjxFnner jeg ikke<br />
helt hvorfor Grethe eMelby og hennes husbond. JxFrgen. velger xE<br />
disse et prosjekt som etter alt xE dxFmme kommer fra deres. egen. stue.<br />
Tilgi meg hvis jeg tar helt feil det er svxErt mulig det men det skulle.<br />
ikke. mye detektivarbeid til fxFr jeg fant ut at IPnummer pxE de<br />
meldingene. som. satte. det hele i gang matcher opprinnelsen til<br />
meldinger sendt til bbbek.no av. samme grethe eMelby OG<br />
eMakteliteneMakt.no som sxEvidt jeg vet ogsxE. er. et. gretheprosjekt..<br />
Sannsynlighetsovervekt for Grethe eMelby og hvis ikke er det noen<br />
som har. gjort sitt beste for xE fxE oss til xE tro at det er deg og dere..<br />
Hvem du nxE er fxFlg opp pxE lista og de som er i Oslo pxE. seminar<br />
gjxFr det. samme. <strong>Re</strong>ferat fra lunsjpauseslarven takk.. ). mvh. kevin<br />
eFoust. Kevin Thomas eFoust. eKevineekunst.no. ContentType<br />
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Berlin ser det. hele temmelig latterlig ut.. Har ikke eekunstnere i Norge<br />
506
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Hvilken økonomi eCantsin. . ee k u n s t . . akt cameo ved en moderator.<br />
. ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. Index(es). .<br />
ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> Hvilken økonomi eCantsin. INVITASJON. Mine synspunkter pxE<br />
diskusjonsnivxEet pxE denne listen skulle vere. godt kjent. i anledning<br />
Lyddusjskandalen. Jeg skal derfor fatte meg i korthet.. Notam stiller seg<br />
uforstxEende til det fravxEret av en relevant. kunstdiskurs. i Norge.<br />
Siden vi tar vxEr oppgave som premissleverandxFr til den norske.<br />
elektroniske kunstscenen pxE alvor griper vi anledningen og inviterer<br />
til. xEpent forum pxE Statens Kunstakademi i Oslo med tittelen. NxEr<br />
kunsten dxFr hva gjxFr kunstnerne. Vi har invitert professor i almenn<br />
estetikk ved UiO Arnfinn BxFRygg og. filosofen Lard Fr. H. Svendsen<br />
kjent fra bla. boken Kjedsomhetens. Historie.. Mvh. JxFran eRudi.<br />
NxEr kunsten dxFr hva gjxFr kunstnerne. Forum for relevant diskusjon<br />
og debatt. Statens Kunstakademi Oslo. .mai kl... Hotmail snakker ditt<br />
sprxEk. pxE. norsk i dag. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken<br />
økonomi eCantsin. . ee k u n s t . kulturspamming. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . kulturspamming.<br />
Index(es). . ee k u n s t . kulturspamming. . ee k u n s t .<br />
kulturspamming. . ee k u n s t . kulturspamming. This is a multipart<br />
message in MIME format.... ContentType textplain charsetiso<br />
formatflowed. ContentTransferEncoding bit. Noe av det vi har sett pxE<br />
denne listen. i det siste kan like godt kalles. k u l t u r o n a n i. . ..<br />
(o)(o). .OOOooooOOO.. Oooo.. .oooO ( ). ( ) ). ( (. ). ContentType<br />
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eCantsin. . ee k u n s t . beMailHoaxed v.. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> Hvilken økonomi eCantsin. . ee k u n s t . beMailHoaxed v..<br />
Index(es). . ee k u n s t . beMailHoaxed v.. . ee k u n s t . beMailHoaxed<br />
v.. . ee k u n s t . beMailHoaxed v.<br />
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220<br />
. ee k u n s t . beMailHoaxed v.. This is a multipart message in MIME<br />
format.... xB xB xB xB xB xB xB xB xB xB xB. xB xB xB xB xB xB<br />
xB xB xB xB xB. xB xB xB xB xBxB xB xB xB xB xB. xB xB xB xB<br />
xB. xB xB xB xB xB xB xB xB xB xB. xB xB xB xB xB xB xB xB xB<br />
xB xB. xB xB xB xB xB xB xB xBxB xB xB. xB. xB xB xB xB xB xB<br />
xB xB xB xB xB. xB xB xB xB xB xB xB xB xB xB xB. xB xB xB xB<br />
xB xB xB xB xB xB xB. xB xB xBxB xB. xB xB xB xB xB xB xB xB<br />
xB xB xB. I forbindelse med KulturrxEdets KNYTkonferanse over to<br />
dager gjxFres. tilgjengelig for almen bruk. beMailHoaxed v.. med<br />
utvidet funksjonalitet for anledningen.. Denne versjonen vil vxEre<br />
tilgjengelig bare i konferanseperioden.. beMyGhost. .. mai. . . . . . . . . . .<br />
. . . . . . . . . . . . . . . . .. . . . . . . . . . .. . .. . . . . . . . . . . . . . . . . . . . . . . . . . . ..<br />
. . . . .. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . .. . ..<br />
Norsk KulturrxEds konferanse om kunst og ny teknologi. Atelier Nord.<br />
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HC eGilje. . ee k u n s t . kulturspamming. . ee k u n s t . <strong>Re</strong> HC eGilje.<br />
Index(es). . ee k u n s t . <strong>Re</strong> HC eGilje. . ee k u n s t . <strong>Re</strong> HC eGilje. . ee<br />
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berlin er nok mye bedre i saa maate beklager oppstyret her hjemme hce.<br />
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eGilje. Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong> HC eGilje. . ee k u n s t . <strong>Re</strong> <strong>Re</strong><br />
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in MIME format.... xCrlig talt. Jeg syns slike uttalelser faller pxE sin<br />
egen provinsialitet.. Jorden er rund det betyr i realiteten at du er i<br />
sentrum uansett hvor du. er.. Grethe eMelby. her.. Denne traaden ser<br />
sjeldent provinsiell ut. Bryne Bergen eller Grunerlokka spiller ingen<br />
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olle. Fra Berlin ser det. hele temmelig latterlig ut.. Har ikke<br />
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listmastereekunst.no. . ee k u n s t . <strong>Re</strong> HC eGilje. . ee k u n s t .<br />
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t . Kulturspamming. . ee k u n s t . Kulturspamming. This is a multipart<br />
message in MIME format.... Jeg spurte sprxEkrxEdet om de kunne<br />
oversette culture spamming for meg.. Dette. er svaret jeg fikk. JxFran.<br />
Jeg viser til forelxFpig svar sendt fredag . mai.. Vi har hatt<br />
spxFrsmxElet liggende ute i Ordsmia siden da og det har. vxErt. noen<br />
fxE innlegg. (Uttrykket var framme i Ordsmia ogsxE i fjor.) I et. av.<br />
innleggene pekes det pxE at culture spamming har vxErt brukt pxE.<br />
norsk. Av. de forslagene som kom i Ordsmia nevner jeg ellers.<br />
mediestunt som etter mitt skjxFnn var det mest dekkende.. som. kaller<br />
seg The culture spammer's encyclopedia. Her mxFtte jeg en frodig.<br />
fauna av former for culture spamming pxE engelsk noe i retning av en.<br />
anarkistisk oppskriftsbok for aktivister. En av formene ble kalt.<br />
commerce spamming og det er vel kanskje dette dere i. KNYT driver<br />
med. Personlig syns jeg at noe med sabotering eller sabotasje burde.<br />
passe. Hva med kultursabotering eller kunstsabotering. Jeg hxFrer<br />
gjerne fra deg igjen hvis du har noen synspunkter pxE. dette.. Med<br />
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s t . Kulturspamming. . ee k u n s t . hvem er jeg. . ee k u n s t .<br />
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Alt dette er gjort fxFr av andre for lenge siden i forrige xErtusen. og.<br />
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(temporxEr. autonom sone) rett etter siste istid de gikk i hverandres<br />
skinnfeller for. xE lure reinen eller noe. Dermed er alt dette ikke sxE<br />
interessant. lenger.. Noen har levd fxFr meg. For ikke xE snakke om<br />
alle andre som lever. samtidig. nxE. Hva skal vi med dem hva skal vi<br />
med oss Hvor gxEr vi egentlig. nxE. etter at kunsten og teknologien er<br />
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. ee k u n s t . .. . ee k u n s t . . (o) (o). . ee k u n s t . .. . ee k u n s t . .<br />
(o) (o). Index(es). . ee k u n s t . . (o) (o). . ee k u n s t . . (o) (o). . ee k u<br />
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..OOOooooOOO.. . ee k u n s t . . . .. . ee k u n s t . ..OOOooooOOO..<br />
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listmastereekunst.no. . ee k u n s t . .Oooo.. . ee k u n s t . . ( ) ). . ee k u<br />
n s t . .Oooo.. . ee k u n s t . . ( ) ). Index(es). . ee k u n s t . . ( ) ). . ee k<br />
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listmastereekunst.no. . ee k u n s t . . ( (. . ee k u n s t . en liten test av<br />
spamware.... . ee k u n s t . . ( (. . ee k u n s t . en liten test av<br />
spamware.... Index(es). . ee k u n s t . en liten test av spamware.... . ee k<br />
u n s t . en liten test av spamware.... . ee k u n s t . en liten test av<br />
spamware.... This is a multipart message in MIME format....<br />
ContentType textplain charsetusascii formatflowed. . .. (o)(o).<br />
.OOOooooOOO.. Oooo.. .oooO ( ). ( ) ). ( (. ). ContentType textplain<br />
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listmastereekunst.no. . ee k u n s t . . ). . ee k u n s t . l o s e r. . ee k u n s<br />
t . . ). . ee k u n s t . l o s e r. Index(es). . ee k u n s t . l o s e r. . ee k u n<br />
s t . l o s e r. . ee k u n s t . l o s e r. This is a multipart message in<br />
MIME format.... Contenttype textplain charsetISO.<br />
ContentTransferEncoding bit. hei. en eller annen festlig sjel har lekt<br />
513
meg pxE denne listen med adressen. hceGiljehotmail.com det er ikke<br />
min emailadresse.. hilsen. hc eGilje. ContentType textplain<br />
namemessagefooter.txt. ContentDisposition inline<br />
filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . en liten test av spamware.... . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t . en liten test av spamware.... .<br />
ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro KNYT. Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro<br />
KNYT. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro<br />
KNYT. ContentType textplain charsetusascii. Alt tas ikke for like god<br />
fisk innen kryptozoologien.. Undervannsbilder av Loch Ness i<br />
vannmassene er i virkeligheten sterkt. retusjerte bilder av sjxFbunnen<br />
og bildet hvor man kan se hodet til. monsteret er en stubbe sier han..<br />
Men er det noen av kryptodyrene som finnes pxE ordentlig. Ja. For<br />
eksempel Okapi en korthalsgiraff som lever midt i Afrika..<br />
GuvernxFren i Uganda brukte xEr pxE xE lete etter den og. oppdaget<br />
den. endelig for cirka xEr siden.. Hei dere. Bare en bemerkning jeg<br />
xFnsker ikke xE ta del i denne trxEden.. Kunsthistorisk sxE har spam<br />
lange tradisjoner bakover det er riktig men. det stopper ikke der. Vi kan<br />
ogsxE se spam i lys av evolusjonsteori som en. suksessfull<br />
overlevelsestaktikk. Primitive soppvekster benytter spam det. samme<br />
gjxFr maneter og senere blekkspruter. Hva med amxFber Marius Og.<br />
nxE. danner det seg ogsxE et samlet bilde av egenskaper som beslekter<br />
de. forskjellige livsformer som benytter seg av spam. NxEr KNYT<br />
bruker spam. sxE. gjenoppstxEr eller gjenopplives disse eldre<br />
egenskaper som atavismer i en. avatistisk form dvs. som permutasjoner<br />
bxEde innholdsmessig formmessig og. bokstavlig.. Anne Lise. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. ContentType texthtml charsetusascii. nbspAlt tas<br />
ikke for like god fisk innen kryptozoologien.. nbspnbspnbsp<br />
Undervannsbilder av Loch Ness i vannmassene er i. virkeligheten sterkt<br />
retusjerte bilder av sjxFbunnen og bildet hvor man kan. se hodet til<br />
monsteret er en stubbe sier han.nbspnbspnbsp. Men er det noen av<br />
kryptodyrene som finnes pxE. ordentlignbspnbspnbsp Ja. For eksempel<br />
Okapi en. korthalsgiraff som lever midt i Afrika. GuvernxFren i<br />
Uganda brukte. xEr pxE. xE lete etter den og oppdaget den endelig for<br />
cirka xEr. xE lete etter den og oppdaget den endelig for cirka xEr<br />
514
222<br />
ff px solidHei dereBare en bemerkning jeg xFnsker ikke. xE ta del i<br />
denne trxEden.Kunsthistorisk sxE har spam lange. tradisjoner. bakover<br />
det er riktig men det stopper ikke der. Vi kan ogsxE se spam i lys. av<br />
evolusjonsteori som en suksessfull overlevelsestaktikk. Primitive.<br />
soppvekster benytter spam det samme gjxFr maneter og senere<br />
blekkspruter.. Hva med amxFber Marius Og nxE danner det seg ogsxE<br />
et samlet bilde. av. egenskaper som beslekter de forskjellige livsformer<br />
som benytter seg av. spam. NxEr KNYT bruker spam sxE gjenoppstxEr<br />
eller gjenopplives. disse eldre. egenskaper som atavismer i en avatistisk<br />
form dvs. som permutasjoner bxEde. innholdsmessig formmessig og<br />
bokstavlig.Anne. Lise post distribuert via ee k u n s t. kontaktadresse<br />
listmastereekunst.nohr SIZE. . ee k u n s t . l o s e r. . ee k u n s t . Om<br />
aktivitetene på lista denne uken. . ee k u n s t . l o s e r. . ee k u n s t . Om<br />
aktivitetene på lista denne uken. Index(es). . ee k u n s t . Om<br />
aktivitetene på lista denne uken. . ee k u n s t . Om aktivitetene på lista<br />
denne uken. . ee k u n s t . Om aktivitetene på lista denne uken. This is a<br />
multipart message in MIME format.... ContentType textplain charsetiso<br />
formatflowed. ContentTransferEncoding bit. Moderatorene har litt<br />
informasjon og noen anmodninger til brukerne av. eekunst. Vi har etter<br />
anmodning fra originalen fjernet en av de falske adressene som. har<br />
postet meldinger pxE eekunst de siste dagane. Hvis andre som har blitt.<br />
etterlignet xFnsker xE fxE fjernet sine dobbeltgjengere vil vi. selvsagt<br />
gjxFre. dette. Sist i denne posten (som PS) ligger det en liste med<br />
oversikt. over de falske postene og hvilke adresser de har blitt sendt.<br />
fra. Vennligst send oss en beskjed dersom du har forfalsket deg selv og.<br />
dermed nullet ut bedrageriet... ). Vi anser nxE at prosjektet har fxEtt<br />
lxFpe fritt lenge nok. Vi. kommer i lxFpet. av helgen til xE fjerne de<br />
falske adressene fra abbonnentlista.. Vi har tolerert denne aktiviteten<br />
med tanke pxE den kunstneriske. ytringsfriheten. xC avbryte disse<br />
meldingene fxFltes som om. vaktmesteren. skulle bryte inn i et<br />
teaterstykke og kaste alle skuespillerne ut. Men vi. vil gjenta vxEr<br />
oppfordring til den eller de som stxEr bak dette om. xE fxFlge. opp<br />
med xErlighet og litt forklaring. Hvis ikke dette skjer kan. handlingene<br />
515
de siste dagene framstxE som sabotasje av en serixFs. formidlings. og<br />
diskusjonskanal. Og det vil dermed kunne fxE fxFlger for hvordan vi.<br />
driver listen videre. Vi xFnsker ikke xE moderere hver eneste post til.<br />
lista men xFnsker heller at brukerne tar ansvar for egne handlinger.<br />
Dette. er til alles beste.. Men pxE den andre siden er det mulig at vi<br />
mxE fjerne meldinger fra. arkivet. pxE nettsidene til eekunst. Dette lar<br />
vi de etterlignede bestemme. Igjen. av hensyn til den kunstneriske<br />
ytringsfriheten vil vi la meldingene stxE. som de er men hvis noen av<br />
de berxFrte parter fxFler seg fornxErmet. av disse. meldingene<br />
etterkommer vi selvsagt eventuelle krav om fjerning.. Alternativene<br />
som vi gjerne kan diskutere pxE lista i ukene som kommer er. en klar<br />
merking av alle falske meldinger eller anonymisering av personnavn..<br />
Vi har et offentlig tilgjengelig arkiv og det kan vxEre uheldig om<br />
personer. attribueres utsagn som er forfalsket. Vi tar med glede imot<br />
alle. synspunkter pxE denne saken gjerne som diskusjonsemne til lista..<br />
Det er jo brukerne som er eekunst.. med vennlig hilsen. Kevin eFoust<br />
og Atle eBarcley. NB Jeg vil ogsxE beklage at Grete eMelby ble utpekt<br />
som opprinnelsen til de. fxFrste meldingene som kom. Dette har jeg<br />
fxEtt avkreftet. Kevin.. PS. Her fxFlger adressene som har postet falske<br />
meldinger til lista sammen med. dato og Subject pxE postene.<br />
erikeHesbyhotmail.com. Subject . ee k u n s t . Hvilken xFkonomi<br />
eCantsin. Subject . ee k u n s t . <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>.<br />
Hvilken xFkonomi eCantsin. atleeBarcleyhotmail.com. Subject . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
perbjarneeBoymhotmail.com. Subject . ee k u n s t . <strong>Re</strong> Hvilken<br />
xFkonomi eCantsin. jannestangeDahlhotmail.com. From Janne Stang<br />
eDahl. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. <strong>Re</strong><br />
Hvilken xFkonomi eCantsin. perePlatouhotmail.com. Subject . ee k u n<br />
s t . <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
bjornemagnhildoenhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi. eCantsin. trondeLossiushotmail.com. Subject . ee k<br />
u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. Hvilken xFkonomi eCantsin.<br />
jenseLalandhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Den Digitale<br />
Maten. bjarneeKvinnslandhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin. ragnfrideStokkehotmail.com.<br />
Subject . ee k u n s t . KNYTkunsten og Spamming. Subject . ee k u n s<br />
t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin. Subject . ee k u n s t .<br />
Avlysning av KNYTkonferansen. hceGiljehotmail.com. Subject . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
joraneRudihotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken<br />
516
xFkonomi. eCantsin. denne er antatt falsk abbonnent men har ennxE<br />
ikke postet. beateceronninghotmail.com. Og disse kommer fra<br />
enoemata's skjema (beMailHoaxed v.. From eMakteliten. Subject . ee k<br />
u n s t . beMailHoaxed v.. From Atle eBarcley. Subject . ee k u n s t .<br />
<strong>Re</strong> HC eGilje. From Grethe eMelby. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> HC<br />
eGilje. From JxFran eRudi. Subject . ee k u n s t . Kulturspamming.<br />
From StxEle eStenslie. Subject . ee k u n s t . sts. From Klas eCantsin.<br />
Subject . ee k u n s t . hvem er jeg. From Kristin eBergaust. Subject . ee<br />
k u n s t . Fwd FOOT project. From Marius eWatz. Subject . ee k u n s t<br />
. <strong>Re</strong>tro KNYT. From Anne Lise eWullum. Subject . ee k u n s t . <strong>Re</strong><br />
<strong>Re</strong>tro KNYT. Disse kommer fra en annen spammer. From Per ePlatou.<br />
Subject . ee k u n s t .. From Jill Walker. Subject . ee k u n s t . .. From<br />
Kevin eFoust. Subject . ee k u n s t . . . .. From Charlotte eEspeland.<br />
Subject . ee k u n s t . . (o) (o). From JxFran eRudi. Subject . ee k u n s t<br />
. ..OOOooooOOO.. From RagnFrid eStokke. Subject . ee k u n s t . ..<br />
From Trond eLossius. Subject . ee k u n s t . .Oooo.. From Espen<br />
eGangvik. Subject . ee k u n s t . . .oooO ( ). From Erik eHesby. Subject<br />
. ee k u n s t . . ( ) ). From Jeremy eWelsh. Subject . ee k u n s t . . ( (.<br />
From Stein eSxFrlie. Subject . ee k u n s t . . ). Og forxFvrig har en av<br />
de etterlignede selv forfalsket en post for xE. etterligne sin egen<br />
etterligning. From Klas eeCantsin. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi. eCantsin. listmastereekunst.no eeekunst.no.<br />
ContentType textplain namemessagefooter.txt. ContentDisposition<br />
inline filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t . <strong>Re</strong><br />
<strong>Re</strong>tro KNYT. Index(es). . ee k u n s t . <strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t .<br />
<strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t . <strong>Re</strong> <strong>Re</strong>tro KNYT. This is a multipart<br />
message in MIME format.... Hei dere. Bare en bemerkning jeg xFnsker<br />
ikke xE ta del i denne trxEden.. Kunsthistorisk sxE har spam lange<br />
tradisjoner bakover det er riktig men. det stopper ikke der. Vi kan<br />
ogsxE se spam i lys av evolusjonsteori som en. suksessfull<br />
overlevelsestaktikk. Primitive soppvekster benytter spam det. samme<br />
gjxFr maneter og senere blekkspruter. Hva med amxFber Marius Og.<br />
nxE. danner det seg ogsxE et samlet bilde av egenskaper som beslekter<br />
de. forskjellige livsformer som benytter seg av spam. NxEr KNYT<br />
bruker spam. sxE. gjenoppstxEr eller gjenopplives disse eldre<br />
egenskaper som atavismer i en. avatistisk form dvs. som permutasjoner<br />
bxEde innholdsmessig formmessig og. bokstavlig.. Anne Lise.<br />
517
ContentType textplain namemessagefooter.txt. ContentDisposition<br />
inline filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . Om aktivitetene på lista denne uken.<br />
. ee k u n s t . Jamming eller spamming. . ee k u n s t . Om aktivitetene<br />
på lista denne uken. . ee k u n s t . Jamming eller spamming. Index(es). .<br />
ee k u n s t . Jamming eller spamming. . ee k u n s t . Jamming eller<br />
spamming. . ee k u n s t . Jamming eller spamming. This is a multipart<br />
message in MIME format.... Contenttype textplain charsetISO.<br />
ContentTransferEncoding bit. En lukket turnering Jamming eller<br />
spamming. Om siste ukes bevegelser pxE eekunstlisten. Dette har<br />
kanskje vxErt gxFyere fra et lokalt stxEsted hvor folk. kjenner.<br />
hverandre og gjerne vil kle seg ut som hverandre og gleder seg til xE.<br />
mxFtes. pxE konferanse.. SxEnn er det jo med kunst at det ogsxE kan<br />
bli et slags internt. ballspill.. Det lokale er genialt som utviklings og<br />
produksjonsforum for organiske. sosiale meningsdannelser.<br />
StxFrrelsesforholdene blir menneskelige ikke. sxE. smxE at det<br />
kommunikative gxEr tapt og ikke sxE store at det. personlige mxE.<br />
sorteres fra. PxE sitt beste kan da en reell energi lxFfte seg ut av det.<br />
lokale og konsentrere noen problemstillinger temaer eller danne.<br />
prinsipper. som er stxFrre enn seg selv og som kan oversettes til en<br />
annen lokal. virkelighet. Men det forutsetter at man er klar over sin<br />
lokale. avsenderposisjon og ikke automatisk betrakter den som en<br />
universell. standard.. NxEr utsagnene har lokale rollespillsavsendere i<br />
et fagfelt hvis viktigste. oppgave er xE skape mening (ogsxE ved<br />
sabotasje eller negasjon) hvilken. problemstilling er det som<br />
konsentreres. Jeg mener noen skrev i en biografi om Karen Blixen det<br />
gir stor og. voldsom. makt xE ikke vxEre en kvinne av sitt ord. xC se<br />
sprxEket som en. modellerbar. masse og ikke pxE noe som helst mxEte<br />
betrakte ordet for pxElydende.. Og hvis. man virkelig har noe xE si er<br />
det lett xE tilgi en av Blixens format og. i. Blixens tid for xE ty til<br />
pseudonymer og oppblxFting av sprxEklig. makt.. Som jeg ser det har<br />
den siste tids sludrende og sladrende. mailboxfylling. nok en gang<br />
kartlagt pxEstanden om at de sosiale strukturene er sxErbare. og. at.<br />
den subjektive posisjon stxEr som premiss eller kontekst for hvordan<br />
utsagn. skal forstxEs.. Kunst er aksjon ogeller reaksjon. Siden aksjonen<br />
her mest har virket som. en omgang kanonball blant venner velger jeg<br />
xE lese det som reaksjon den. tilstanden som angripessettes under<br />
kritikkmotbevises skulle i sxE fall. vxEre. sprxEket er rent hellig og<br />
usymbolsk En spade er en spade. verden er objektiv. Som Jesper<br />
518
Fabricius sier Hur kxEnns det at modernismen aldrig tar slut. Det er der<br />
det blir meningstomt for meg xE bokse mot modernismen igjen og.<br />
igjen. Noe mxE vi kunne enes om Livet er kort verden er stor og det er.<br />
helt. utrolig hvor forskjellig vi ser pxE det. Og det er virkelig<br />
spennende men. ikke bare enkelt.. Jeg fxFler at min tid har blitt kastet<br />
bort prosessen med xE lete meg. fram. til virkelige mails i innboksen og<br />
sjekke om mails er sendt fra hotmail. eller ikke. Den eneste lxFsning<br />
ble til slutt xE avfeie alle innlegg. som. vxErende falske og dermed<br />
ikke bxErxEr av konsekvens. Jeg liker ikke. xE. tvinges. til den type<br />
overfladiskhet og jeg tror kunsten taper mye kraft av det.. Veien ut fra<br />
dette kunstprosjektet er dessverre sammenfallende med veien. ut. fra et<br />
helt miljxFs aktiviteter som jeg ellers er interessert i. Jeg er. her. mer<br />
som publikummer enn som deltager sxE hvis eekunstlisten fxFrst og.<br />
fremst. er en skisseblokk for et lukket selskap sxE vil jeg selvfxFlgelig.<br />
respektere. det. Da er det ikke noen grunn for meg til xE vxEre her eller<br />
bli sur. for. bli. stengt inne i en kjedelig utstilling. Det blir bra xE hxFre<br />
hva resten. av. miljxFet mener.. Jeg xFnsker min hotmailkloning fjernet<br />
(imponerende nok med stavefeil i. fornavnet) og heller drite meg ut<br />
under eget navn.. Hilsen. Beathe C. eRxFnning. On eekunst<br />
Listemester. Moderatorene har litt informasjon og noen anmodninger til<br />
brukerne av. eekunst. Vi har etter anmodning fra originalen fjernet en<br />
av de falske adressene. som. har postet meldinger pxE eekunst de siste<br />
dagane. Hvis andre som har. blitt. etterlignet xFnsker xE fxE fjernet<br />
sine dobbeltgjengere vil vi. selvsagt. gjxFre. dette. Sist i denne posten<br />
(som PS) ligger det en liste med oversikt. over de falske postene og<br />
hvilke adresser de har blitt sendt. fra. Vennligst send oss en beskjed<br />
dersom du har forfalsket deg selv og. dermed nullet ut bedrageriet... ).<br />
Vi anser nxE at prosjektet har fxEtt lxFpe fritt lenge nok. Vi. kommer i.<br />
lxFpet. av helgen til xE fjerne de falske adressene fra abbonnentlista..<br />
Vi har tolerert denne aktiviteten med tanke pxE den kunstneriske.<br />
ytringsfriheten. xC avbryte disse meldingene fxFltes som om.<br />
vaktmesteren. skulle bryte inn i et teaterstykke og kaste alle<br />
skuespillerne ut. Men. vi. vil gjenta vxEr oppfordring til den eller de<br />
som stxEr bak dette om. xE. fxFlge. opp med xErlighet og litt<br />
forklaring. Hvis ikke dette skjer kan. handlingene de siste dagene<br />
framstxE som sabotasje av en serixFs. formidlings. og diskusjonskanal.<br />
Og det vil dermed kunne fxE fxFlger for hvordan. vi. driver listen<br />
videre. Vi xFnsker ikke xE moderere hver eneste post. til. lista men<br />
xFnsker heller at brukerne tar ansvar for egne handlinger.. Dette. er til<br />
alles beste.. Men pxE den andre siden er det mulig at vi mxE fjerne<br />
519
meldinger fra. arkivet. pxE nettsidene til eekunst. Dette lar vi de<br />
etterlignede bestemme.. Igjen. av hensyn til den kunstneriske<br />
ytringsfriheten vil vi la meldingene stxE. som de er men hvis noen av<br />
de berxFrte parter fxFler seg. fornxErmet av. disse. meldingene<br />
etterkommer vi selvsagt eventuelle krav om fjerning.. Alternativene<br />
som vi gjerne kan diskutere pxE lista i ukene som kommer. er. en klar<br />
merking av alle falske meldinger eller anonymisering av. personnavn..<br />
Vi har et offentlig tilgjengelig arkiv og det kan vxEre uheldig om.<br />
personer. attribueres utsagn som er forfalsket. Vi tar med glede imot<br />
alle. synspunkter pxE denne saken gjerne som diskusjonsemne til lista..<br />
Det er jo brukerne som er eekunst.. med vennlig hilsen. Kevin eFoust<br />
og Atle eBarcley. NB Jeg vil ogsxE beklage at Grete eMelby ble utpekt<br />
som opprinnelsen til. de. fxFrste meldingene som kom. Dette har jeg<br />
fxEtt avkreftet. Kevin.. PS. Her fxFlger adressene som har postet falske<br />
meldinger til lista sammen. med. dato og Subject pxE postene.<br />
erikeHesbyhotmail.com. Subject . ee k u n s t . Hvilken xFkonomi<br />
eCantsin. Subject . ee k u n s t . <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>.<br />
Hvilken xFkonomi eCantsin. atleeBarcleyhotmail.com. Subject . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
perbjarneeBoymhotmail.com. Subject . ee k u n s t . <strong>Re</strong> Hvilken<br />
xFkonomi eCantsin. jannestangeDahlhotmail.com. From Janne Stang<br />
eDahl. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. <strong>Re</strong><br />
Hvilken xFkonomi eCantsin. perePlatouhotmail.com. Subject . ee k u n<br />
s t . <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
bjornemagnhildoenhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi. eCantsin. trondeLossiushotmail.com. Subject . ee k<br />
u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. Hvilken xFkonomi eCantsin.<br />
jenseLalandhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Den Digitale<br />
Maten. bjarneeKvinnslandhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> Hvilken. xFkonomi. eCantsin. ragnfrideStokkehotmail.com.<br />
Subject . ee k u n s t . KNYTkunsten og Spamming. Subject . ee k u n s<br />
t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin. Subject . ee k u n s t .<br />
Avlysning av KNYTkonferansen. hceGiljehotmail.com. Subject . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
joraneRudihotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken<br />
xFkonomi. eCantsin. denne er antatt falsk abbonnent men har ennxE<br />
ikke postet. beatecronninghotmail.com. Og disse kommer fra noemata's<br />
skjema (beMailHoaxed v.. From Makteliten. Subject . ee k u n s t .<br />
beMailHoaxed v.. From Atle eBarcley. Subject . ee k u n s t . <strong>Re</strong> HC<br />
eGilje. From Grethe eMelby. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> HC eGilje.<br />
520
From JxFran eRudi. Subject . ee k u n s t . Kulturspamming. From<br />
StxEle eStenslie. Subject . ee k u n s t . sts. From Klas eCantsin.<br />
Subject . ee k u n s t . hvem er jeg. From Kristin eBergaust. Subject . ee<br />
k u n s t . Fwd FOOT project. From Marius eWatz. Subject . ee k u n s t<br />
. <strong>Re</strong>tro KNYT. From Anne Lise eWullum. Subject . ee k u n s t . <strong>Re</strong><br />
<strong>Re</strong>tro KNYT. Disse kommer fra en annen spammer. From Per ePlatou.<br />
Subject . ee k u n s t .. From Jill Walker. Subject . ee k u n s t . .. From<br />
Kevin eFoust. Subject . ee k u n s t . . . .. From Charlotte eEspeland.<br />
Subject . ee k u n s t . . (o) (o). From JxFran eRudi. Subject . ee k u n s t<br />
. ..OOOooooOOO.. From RagnFrid eStokke. Subject . ee k u n s t . ..<br />
From Trond eLossius. Subject . ee k u n s t . .Oooo.. From Espen<br />
eGangvik. Subject . ee k u n s t . . .oooO ( ). From Erik eHesby. Subject<br />
. ee k u n s t . . ( ) ). From Jeremy eWelsh. Subject . ee k u n s t . . ( (.<br />
From Stein eSxFrlie. Subject . ee k u n s t . . ). Og forxFvrig har en av<br />
de etterlignede selv forfalsket en post for xE. etterligne sin egen<br />
etterligning. From Klas eeCantsin. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi. eCantsin. ContentType textplain<br />
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distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . <strong>Re</strong> <strong>Re</strong>tro KNYT. . ee k u n s t . <strong>Re</strong><br />
Om aktivitetene på lista denne uken. . ee k u n s t . <strong>Re</strong> <strong>Re</strong>tro KNYT. . ee<br />
k u n s t . <strong>Re</strong> Om aktivitetene på lista denne uken. Index(es). . ee k u n s t<br />
. <strong>Re</strong> Om aktivitetene på lista denne uken. . ee k u n s t . <strong>Re</strong> Om<br />
aktivitetene på lista denne uken. . ee k u n s t . <strong>Re</strong> Om aktivitetene på lista<br />
denne uken. This is a multipart message in MIME format....<br />
ContentType textplain charsetiso. ContentTransferEncoding bit. opp<br />
med xErlighet og litt forklaring. Hvis ikke dette skjer kan. Torgeir<br />
eFjeld. Isn't the impact of the artistic object dependent on a<br />
correspondence. between the habitus of the producer and consumer of<br />
the object. Short answer No. I've just been teaching a course on<br />
romantic literature. and agreed it is difficult to get one's head around<br />
the idea that the. artist is gone when the artwork is perceived.. we were<br />
reading frankenstein. and one of the central points with this work is the<br />
repulsion the artist. (victor frankenstein) senses in confrontation with an<br />
actualized meaning. of. his own piece of art. i wonder if mary shelley<br />
might have thought in. analogous terms to parenting when the child is<br />
behaving in defiance of. the script it is tempting to act on a desire to<br />
remove the prodigy. but. after all the creature is no longer<br />
frankenstein's. it's meaning is. opened. and not necessarily privileged<br />
521
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listmastereekunst.no. . ee k u n s t . Jamming eller spamming. . ee k u n<br />
s t . <strong>Re</strong> Jamming eller spamming. . ee k u n s t . Jamming eller<br />
spamming. . ee k u n s t . <strong>Re</strong> Jamming eller spamming. Index(es). . ee k<br />
u n s t . <strong>Re</strong> Jamming eller spamming. . ee k u n s t . <strong>Re</strong> Jamming eller<br />
spamming. . ee k u n s t . <strong>Re</strong> Jamming eller spamming.<br />
522
223<br />
This is a multipart message in MIME format.... ContentType textplain<br />
charsetISO formatflowed. ContentTransferEncoding bit. Veldig bra<br />
Beathe C.eR Hensikten med eekunst er nettopp og samle ulike. folk fra<br />
forskjellige fagfelt og ulike deler av landet Her er. kunstnere<br />
byrxEkrater teoretikere etc fra bildekunst musikk dans. teater her er<br />
eBergensere eStavangerfolk til og med en og annen. nordfra noen<br />
dansker og en svenske. Det er denne bredden som er. eekunsts<br />
potensiale.. mvh Atle. PS Det har vxErt en del henvisninger til at dette<br />
har blitt gjort fxFr.. fire eposter fxFr alle hadde forstxEtt poenget og<br />
kunstneren. selv hadde forstxEtt at alle hadde forstxEtt.... Det er noe<br />
med at det. som er morsomt en gang kanskje ikke er sxE morsomt nxEr<br />
det blir. repetert. mange ganger.. On lxFrdag mai at EuropeOslo Beathe<br />
C. eRxFnning. En lukket turnering Jamming eller spamming. Om siste<br />
ukes bevegelser pxE eekunstlisten. Dette har kanskje vxErt gxFyere fra<br />
et lokalt stxEsted hvor folk. kjenner. hverandre og gjerne vil kle seg ut<br />
som hverandre og gleder seg til xE. mxFtes. pxE konferanse.. SxEnn er<br />
det jo med kunst at det ogsxE kan bli et slags internt. ballspill.. Det<br />
lokale er genialt som utviklings og produksjonsforum for. organiske.<br />
sosiale meningsdannelser. StxFrrelsesforholdene blir menneskelige<br />
ikke. sxE. smxE at det kommunikative gxEr tapt og ikke sxE store at<br />
det. personlige mxE. sorteres fra. PxE sitt beste kan da en reell energi<br />
lxFfte seg ut av. det. lokale og konsentrere noen problemstillinger<br />
temaer eller danne. prinsipper. som er stxFrre enn seg selv og som kan<br />
oversettes til en annen lokal. virkelighet. Men det forutsetter at man er<br />
klar over sin lokale. avsenderposisjon og ikke automatisk betrakter den<br />
som en universell. standard.. NxEr utsagnene har lokale<br />
rollespillsavsendere i et fagfelt hvis. viktigste. oppgave er xE skape<br />
mening (ogsxE ved sabotasje eller negasjon). hvilken. problemstilling<br />
er det som konsentreres. Jeg mener noen skrev i en biografi om Karen<br />
Blixen det gir stor og. voldsom. makt xE ikke vxEre en kvinne av sitt<br />
ord. xC se sprxEket som. en modellerbar. masse og ikke pxE noe som<br />
helst mxEte betrakte ordet for. pxElydende. Og. hvis. man virkelig har<br />
noe xE si er det lett xE tilgi en av Blixens format. og. i. Blixens tid for<br />
523
xE ty til pseudonymer og oppblxFting av sprxEklig. makt.. Som jeg ser<br />
det har den siste tids sludrende og sladrende. mailboxfylling. nok en<br />
gang kartlagt pxEstanden om at de sosiale strukturene er. sxErbare. og<br />
at. den subjektive posisjon stxEr som premiss eller kontekst for<br />
hvordan. utsagn. skal forstxEs.. Kunst er aksjon ogeller reaksjon. Siden<br />
aksjonen her mest har virket. som. en omgang kanonball blant venner<br />
velger jeg xE lese det som reaksjon. den. tilstanden som angripessettes<br />
under kritikkmotbevises skulle i sxE. fall. vxEre. sprxEket er rent hellig<br />
og usymbolsk En spade er en spade. verden er objektiv. Som Jesper<br />
Fabricius sier Hur kxEnns det at modernismen aldrig tar. slut. Det er<br />
der det blir meningstomt for meg xE bokse mot modernismen igjen. og.<br />
igjen. Noe mxE vi kunne enes om Livet er kort verden er stor og det. er<br />
helt. utrolig hvor forskjellig vi ser pxE det. Og det er virkelig<br />
spennende. men. ikke bare enkelt.. Jeg fxFler at min tid har blitt kastet<br />
bort prosessen med xE lete meg. fram. til virkelige mails i innboksen og<br />
sjekke om mails er sendt fra. hotmail. eller ikke. Den eneste lxFsning<br />
ble til slutt xE avfeie alle innlegg. som. vxErende falske og dermed<br />
ikke bxErxEr av konsekvens. Jeg liker. ikke xE. tvinges. til den type<br />
overfladiskhet og jeg tror kunsten taper mye kraft av det.. Veien ut fra<br />
dette kunstprosjektet er dessverre sammenfallende med. veien ut. fra et<br />
helt miljxFs aktiviteter som jeg ellers er interessert i. Jeg. er her. mer<br />
som publikummer enn som deltager sxE hvis eekunstlisten fxFrst. og.<br />
fremst. er en skisseblokk for et lukket selskap sxE vil jeg selvfxFlgelig.<br />
respektere. det. Da er det ikke noen grunn for meg til xE vxEre her eller<br />
bli sur. for bli. stengt inne i en kjedelig utstilling. Det blir bra xE hxFre<br />
hva. resten. av. miljxFet mener.. Jeg xFnsker min hotmailkloning<br />
fjernet (imponerende nok med. stavefeil i. fornavnet) og heller drite<br />
meg ut under eget navn.. Hilsen. Beathe C. eRxFnning. On eekunst<br />
Listemester. Moderatorene har litt informasjon og noen anmodninger til<br />
brukerne av. eekunst. Vi har etter anmodning fra originalen fjernet en<br />
av de falske. adressene som. har postet meldinger pxE eekunst de siste<br />
dagane. Hvis andre som har. blitt. etterlignet xFnsker xE fxE fjernet<br />
sine dobbeltgjengere vil vi. selvsagt. gjxFre. dette. Sist i denne posten<br />
(som PS) ligger det en liste med. oversikt. over de falske postene og<br />
hvilke adresser de har blitt sendt. fra. Vennligst send oss en beskjed<br />
dersom du har forfalsket deg selv. og. dermed nullet ut bedrageriet... ).<br />
Vi anser nxE at prosjektet har fxEtt lxFpe fritt lenge nok. Vi. kommer i.<br />
lxFpet. av helgen til xE fjerne de falske adressene fra abbonnentlista..<br />
Vi har tolerert denne aktiviteten med tanke pxE den kunstneriske.<br />
ytringsfriheten. xC avbryte disse meldingene fxFltes som om.<br />
524
vaktmesteren. skulle bryte inn i et teaterstykke og kaste alle<br />
skuespillerne ut.. Men vi. vil gjenta vxEr oppfordring til den eller de<br />
som stxEr bak dette om. xE. fxFlge. opp med xErlighet og litt<br />
forklaring. Hvis ikke dette skjer kan. handlingene de siste dagene<br />
framstxE som sabotasje av en serixFs. formidlings. og diskusjonskanal.<br />
Og det vil dermed kunne fxE fxFlger for hvordan. vi. driver listen<br />
videre. Vi xFnsker ikke xE moderere hver eneste post. til. lista men<br />
xFnsker heller at brukerne tar ansvar for egne handlinger.. Dette. er til<br />
alles beste.. Men pxE den andre siden er det mulig at vi mxE fjerne<br />
meldinger fra. arkivet. pxE nettsidene til eekunst. Dette lar vi de<br />
etterlignede bestemme.. Igjen. av hensyn til den kunstneriske<br />
ytringsfriheten vil vi la meldingene. stxE. som de er men hvis noen av<br />
de berxFrte parter fxFler seg. fornxErmet av. disse. meldingene<br />
etterkommer vi selvsagt eventuelle krav om fjerning.. Alternativene<br />
som vi gjerne kan diskutere pxE lista i ukene som. kommer er. en klar<br />
merking av alle falske meldinger eller anonymisering av. personnavn..<br />
Vi har et offentlig tilgjengelig arkiv og det kan vxEre uheldig om.<br />
personer. attribueres utsagn som er forfalsket. Vi tar med glede imot<br />
alle. synspunkter pxE denne saken gjerne som diskusjonsemne til lista..<br />
Det er jo brukerne som er eekunst.. med vennlig hilsen. Kevin eFoust<br />
og Atle eBarcley. NB Jeg vil ogsxE beklage at Grete eMelby ble utpekt<br />
som opprinnelsen. til de. fxFrste meldingene som kom. Dette har jeg<br />
fxEtt avkreftet. Kevin.. PS. Her fxFlger adressene som har postet falske<br />
meldinger til lista. sammen med. dato og Subject pxE postene.<br />
erikeHesbyhotmail.com. Subject . ee k u n s t . Hvilken xFkonomi<br />
eCantsin. Subject . ee k u n s t . <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>.<br />
Hvilken xFkonomi eCantsin. atleeBarcleyhotmail.com. Subject . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
perbjarneeBoymhotmail.com. Subject . ee k u n s t . <strong>Re</strong> Hvilken<br />
xFkonomi. eCantsin. jannestangeDahlhotmail.com. From Janne Stang<br />
eDahl. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. <strong>Re</strong><br />
Hvilken xFkonomi eCantsin. perePlatouhotmail.com. Subject . ee k u n<br />
s t . <strong>Re</strong> <strong>Re</strong> Hvilken xFkonomi. eCantsin.<br />
bjornemagnhildoenhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi. eCantsin. trondeLossiushotmail.com. Subject . ee k<br />
u n s t . TILBAKE <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong>. Hvilken xFkonomi eCantsin.<br />
jenseLalandhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> Den Digitale<br />
Maten. bjarneeKvinnslandhotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
<strong>Re</strong> <strong>Re</strong> Hvilken. xFkonomi. eCantsin. ragnfrideStokkehotmail.com.<br />
Subject . ee k u n s t . KNYTkunsten og Spamming. Subject . ee k u n s<br />
525
t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken. xFkonomi. eCantsin. Subject . ee k u n s t .<br />
Avlysning av KNYTkonferansen. hceGiljehotmail.com. Subject . ee k u<br />
n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> Hvilken. xFkonomi. eCantsin.<br />
joraneRudihotmail.com. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken. xFkonomi. eCantsin. denne er antatt falsk abbonnent men har<br />
ennxE ikke postet. beatecronninghotmail.com. Og disse kommer fra<br />
noemata's skjema (beMailHoaxed v.. From Makteliten. Subject . ee k u<br />
n s t . beMailHoaxed v.. From Atle eBarcley. Subject . ee k u n s t . <strong>Re</strong><br />
HC eGilje. From Grethe eMelby. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> HC<br />
eGilje. From JxFran eRudi. Subject . ee k u n s t . Kulturspamming.<br />
From StxEle eStenslie. Subject . ee k u n s t . sts. From Klas eCantsin.<br />
Subject . ee k u n s t . hvem er jeg. From Kristin eBergaust. Subject . ee<br />
k u n s t . Fwd FOOT project. From Marius eWatz. Subject . ee k u n s t<br />
. <strong>Re</strong>tro KNYT. From Anne Lise eWullum. Subject . ee k u n s t . <strong>Re</strong><br />
<strong>Re</strong>tro KNYT. Disse kommer fra en annen spammer. From Per ePlatou.<br />
Subject . ee k u n s t .. From Jill Walker. Subject . ee k u n s t . .. From<br />
Kevin eFoust. Subject . ee k u n s t . . . .. From Charlotte eEspeland.<br />
Subject . ee k u n s t . . (o) (o). From JxFran eRudi. Subject . ee k u n s t<br />
. ..OOOooooOOO.. From RagnFrid eStokke. Subject . ee k u n s t . ..<br />
From Trond eLossius. Subject . ee k u n s t . .Oooo.. From Espen<br />
eGangvik. Subject . ee k u n s t . . .oooO ( ). From Erik eHesby. Subject<br />
. ee k u n s t . . ( ) ). From Jeremy eWelsh. Subject . ee k u n s t . . ( (.<br />
From Stein eSxFrlie. Subject . ee k u n s t . . ). Og forxFvrig har en av<br />
de etterlignede selv forfalsket en post for xE. etterligne sin egen<br />
etterligning. From Klas eeCantsin. Subject . ee k u n s t . <strong>Re</strong> <strong>Re</strong> <strong>Re</strong> <strong>Re</strong><br />
Hvilken xFkonomi. eCantsin. post distribuert via. ee k u n s t.<br />
listeadresse eeekunst.no. kontaktadresse listmastereekunst.no.<br />
ContentType textplain namemessagefooter.txt. ContentDisposition<br />
inline filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. ee k u n s t. listeadresse eeekunst.no. kontaktadresse<br />
listmastereekunst.no. . ee k u n s t . <strong>Re</strong> Om aktivitetene på lista denne<br />
uken. . ee k u n s t . <strong>Re</strong> Om aktivitetene på lista denne uken. Index(es).<br />
BB Svar til norsk kunstner. BB Svar til norsk kunstner. BB Svar til<br />
norsk kunstner. KjxEre norsk kunstner. eMakteliteneMakt.no takker for<br />
Deres forslag og ser til tross for endel. tegn pxE manglende kunstnerisk<br />
skjxFnn et visst potensiale i Deres. kunstprosjekt.. Tatt i betraktning at<br />
nevnte personer i Deres brev etter all sannsynlighet. vil eller burde delta<br />
pxE Norsk kulturrxEds konferanse om kunst og ny. teknologi i mai kan<br />
det vxEre hensiktsmessig xE invitere kunstfeltet. til. denne type virtuell<br />
maskerade De her antyder. eMakteliteneMakt.no er. inneforstxEtt med<br />
526
at det innen dette vesle sosiale feltet kunst og ny. teknologi finnes et<br />
betydelig behov for xE fxE luftet ut omrokkert. ja. rent generelt tatt seg<br />
en liten virtuell svingom. Til dette ser Deres. foreslxEtte prosjekt ut til<br />
xE vxEre sxErdeles velegnet.. Der er imidlertid viktig xE understreke at<br />
ingen av de nevnte personer har. makt(selv om de gjerne mxEtte finne<br />
pxE xE beskylde hverandre for. xE ha det). og derfor vil det vxEre rent<br />
ut sagt forferdelig feil om de skulle besitte. posisjonen eMakt.no..<br />
SpxFrsmxElet er om det for publikum kan vxEre av stxFrre. interesse<br />
xE vxEre. feks. Harald Enerud Randi BjxFrgen Terje Rogne Terje<br />
Thon Jennie. Johnsen Jan KxEre Berntsen Trond Mohn Anne Grete<br />
Ellingsen Ingeborg. Swensen Olav Hytta Helge Leiro Baastad eller<br />
Torild Skogsholm.. Vi respekterer likevel Deres valg av masker men<br />
foreslxEr at maskene. plasseres der de hxFrer hjemme nemlig ved<br />
mindre betydningsfulle. omrxEder. som feks. de ulike digitale<br />
gratistjenester der hvem som helst hvor som. helst kan fxE adresse som<br />
f.eks hos Deres egen Hotmail.. Dersom dette skulle vxEre i orden og<br />
De ikke ser noen grunn til xE. avlyse. den vesle maskeraden De her har<br />
invitert til setter vi i gang med Deres. kunstneriske forsxFk om et par<br />
dagers tid.. KjxEre Elite. Vi xFnsker xE komme med fxFlgende forslag<br />
til maktfordeling. Dere hopper vi ruller rundt. Eller Dere ruller rundt vi<br />
hopper. Med. lukkede xFyne. Men uten strikk.. med. tilhxFrende<br />
passord til en rekke emailadresser med navnene til kjente. aktxFrer i et<br />
felt preget av makt og maktutxFvelse for sxE xE. invitere.<br />
maktutxFvere de makteslxFse de maktsyke (de som er smittet av.<br />
maktvirus) og den gemene HOP til xE bli med pxE et maskemaktspill..<br />
Man kan ta pxE seg masken som en webmailadresse er og agere som en<br />
av. personenemaskene vi har valgt.. Av felt som kan vxEre interessante<br />
er kunstfeltet det mest pxEfallende. da. det er innen dette feltet<br />
maktprosjektet har hentet sin stxFtte og derved. mxE innhente sin<br />
anerkjennelse. Vi vil derfor foreslxE at makteliten. oppretter rundt<br />
emailadresser innen feltet eekunstsamtidskunst og. annonserer at<br />
debattene er igang i forkant av KulturrxEdets. xErskonferanse. den . og<br />
. mai.. Eksempler pxE mailadressermailmasker er.<br />
bjarne.eKvinnslandeMakt.no. jeremy.eWelsheMakt.no.<br />
ragnfrid.eStokkeeMakt.no. per.bjarne.eBoymeMakt.no.<br />
joran.eRudieMakt.no. trond.eLossiuseMakt.no.<br />
gisle.eFroyslandeMakt.no. grethe.eMelbyeMakt.no.<br />
jorgen.eLarssoneMakt.no. kristin.eBergausteMakt.no.<br />
marit.ePaascheeMakt.no. erik.eHesbyeMakt.no. stale.eStenslieMakt.no.<br />
atle.eBarcleyeMakt.no. espen.eGangvikeMakt.no. siljeeMakt.no.<br />
527
a.s.eHammereMakt.no. eobrantseMakt.no. gunnar.eLiestolmakt.. no<br />
gisle.eHannemyreMakt.no. etug.powertecheMakt.no.<br />
helene.eLocalmotiveseMakt.no. I tillegg tror vi det er hensiktsmessig<br />
xE opprette kontoen. detirakiskefolkeMakt.no. Det er ofte<br />
hensiktsmessig xE ha noen utenfra. som kan sette problemstillinger i<br />
perspektiv og hva er vel mer utenfra enn. det irakiske folk. PxE norsk..<br />
Vi takker for invitasjonen og hxEper vxErt forslag blir tatt imot med.<br />
den. entusiasme og maktisk glede det fortjener. Honorar kan diskuteres<br />
men. idxEen er allerede solgt ved dette skriv.. Vennlig hilsen. Norsk<br />
Kunstner. og dine venner. . ' '' .. . . .. BBbek.no. ee k u n s t <strong>Re</strong> folk art<br />
eMakt.no. . ee k u n s t . Hvilken økonomi eCantsin. ee k u n s t <strong>Re</strong> folk<br />
art eMakt.no. . ee k u n s t . Hvilken økonomi eCantsin. Index(es). xE.<br />
og ny. teknologi samt en rekke viktige aktxFrer innen det digitale kunst<br />
og. kulturfeltet. eekunstneren er i denne sammenheng den som pxE en<br />
eller. annen. mxEte forholder seg til elektroniske medier. Med andre<br />
ord er alle. kunstnere invitert.. NxEr makten skal deles er det fxFrst og<br />
fremst tenkt via epost og. smxE. at vedleggene er forwardvennlige<br />
altsxE noe man tror de fleste ville sende. videre til venner og bekjente..<br />
Med den nye teknologien har makten blitt digital. Dette medfxFrer at<br />
makten. kan kopieres i et uendelig antall og at den ved hjelp av digitale.<br />
nettverk blir distribuert pxE helt nye mxEter. <strong>Re</strong>sultatet er at alle kan.<br />
fxE. makt. Dette stxEr i sterk motsetning til fxFr da makten var<br />
forbeholdt. noen. fxE og ble distribuert via sentaliserte kanaler.. I<br />
tillegg xFnsker eMakteliteneMakt.no at eekunstnerne kommer med<br />
flere. forslag til hvordan makten kan spres via digitale nettverk.. obs<br />
kort frist Forslaget mxE vxEre eMakteliteneMakt.no i hende innen.<br />
fredag. .mars .. Antatte bidrag honoreres.. . ' '' .. . . .. BBbek.no. ee k u<br />
n s t <strong>Re</strong> folk art eMakt.no. ee k u n s t <strong>Re</strong> folk art eMakt.no. Index(es).<br />
ee k u n s t <strong>Re</strong> folk art eMakt.no. ee k u n s t <strong>Re</strong> folk art eMakt.no. ee k<br />
u n s t <strong>Re</strong> folk art eMakt.no. Tror du man kunne mobilisere feks eHesby<br />
eller andre for xE kanonisere. Amfotofiklinger til kunst. Feks Pompel<br />
og Piltgalleriet pxE AM.... genialt. men kanskje et uttrykk for noe.. (i<br />
allfall hadde det vokst pxE xE. blitt blxEst opp i stort format) Jeg<br />
tenker pxE det som en form for. Folk Art pxE linje med Grandma<br />
Moses og hva de nxE heter de som. sxEvidt. har greid xE brodere og<br />
snekre seg inn i kunsthistorien.. Hva skal til for at Samtidsmuseet<br />
kjxFper hele serien. Kanskje du kan spxFrre makteliten<br />
eMakteliteneMakt.no makt e liten (jeg. tror eeliten prxFvde. xE poste<br />
en invitasjon til eekunstlisten forleden men uten hell). Send forslag til<br />
makteliten de honorerer ting de antar er bidrag og har. kontakter inn i.<br />
528
Samtidsmuseet. tror jeg. snakket med eBoym igxEr tilfeldigvis (sjef for<br />
samtdsmuss (ifrob.. dx konserten. ifm net.art utstillngen der kurert av<br />
pePlatou sjekk ut) eBoym mente. kunsten mxE ha en. sensuell side det<br />
er jo ganske folkelig sxE hvorfor ikke.. Jeg likte f.eks. AM pompel og<br />
piltsedlene.. Hm her er en ide til edemokratisering smxE bildevedlegg<br />
av norske mynter. og sedler i. naturlig stxFrrelse. En umiddelbar form<br />
for cybercash en. betalingslxFsning. for internett ogsxE. kanskje evt.<br />
kan man lossykomprimere pengene kr jpgkomprimeres til. kr for xE ta.<br />
hxFyde for devalueringen ifm distribusjonen via eMakt.no og<br />
desentralt.. NxEr. disse myntene. forwardes og multipliseres fxEr vi en<br />
kjedebrevaktig verdixFkning som. makteliten ogsxE kan. gjxFre greie<br />
for i tekst send dette videre og du xFker norges. kulturelle. kapital for<br />
dette er. vel en slags kulturpenger i en annen betydning<br />
avmonopoliserte penger. virkelig maktlag. dine egne.. jeg tar gjerne evt.<br />
honorar i .pngpenge. Hvordan blir det med ansvaret. forresten For<br />
dokumentfalsk Hvis den enkelte er anvarlig for egen. forwarding Tar<br />
makt. ansvar ogsxE. (lykke til). mvh. sftrck unlmt.. ps invitasjonen fra<br />
eMakt.no. hfgh finner den ikke er det et maktprobelem at inboxen<br />
allerede har. mail med. uleste. kan eMakt.no hjelpe til xE avlaste<br />
inboksen til ekunstnere hvordan vet jeg. ikke... et. statement alle ulest<br />
mail i din innboks tilhxFrer eMakt.no Trykk OK.... hh. NxE fins det<br />
ogsxE som vi har sett allerede en del roboter pxE. eekunst. kanskje<br />
designet for xE. holde innboksen ryddig autoreply jeg er ikke her jeg er<br />
et annet sted. det er derfor jeg. svarer deg for hvis jeg var her ville jeg<br />
ikke hatt tid... ds. dette var et bidrag antagelig dvs et antatt bidrag.. jeg<br />
kunne skannet inn mynter og sedler for dere men har verken eller.<br />
skanner nu jeg fann. forresten en tixFring inni sofaen idag det var litt<br />
rart et hyggelig. gjensyn med den lille. tixFringen etc etc. Jeg setter min<br />
lit til at makteliten har makt og midler. til xE sette disse. eKronene inn i<br />
sirkulasjon. det kan kanskje slxE an ville vore morosamt. iallfall ikkje.<br />
sant. ds. xE. og ny. teknologi samt en rekke viktige aktxFrer innen det<br />
digitale kunst og. kulturfeltet. eekunstneren er i denne sammenheng den<br />
som pxE en eller. annen. mxEte forholder seg til elektroniske medier.<br />
Med andre ord er alle. kunstnere invitert.. NxEr makten skal deles er<br />
det fxFrst og fremst tenkt via epost og. smxE. at vedleggene er<br />
forwardvennlige altsxE noe man tror de fleste ville sende. videre til<br />
venner og bekjente.. Med den nye teknologien har makten blitt digital.<br />
Dette medfxFrer at makten. kan kopieres i et uendelig antall og at den<br />
ved hjelp av digitale. nettverk blir distribuert pxE helt nye mxEter.<br />
<strong>Re</strong>sultatet er at alle kan. fxE. makt. Dette stxEr i sterk motsetning til<br />
529
fxFr da makten var forbeholdt. noen. fxE og ble distribuert via<br />
sentaliserte kanaler.. I tillegg xFnsker eMakteliteneMakt.no at<br />
eekunstnerne kommer med flere. forslag til hvordan makten kan spres<br />
via digitale nettverk.. obs kort frist Forslaget mxE vxEre<br />
eMakteliteneMakt.no i hende innen. fredag. .mars .. Antatte bidrag<br />
honoreres.. post distribuert via. ee k u n s t nettverk for kunst og ny<br />
teknologi. postadresse eekunstkunst.no. BB Svar til norsk kunstner. BB<br />
Svar til norsk kunstner. Index(es). Attention Web Browser Upgrade<br />
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SelfAnnihilating Sentences S. Gorn. SELFANNIHILATING<br />
SENTENCES. Saul Gorn's Compendium. Of Rarely Used Cliches.<br />
First <strong>Re</strong>vised Edition. Saul Gorn. Technical <strong>Re</strong>port MSCISO. January.<br />
Department of Computer and Information Science. The Moore School.<br />
University of Pennsylvania. Philadelphia PA. Table of Contents. .<br />
Judgments. . Attitudes. . Complaints. . Decisions. . Commands. .<br />
Advice. . Ethical Truths. . The Way of the World. . Descriptions. .<br />
Definitions. . Eternal Truths. . Judgments. This book fills a muchneeded<br />
gap.. People who like this sort of thing will fmd it just the sort of thing<br />
they like.. Abraham Lincoln. Oh the majesty of French Justice which<br />
forbids rich and poor alike to sleep. on park benches. Anatole France. I<br />
enjoy your company most when I am by myself.. This man's work<br />
cannot be underrated.. Way down deep he's shallow.. Before they made<br />
him they broke the mold..<br />
530
224<br />
Anyone who goes to a psychoanalyst should have his head examined..<br />
Samuel Goldwyn. That's a real step forward into the unknown.. Right<br />
or wrong it's a message. I feel a lot more like I do now than I did when<br />
I came in.. This is generally useful but not especially.. For every honest<br />
man he names I can name another who tells the truth.. That was a<br />
typographical errorit should have been a blank space.. Only unsolvable<br />
problems are worthy of artificial intelligence.. The UFO's show than<br />
our worst fears were groundless.. You don't think so eh That's your<br />
trouble You don't think. He's a unique type.. The future isn't what it<br />
used to be.. You have the distinction of being the only one who is not<br />
exceptional.. I am certain of it but I may be wrong.. You have one<br />
choice.. This report contributes a lot to the problem.. Anyone who reads<br />
this is illiterate.. Acupuncture is pointless.. Essentially is essentially<br />
meaningless.. The solution makes the problem more difficult.. At the<br />
moment your suggestion has a permanent place.. It's too late.. It's<br />
probably a lot worse than it is.. She ran the gamut of emotions from A<br />
to B.. He's being pruned for the job.. You've outdone yourself as<br />
usual.. It was the only undistinguished wine in the lot.. The AvantGarde<br />
is Passe.. While these results may seem rather trivial their importance<br />
cannot be. underestimated.. Our product is best because all the others<br />
are average.. Even though I don't say so I think you stink. There's more<br />
to photography that meets the eye.. If you think about it long enough<br />
you'll see that it's obvious.. She's genuinely bogus.. . Attitudes.<br />
Anyone who always tells the truth is a big liar.. The main trouble with<br />
impossibility is that it is never total.. If there's anything I can't stand<br />
it's intolerance.. How can anyone show so little understanding as to be<br />
indignant. I want to hear the voice of the great silent majority.. Richard<br />
Nixon. There is no other language but French.. I am going to be healthy<br />
if it kills me.. My only reason for mentioning it is that it is irrelevant.. I<br />
didn't hear that.. The only attitude I trust is skepticism.. Every Tom<br />
Dick and Harry is called John.. Our lack of cooperation is mutual.. I'd<br />
give my right arm to be ambidextrous.. If I don't see you again auf<br />
wiedersehen. Life should have a purpose however meaningless.. We<br />
531
will hear from one person at a time and that means me. Always expect<br />
to be disappointed and you won't.. Anyone who can make a shot like<br />
that doesn't deserve it.. If everything goes perfectly something's<br />
wrong.. Suicide is a way of life.. What keeps me going is my inertia..<br />
There's nothing new in originality.. Down with propaganda. I am<br />
surrounded by paranoiacs. Thinking is the last thing on my mind.<br />
Activity is a waste of time. I have become more optimistic and now<br />
believe that things could get worse.. English is the Lingua Franca par<br />
exellence. If it involves me I want nothing to do with it.. I absolutely<br />
refuse to be assertive.. A little pain never hurt anyone.. . Complaints. I<br />
am a firm believer in optimism because if you don't have optimism<br />
what else. is there. Public transportation is so shocking to the individual<br />
that it should only be. done in private.. Why should I consider your<br />
questions when you don't even know the answers. The trouble with you<br />
is that there's nothing wrong with you.. The only subway car fit to<br />
travel is a private one.. Just because I have nothing to say is no reason<br />
why you shouldn't listen.. How do you expect me to do something<br />
original if you won't tell me what. The last time I took advice it only<br />
worked because I changed it.. How do you expect me to ignore you<br />
when you're never around. Health foods make me sick.. I've told you a<br />
million times not to exaggerate.. Please I can only ignore one thing at a<br />
time.. At the last technical meeting I attended so much went on that I<br />
was. underwhelmed.. Every man who owns one borrowed it.. None of<br />
my close friends has a close acquaintance.. I don't want to do whatever<br />
I want. The last time I saw him he wasn't there.. I can't stand people<br />
who look down on people who look down on people.. If he were alive<br />
today he'd turn over in his grave.. If a man can't get away from himself<br />
from whom can he get away. If everybody is to be heard we must hear<br />
from one person at a time and that. means me.. The trouble with him is<br />
that I don't have anything against him.. I may be omniscient but don't<br />
expect me to know everything.. Our advance is so rapid that we are<br />
falling farther and farther behind.. All our emergencies are normal..<br />
Whenever I look for something it's always in the last place I look.. We<br />
have worked ourselves into a frenzy of lethargy.. How disagreeable of<br />
you to agree with me. If God intended man to understand the human<br />
mind he wouldn't have given him. one. If I had known how successful I<br />
was going to be I wouldn't have worked so hard. when I was young. He<br />
neglected to disregard the problem.. I gave you an unlimited budget and<br />
you have already exceeded it. He hasn't a single redeeming vice. Oscar<br />
Wilde. I can tell those twins apart only when they're together.. I am not<br />
532
contradicting you.. The discerning eye is a pain in the neck. You'll live<br />
to regret this when I have you shot. I'm never at my best.. . Decisions.<br />
Just tell me what you need and I'll see to it that something ought to be<br />
done. This subject is so important that I'd like to see it deserve<br />
considerable study.. This presents us with an insurmountable<br />
opportunity.. Let's decide right now whether you or I will be<br />
competitive.. I won't hesitate for a moment to avoid answering. I am<br />
myself and I'm going to continue to play that role. Richard Nixon. I<br />
have something to say but I don't know what.. Let's decide right now<br />
whether I will adapt to you or you will adapt to me.. The executive<br />
committee proposes the following compromise make it optional for.<br />
those who want it and required for those who don't.. You don't stand<br />
alone. I also stand alone. I'm an atheist thank God.. I swear to make no<br />
promises I cannot keep.. The time has come to rise above principles..<br />
Include me out. Samuel Goldwyn. Let us do for a second time what we<br />
refused to do at first. This will avoid. setting a precedent.. I would<br />
much rather prefer to be noncommittal.. We can't get a volunteer army<br />
unless we draft it.. We must find a general representative for the<br />
mavericks.. Having lost sight of our goal we must redouble our efforts..<br />
Since the quorum lacks five members we must adjourn this meeting..<br />
Our inequities must be equally shared.. We will proceed on the<br />
assumption that nothing will be done.. I will now predict an<br />
unanticipated result.. Emergency service provided only with twentyfour<br />
hours notice.. The answer is maybe and that's final. Before I begin my<br />
speech there's something I want to say.. All emergencies will<br />
henceforth be deferred. We will keep on fighting until the violence<br />
ends. I'm not leaving the party until I get home. He won thumbs down..<br />
. Commands. Hips on shoulders place As you were Can't be done hips<br />
down. Do as much as you can But you probably won't be able to..<br />
Ignore this sign.. Be consistent or be inconsistent but don't vacillate..<br />
We have a general rule that each case be handled differently.. We must<br />
be decisive but on the other hand.... Your job is to discover<br />
independently and prove scientifically that my product. is the best on<br />
the market.. You will do original basic research and you'll do it in the<br />
area I tell you to. or I'll know the reason why. Don't forget to return<br />
before you leave.. Destroy before reading.. When I want your opinion<br />
I'll tell you what to say.. What transpires at this meeting must not leak<br />
out.. Wake up it's time for your sleeping pill.. You may steal this from<br />
me.. Henceforth you will keep your communications to yourself.. This<br />
bridge must be gapped. Authorized parking is forbidden. Be brief no<br />
533
matter how long it takes.. Get with it Become alienated. Men women<br />
and children first.. A preposition must not be used to end a sentence<br />
with.. This exercise demands intense relaxation.. Be different conform.<br />
Disregard any further announcements disregard any further<br />
announcements.. In restrictive clauses thatis that word which should be<br />
used instead of. which.. See also Definitions.. Never say never.. be read<br />
by unauthorized people only.. . Advice. Whether you mean it or not be<br />
sincere. No one can complain who has not been lost and never heard of<br />
again.. It pays to buy things you dislike. They last much longer.. If you<br />
don't know why ask. Be realistic Ask the impossible. <strong>Re</strong>search<br />
administrators should support artificial intelligence. After all what.<br />
have they to lose. Food ration cards must be tasteful.. Don't give up<br />
hope. There's a chance the inevitable won't happen.. If you want to be<br />
certain about the unpredictable use statistics.. The probability is one but<br />
don't count on it.. The best time to do a full day's shopping is in the<br />
morning.. The best cure for insomnia is to get a lot of sleep.. W.C.<br />
Fields. If you want to think independently you must imitate me.. It's a<br />
great activity for someone who doesn't have to do it.. Precision is a<br />
fuzzy concept.. Every ambitious man should be modest.. No more wine<br />
or women but you may sing all you want to.. If anything is on your<br />
mind get it off your chest.. If you must do it inadvertently at least do it<br />
right.. We should utilize the word use more often.. Survival is important<br />
but don't stake your life on it.. It's about time we returned to the status<br />
quo.. Always use rather than instead of instead of.. Don't be so proud of<br />
your humility. You should get in on the ground floor before the<br />
program gets off the ground.. . Ethical Truths. If you don't say no it<br />
doesn't matter to whom.. Every man has the right to quote himself<br />
provided he gives himself due credit.. If you're going to be idealistic it<br />
might as well be about something that's. practical.. You're confused<br />
What presumption Only important people have the right to be.<br />
confused.. One shouldn't be naive without a good reason.. An insane<br />
asylum cannot be a success if it is run by sane people.. If you are not<br />
prejudiced you just don't understand.. Only crooks deceive themselves<br />
into thinking they are a tiny minority.. Superstition brings bad luck.. .<br />
The Way of the World. If people could be paid to die for us they'd get<br />
rich.. All men are brothers like Cain and Abel.. Graduate work is not so<br />
important as it used to be and never was.. A good set of vital statistics<br />
can affect one's whole past.. A good system can transform complexity<br />
into chaos.. Like everybody else I'm different.. If you knew what was<br />
going on you'd be very confused.. Some of my best friends are<br />
534
prejudiced.. It is my opinion that there is no such thing as thought.. Any<br />
truth doesn't tell the half of it.. <strong>Re</strong>ligion loses its meaning as soon as<br />
it's explained.. <strong>Re</strong>asons for existence are usually provided for things<br />
which do not exist they. would be wasted on things which do.. It's<br />
frightening to think of how many things were completely useless until<br />
they. were discovered. Any dope can have a high I.Q.. In absolute<br />
monarchy any leader can be a fool but in absolute democracy any. fool<br />
can be a leader.. Confusion is understandable it is understanding that is<br />
confusing.. We have developed a tradition in the arts in which every<br />
worthwhile work is. groundbreaking.. Only variables remain constant..<br />
Whatever the reason that's why they do it.. A profession is stable only<br />
if its problems are unsolvable otherwise it gives. way to technological<br />
obsolescence.. He claims he knew her before she was a virgin..<br />
Statistics show that statistics can't be trusted.. No University can<br />
maintain a shred of unity unless its professors continue to. argue.. An<br />
unexpected effect that universal education has on the labor market<br />
ignorance. has become so rare that it commands a high salary.. In the<br />
U.S. the only ones who know their place are at the top.. When it comes<br />
to giving some men stop at nothing.. It's amazing how we can do things<br />
simultaneously like talking and not. listening.. If you're not behind in<br />
your work you're just not moving ahead.. Every outstanding person is<br />
misunderstood.. Competition for the apathy prize is keen.. Everybody is<br />
discriminated against equally.. Nostalgia is the wave of the future.. I<br />
saw him do it when no one was looking.. Transience is here to stay.. In<br />
the U.S. the people not in a minority are in a minority.. If you expect to<br />
sell what you make you must also fabricate information about. it.. The<br />
only certainty is that there is nothing certain.. Pliny the elder.<br />
535
225<br />
. Descriptions. This fact is clear to those who know it.. The pirate<br />
skeletons at Disneyland are very lifelike.. He's a real patriot. He<br />
fearlessly enters any patriotic competition that offers. a prize.. Not<br />
having to get there is as good as a day in the country.. He's better in<br />
general but not particularly.. Half the lies they tell about me are true.. I<br />
used to be conceited but now I'm perfect.. It's the sort of place you<br />
wouldn't think twice about passing without a second. glance.. As long<br />
as I live I'll never forget what'shername.. Words are incapable of<br />
describing what I am about to tell you.. It is no illusion that wide ties<br />
make the face look wider.. No one goes there anymore it's too<br />
crowded.. He's a nut about mental health.. We're home at the usual<br />
time for a change.. This species has always been extinct.. He knew<br />
everything but that's all.. He's deliberately unconscious.. Every once in<br />
a while it never stops raining.. From here on down it's up hill all the<br />
way.. He's a specialist in everything.. He's a typical man of distinction..<br />
He turned up missing.. Nickels are a dime a dozen.. I remember exactly<br />
when I forgot it.. He survived a terminal illness.. No sounds much more<br />
positive than negative.. They are unscrupulously honest.. ...to coin a<br />
cliche.. It will go on ad infinitum for a while.. He disappeared from<br />
nowhere.. He was cured posthumously.. The bubble has burst to some<br />
extent.. The proper physical view of the universe is as a conservative<br />
system but it. began with a big mistake.. We Scorpios don't believe in<br />
astrology.. Yesterday tomorrow was the day after tomorrow.. See also<br />
Eternal Truths.. In our law school malpractice is of academic interest.. .<br />
Definitions. A formalist is a man who can't understand a theory unless<br />
it is meaningless.. Monism is the theory that anything less than<br />
everything is nothing.. A reactionary is a man who wants to face the<br />
past with confidence.. That is that word which should be used instead<br />
of which.. Inflation is an economic device by which each man can<br />
make more than the next.. A University is a community in which<br />
people make a living by taking in each. other's brain washing.. Data is<br />
plural.. The objectives of a system are the features one objects to.. .<br />
Eternal Truths. No man can die properly without experience.. No matter<br />
536
where you go there you are.. No two things are the same no matter how<br />
you look at them.. Show me an honest man and I'll show you a man<br />
who tells the truth.. An artist without paints can't paint unless he has a<br />
canvas.. Everything that exists has a good reason for existence which<br />
has long since. disappeared.. All simplifying assumptions are too<br />
complicated.. If your father was sterile the same is probably true of<br />
you.. A swaybacked horse doesn't have to sag.. Any truth is an<br />
underexaggeration.. The impossible is cumulative.. Tomorrow which<br />
isn't even here yet will never be the day after tomorrow again.. See also<br />
Descriptions.. Death is a onceinalifetime experience.. If you remember<br />
something too long you might as well forget it.. Social Entropy ()<br />
Progress is doomed to failure because we have become immune. it..<br />
Social Entropy () Failure must progress because we become used to it..<br />
distinguish the real from the unreal one must experience both.. Science<br />
vs. Technology We should know why things must act as they do to<br />
make. them act as we want them to.. Determinism vs. Free Will We<br />
should know why we must act as we do to make us. act as we want us<br />
to.. <strong>Re</strong>ality is an illusion.. Things are more like they used to be than<br />
they are now.. log .. log. is missin nzc le byqf A MBWquotNSebz gb V<br />
j. noemata. ... log .. log. orgswen. noemata. ... sraosha Sroshdifferent<br />
one became same you us With the loan name orchange. noemata. ... eht<br />
ni )O( enozO. acebebfafbfbmbarOSN bmbar. ehtni )O( enozO .enozo<br />
yb desuacsserts tnalp etacidni ot. metsysrevolc etihWtuodekrow erew<br />
reyal enozo eht otesir evig taht. smsinahcemlacimehcotohp ehTOpen<br />
source Java OO DBMS whichincludes a. onlineresource on using ozone<br />
fortherapeuticpurposes.. noemata. ... log Noemata.net. olso tgerden<br />
dron reileta miehdnort tgsnnampøjk sket olso. tgerden dron reileta oc<br />
kenp negreb tgstdnus c keb OLSO. .peD skobtsoP teirellaglanojsan<br />
ØSMORT skobtsoP. muesumtsnuk ksrondroN ssom yølej bp f irellag<br />
olsO. .tgsuhdåR SKU olsO N neievsdnalegreW suH senrentsnuK OLSO.<br />
murtneS skobtsoP teesuM yelnraeF purtsA olso nessalpknab.<br />
teesumsditmas neddokivøh retnestsnuk datsnoeineh postbox. Maria<br />
Futura Hel Dialoger vol Fra UNG galleri F. repository.. <strong>Re</strong>lease of<br />
chtonline A chtonian textscrambler and chat browser. Hello World<br />
plagiarism. isnot. <strong>Re</strong>lease of Lab Ur Integer hypertext synthesizer<br />
nihiloger (Novel. Prelease of Chtonline textscrambler chatbrowser. BB<br />
bek mailing list. ekunst elektronisk kunst norden. åpen kunstliste norden.<br />
culturejammers adbusters norge. syndicate. spectre new media. iuoma<br />
mail art. nettime. arc.hive. fluxlist. efn Elektronisk Forpost Norge.<br />
ascoo spam art. Logaritmic timeline of the universe (robotwisdom).<br />
537
README .. Software Art Festival May Helsinki. 'Neologizmos'<br />
'Probnicate' 'Tweakment' (Pseudodictionary). Mailing Lists<br />
lists.copyleft.no. Skrevet i Stein a net.art archeology the national<br />
museum for contemporary. art oslo norway. Evolution of the freest<br />
Daniel C. Dennett. log Noemata.net. Telefonnummer. Fakturanummer.<br />
Faktura dato. Forfallsdato. Kundenummer. E. INV. .. .. TJENESTE.<br />
PERIODE. SUM. Samtaleavgifter. Spesialnummer. .. .. Innenlands. .. ..<br />
NetComs nett. .. .. Tekstmeldinger. .. .. GPRS data. .. .. Total. Faste<br />
avgifter. Månedsavgift. .. .. war of error. Til fasttelefon. On Valry's<br />
notebooks (The New Criterion). blurB Man Corridor Translated bok (i<br />
Kunstnett Galleriet). Steve Thaler's creativity machine (New Scientist).<br />
After Rhizome (V. Kovacevic). Selfawareness and selfabsorption<br />
paradox (Science Consciousness <strong>Re</strong>view). QuickView on Software Art<br />
(Runme.org). Bloggle (Twoogle). observing the SHUTTLE crew that<br />
survived (cryptoimagining). Enoch Soames Soames.com ES. <strong>Re</strong>source<br />
Center. Culture Jamming (Mark Dery). A glance at taoism anarchism<br />
luddism (tao.ca). memetics.co.uk. The mentalenvironmental movement<br />
(Adbusters). Human Nature and Its Future (bioethics.gov).<br />
NANOFESTIVAL V.. Extreme short web movies and software art<br />
(grt.mpg). Golliksd music concrete and ambient. Phenomenology<br />
Online. Spoons collective mailing lists. Net Art Links (<strong>Re</strong>inhold<br />
Grether). The edition encyclopedia. djbyhand julie andrews bootleg<br />
session (radiomp). Today's Calendar and Clock Page. lastfawned misc<br />
found artifacts (curator van Doubt). Edward Tufte information design.<br />
Visible earth searchable imgs (NASA). log Noemata.net. Man is a mere<br />
coffee mill. Kaspar is dead. comfort that's snuff to skull. ascii string.<br />
MNHQUADY.. Gullmund han gjænge seg i gjestebostoga inn. aa ræven<br />
drive gjæsanne i hielofte inn.. Fyst åt 'en upp dei alle fy utta den grå..<br />
antiart asciiart. chance and automation. FOLDOC Free online<br />
dictionary of computing (offline). unstable digest vol. Metaepi'<br />
European Borkism Tour and other works. Introduction to Literary<br />
Theory (colorado.edu). IUOMA TAM mailart (Ruud Janssen). Usenet<br />
Norge. mIEKAL aND texts hypermedia art. Pauli Exclusion Principle<br />
Why You Don't Implode (AstroPix). subsol articles on net.art activism<br />
media. Leftcurve magazine on crisis of modernism. Deleuze and<br />
Guattari web resources. furtherfield new media site. momiom inc. audio<br />
release for empty floppy device. texturl digital text webbed text URLed<br />
text. Physics news. Interviews on emerging sciences (frontwheeldrive).<br />
Edge.org science philosophy c magazine. Kolofon utgi bøker<br />
'ondemand'. Perseus Digital Library. Mark graphics gallery.<br />
538
lakearchive.org.uk. First Monday internet journal. Usenet Norge info.<br />
demonstrata faksimiler OCR scanner art. log Noemata.net. This is the<br />
subject of the text. Direct Marketing tools ay. <strong>Re</strong>Look Great Feel Great<br />
naturally. won big bwuynwatacxju czo. Protect your computers<br />
information. Prescriptions written and filled online US doctors. Fioricet<br />
Soma Buspar Prozac and more Prescribed Online. Money to your<br />
PayPal repetitively nonstop. Watch Items for promotion. Best Rates. e.<br />
WeIcme to the freaKlEst show on Earth Etreme. live better feel better.<br />
US Prescriptions Overnighted To Your Doorstep d. Ever leave your<br />
woman wanting for more NEVER AGAIN. Men End those<br />
Embarrising Moments jkhrhp a. Bibliomania online literature. keith<br />
johnstone impro guru. Your dreams may not be your own<br />
(reclaim.laiv). Dawkins' callous universe (Guardian). On photographic<br />
memory (Sci.Am). Stonewater drawings. WMAP <strong>Re</strong>solves the<br />
Universe (Astropic). Romanticism and Complexity essay on Blake and<br />
chaos theory. Visions of Xanadu Paul Otlet () and Hypertext.<br />
criticalartware v... software as art as software. Fundamentals of Human<br />
Neuropsychology PDF textbook. Crick Koch's A new Framework for<br />
Consciousness (SC). RRE News Service (Phil Agre) all URLs since '.<br />
TranslesionSoundworks from Translesion partly in mono. Electrohype<br />
nordic computer art center. Code as environment (artificial paradises).<br />
The Electronic Labyrinth on hyperbooks ca '. <strong>Re</strong> Nettimebold HELLO<br />
ASCIIFRAUDS. Mobility art concept projects (spontan.netlinks).<br />
Conscious objector (Guardian). Ray Johnson a critical collage (George<br />
Brett). Pleonastiske Dager (via Håvard) see also Kettleday. A nigerian<br />
fraud email gallery (Potifos.com). Muxandies Several crankcoded<br />
audioworks from Muxandies. august highland's hyperliterary fiction.<br />
log Noemata.net. for (ii for (jj if (ij . and ij .). print ij .ij.n. .. .. ZNC v. .<br />
browser (Peter Luining CtrlAltDel). Get paid while you're dead.<br />
REQUEST FOR EMAIL TRANSACTION. NRK Programmer TV<br />
Gudstjenesten. e k u n s t. e k u n s t har funnet kroppsdeler fra<br />
astronautene (Dagbladet). <strong>Re</strong> minutes of conquests <strong>Re</strong>thinking<br />
Wargames e k u n s t droplifting. e k u n s t droplifting. ambient pieces.<br />
A patron saint for the internet (Wired). YOU CAN'T COPY ME (). e k<br />
u n s t <strong>Re</strong> STUDIES IN TACTICAL MEDIA (From Mail Art to<br />
Net.art). <strong>Re</strong> syndicate URGENT ASSISTANCE DPR. Telefonlotto<br />
(Mille). Øhexture ascoo. photoSTATIC magazine retrograde archive<br />
(Detritus.net). unop works in different audio formats from Unop.<br />
Fitness generator Distributed Hangover And More. radio.mu. thextyle.<br />
textile åÆ'. e k u n s t <strong>Re</strong> Lazy Web twURLing (NRK). e k u n s t <strong>Re</strong><br />
539
mat.html (mat.html loads of). <strong>Re</strong>sonance FM web radio. tty gallery. log<br />
Noemata.net. HHHHHNN NNNNNNNNHHN NNHHHHHHHH.<br />
HHHHH HHHHNMMMMNNNNN HHNNNHHHHHH.<br />
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UHHHNHHHHHHHNNNNNNM. DDAU QQQHHHHHNNNNNNM.<br />
.DAUQ HHHNNHHHNM. .AQHNNNNHHNM. entries found for<br />
Silly (Dictionary.com wpopups). Anthony Judge Union of International<br />
Associations. SeatSale License to Sit (Steve Mannwearcam via EFN).<br />
Blitz og 'mangfold' (NRK). Søtt mediadrama Debuthopp i<br />
Holmenkollen (Dagbladet). Asceticism and Society in Crisis (via The<br />
Online Books Page). deprogramming.us goofy artware. a noemata mail<br />
art archive. Dawkins Genes work just like computer software<br />
(TimesOnline). The Kraken Poem by Tennyson. king.dom.defluxus<br />
hosting fluxlist parole Aporee Øtherlands fmwalks. Flashback News<br />
Agency. Grafitti.no. Søkbar norsk fotodatabase (Galleri<br />
NorNasjonalbiblioteket). Net.Art Connexion net.art database. Dreams<br />
in Artificial Intelligence (Mind.). Universal truths (Guardian). The<br />
Philosophers Magazine. Golden Ratio .... (Guardian).<br />
<strong>Re</strong>dsEecroSSroUTe. log Noemata.net. You desire to LIVE according to<br />
Nature Oh you noble. Stoics what fraud of words Imagine to yourselves<br />
a being like. Nature boundlessly extravagant boundlessly indifferent<br />
without. purpose or consideration without pity or justice at once.<br />
fruitful and barren and uncertain imagine to yourselves.<br />
INDIFFERENCE as a powerhow COULD you live in accordance with.<br />
such indifference BGAE. Mixing of Particulate Solids Radio ambient<br />
streams. Radio Hard Disk nice midi stream rendered from harddisk<br />
files. Groups Art. magh ambient lowercase noise sound material. The<br />
Travesty Corporate PR InfoMixer (Plagiarist.org). ubuweb aspen<br />
ethnopoetics. 'Idea hamster' 'Out of the box' (BBC ecyclopedia). EPC<br />
Sound Radio Arts several gigabyte (plain index). Imperial science (via<br />
Art Letters Daily). The Gertrude Stein <strong>Re</strong>ader collection of esoteric<br />
shortform writing (Seattle. weekly). Guides on electronic publishing<br />
security intellectual property c (Caslon. Analytics). Windsor Castle Art<br />
wisdom humour extracts and lore. Nice intro to binary issues<br />
(Kerryr.net). The Straight Dope (QA columns from Cecil Adams). Juke<br />
Kellykek <strong>Re</strong>cords. Pinhole glasses for vision improvement (pic).<br />
Folkoutsider art (interestingideas.com). Timeline of<br />
knowledgerepresentation (Robot wisdom). sraosha GSJR RYHCHFD.<br />
540
The age of manipulation shift from a religious to a therapeutic<br />
worldview. (spiked). log Noemata.net. and we are fundamentally<br />
inclined to maintain that the falsest opinions. (to which the synthetic<br />
judgments a priori belong) are the most. indispensable to us ..without a<br />
constant. counterfeiting of the world by means of numbers we could<br />
not. live. GX JupitterLarsen's OnLine Amathopaedia. Experiments<br />
with Dreams Leif Elggren (Letter to King Juan Carlos). The Kingdoms<br />
of ElgalandVargaland consisting of border territories. Lnkarkiv<br />
(fajaf.digitalrice.com). Intellectual property issues (Negativland). ascii<br />
prn figlet server. Afterlife Beliefs May Have Biological Basis (ascribe).<br />
Pieter Bruegel Gallery. POKEY THE PENGUIN cartoon. A Visionary<br />
Sound Arts Interface links. Musicsound of the magnetosphere and<br />
space weather (auroralchorus). Forlaget Fritt og Vilt. poortour.com.<br />
Net.Art Certification Office. INTERNET TEXT Alan Sondheim.<br />
Action becomes Art Performance in the Context of Theatre Play Ritual<br />
and. Life Gran Sonesson. The necessity to disappear about Walter<br />
Serner. Azimute.org critical theory philosophy reviews translations....<br />
Actcharon Plew Thus. Anetologymmmm Noemata.net. Weblog II.<br />
Weblog. e k u n s t <strong>Re</strong> mat.html. Nyttig og røff versjon jeg kan legge til<br />
et enebær i høyre hjørne og tagge. det. v. så rax. som lumig Jeg er ikke så<br />
flink med mat varmet pølser i en vannkoker idag.. Jeg antar kg. betyr at<br />
substansen skal være i fast form fryst mekanisk. komprimert el..<br />
MANDELFROMAGE. kg vann. liter vann eventuelt hasselnøtter. kg<br />
melis. ss revet ost (kan sløyfes). litt rødvin. Kna til en jevn deig. Kok<br />
opp under omrøring. Anrett med båndspaghetti og. persilledusker..<br />
ANITAS LØRDAGSRISOTTO. ss paprikapulver (skoldet). ss salt. ts<br />
rug. en halv marsipangris. Ha i en bolle og kjør i mixmaster til skummet<br />
avtar. Stekes lett på svak. varme. Prikk lett. i skorpen med gaffel. Anrett<br />
i dype tallerkener.. En fordel med mat er at alt bare skal røres sammen<br />
ingen vits i å tenke. struktur (såvidt jeg. vet). Men se gjerne oppscripten på<br />
oppscripten View Source kan vi ha. browsere. som fungerer. som<br />
mixmastere som koker opp htmlen under lett omrøring osv. Bj.. From<br />
Jostein Lien. To Kent MantiesEljot. Subject<strong>Re</strong>. hey. bra tittel. fine<br />
bouncy rytmer (sjøllaga) bra mixa men kommer ikke helt. i.<br />
julestemninghøytidsnirvana av den munkinga i bakgrunnen der.. en<br />
forsiktig start på oppscriptshefte vedlagt (jfr).. fritt fram for å mukle med<br />
ingredienser og framgangsmåter.. koden er litt rotete. som alltid.. kan<br />
evt. også kopiere oppskriftene nedover ( stk ) på sida fiffe. opp. med litt.<br />
enebær og julepynt og gi ekunstlista i julegave. ellernoesånt. Original<br />
Message. From Kent MantiesEljot. To Jostein Lien. Sent Wednesday<br />
541
December PM. dj byhand med julesingalong smells like ten spirits.mp.<br />
Decoded attachment(s). . mat.html. Til forlagsansvarlig.. En sjanger<br />
som krever liten innsats og nærmest kan lages på samlebånd. er kokebøker.<br />
Man tager et skjønnsomt og skjødeløst utvalg av. eksisterende oppskrifter<br />
gjerne innenfor en bestemt genre sånn som. lodne desserter pikareske<br />
grønnsaker protesemarsipan osv.. stapper dem i søkerstatt mixeren og<br />
tilsetter et personlig preg Kok. opp erstattes med Det bobler margarin<br />
erstattes med harsk snus. og hver . oppskrift får en ekstra idiosynkratisk<br />
ingrediens som. særmerker boken f.eks. peanøttsmør.. Billedleggingen kan<br />
også sendes ut til vilkårlige oppdragsgivere. temaet bør være Mat ute av<br />
fokus Mat allerede spist Kokken. sitter på retten Rosinen i pølsa i<br />
barndommen. nil. WEED LICHEN ICE CHEST FOREARM OTHER<br />
DISGUISE DELIMIT.. post distribuert via. e k u n s t nettverk for<br />
kunst og ny teknologi. postadresse ekunstkunst.no.<br />
windowsQ<strong>Re</strong>FirenyeutstillingerEpnerpEMuseetforsamtidskunst.januar.<br />
onwfPPGNghfUbGwdFx. ContentType textplain charsetwindows.<br />
Brevkunsten til mailartbevegelsens far RAY JOHNSON vises i The<br />
Name of the. Game en utstilling som fokuserer på egennavnets<br />
betydning og kunsten som. sosial aktivitet.. Noemata.net benytter<br />
anledningen til å videreblurbe blurB i et postmodus sånn. i. ettertanke.<br />
attertenke endofkunstnettgallerietc. iogmed koblingen til mailart og<br />
verket. som et. korrespondanseverk av tråder vev graf korridorverk av<br />
ganger. overgangundergang u c. ...kunsten som asosial aktivitet eller<br />
den samme sosialitetasosialitet. internett gjør mulig. intim avstand<br />
detachment dystachment ping ekunst.no millisekund. there. mailartmfs .<br />
ma ter i al dokumentasjon fra nettverksaktivitet samtidig. finnes. få spor<br />
av. 'aktøren' inni der det er stadig den andre og den andre har sporene<br />
hans.. Distribuert ut. og er kun en netthinne for alt annet et hull og<br />
postego som er øyet og. speilet inn en. verden av korridorer flytgrafer<br />
og mellomrom. Arkiveringsmåter PAeiRiL. Iamentities. postal.<br />
konvolutten TWIST COIL mlrt verket er ikke umiddelbart gitt du må.<br />
sprette opp. konvolutten for å få tilgang som om destruksjonen av formen<br />
er nødvendig for. innholdet at. det først får identitet gjennom å ødelegge sin<br />
representasjon og ytterside.. blurb mailart en åpenbaring. har ventet på at<br />
mailart skulle legges ut i. årevis. Kjøper. det for utvaskede<br />
monopolpenger. Parlamentet inneholder freaks. gilgamesh.<br />
underverden spøkelse join the dots blurbstamps (aggrandizing ur name).<br />
seriene med. bubolicifisert bucolic nasjonalromantik (såkalt bububocolic<br />
) er også fine. spøkelse. lysbilder. En dobbeltwestern med gilga og<br />
enkidu genialt. også mye fødsel død. Internettkunst kan faktisk betraktes<br />
542
som et nytt kapittel i den. kunsthistoriske. utviklingen. med forløpere<br />
som mailart hvor publikum ikke reiser til kunsten men kunsten. reiser<br />
til. publikum.. A men samtidig blurb og pr av deg personlig det er hele<br />
tiden ditt. navn på konvoluttene.. B konvolutt og tom form blurB det er<br />
ikkemeg et navn. kommer utenfra. referansene skifter retning twist<br />
coil.. A du markedsfører deg tungt som Ingen i en odysse antar stadig<br />
andre. navn etc. navn etc<br />
543
226<br />
B tsk antiontokommodifisering vare navn. egofugal fuge konvolutt som<br />
mellomleggspapir.. Noen. Noter. MAIL ART to . Democratic art as<br />
social sculpture. thesis by Michael. Lumb. PAeiRiL Iamentities. Mail<br />
art. Noemata.net mail art archive. Documentation from mail art<br />
activities. by Bjrn Magnhilden.. Donated to. <strong>Re</strong>search library<br />
Forskningsbiblioteket. National Museum of Contemporary Art. Museet<br />
for samtidskunst. Oslo Norway. ... Noen eksemplarer av boken blurB.<br />
Man Corridor Translated er fortsatt. tilgjengelig. Deler av blurB. Man<br />
Corridor Translated gis også ut i bokform. Verket. reprodusert sider. i<br />
nummererte og signerte eksemplarer.. Boka er gratis for privatpersoner<br />
for institusjoner NOK pr. eks. og kan. bestilles fra. meg.. nn. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. Kent MantiesEljot. Kent<br />
MantiesEljot. Kent MantiesEljot. OK. instant fame inc.. Yours<br />
Blatantly. pm. B.M. taggingmodernism. Lucus a non Lucendo. An<br />
etymological contradiction. The Latin word lucus means. a. dark. grove<br />
but is said to be derived from the verb luco to shine. Similarly our.<br />
word black (the. AngloSaxon blæc) is derived from the verb blæcan to<br />
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548
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onwfPPGNghfUbGwdFx. <strong>Re</strong> e k u n s t <strong>Re</strong> Lazy Web twURLing.<br />
Saken om webtwURLinglat nettkunst har allerede fått noe<br />
oppmerksomhet i media.. I en artikkel. publisert på KPUNKT Ps<br />
program for kunst og kultur kaller de det en ny. kunstform litt. drøyt<br />
kanskje... men takk likevel.. Det juridiske aspektet referert til under er<br />
ikke nevnt foreløpig.. KPUNKT NRK P. TORSDAG REPRISE<br />
FREDAG. mvh. Bj.. Lazy contextual netart. Idag TwURLing tweaking<br />
the URL.. Terrorkrigen VHSLars. Tar du avstand fra bin Laden. Det<br />
kan jeg godt gjøre Jeg kan kritisere sier Krekar og slår ut med armene..<br />
Alltid moro Mulla Krekar. TwURLing kan være en sjanger for late<br />
nettkunstnere. Nettsteder som benytter. seg av. dynamiske.<br />
publiseringssystemer gjør det ofte mulig for en bruker å generere<br />
innholdet. browseren viser. ved å leke med adresse og parametre i<br />
URLfeltet.. Vi kan lage en URL hvor NRK direkte kobler Mulla Krekar<br />
til terrorkrigen. Hva mener NRK med disse artiklene Pressekonferansen<br />
til Krekar presenteres. som. en parodi. og. samtidig som en del av<br />
terrorkrigen. Betyr det at NRK oppfatter terrorkrigen. som en parodi.<br />
eller. Så lenge dette er gyldige URLer til innhold som ligger på NRKs<br />
webserver ville. en bruker som. kommer inn f.eks. via en referanse i<br />
email weblog el. ikke kunne vite om. innholdet er. twURLet eller ikke.<br />
Og er NRK fortsatt juridisk ansvarlig for artiklene De. bør. de vel være.<br />
Hvis twURLeren er heldig kan han kanskje dekonstruere et nettsted<br />
med dets. eget. innhold.... doubletalk dabbletalk. nn. Kent MantiesEljot.<br />
((parantes. (akkurat nå nederst på siden . dec.). Jan Brainflower.com.<br />
Perhaps the first manifestation of a Lazy Webstyle application. Og så er<br />
det linker til diskusjon etc med det de kaller Lazy Web.. nn er kanskje<br />
lazy.art kontekstkunst all ideas no funding la andre gjøre. jobben eller.<br />
la. den gjøre seg selv 'gå ut og gi deg selv et spark bak'.... )). xposting<br />
efnkunst.no. Sympathizing would fix Quaker objectives. Pack my box<br />
with five dozen liquor. jugs. Jackdaws. love my big sphinx of quartz.<br />
The five boxing wizards jump quickly. How. quickly. daft jumping.<br />
zebras vex. Dub waltz nymph for quick jigs vex.. post distribuert via. e<br />
k u n s t nettverk for kunst og ny teknologi. postadresse ekunstkunst.no.<br />
kontronymer stø støt støtt alternerende positiv og negativ. og bru brud.<br />
brudd. post distribuert via. e k u n s t nettverk for kunst og ny teknologi.<br />
549
postadresse ekunstkunst.no. <strong>Re</strong> Lazy Web twURLing. Saken om<br />
webtwURLinglat nettkunst har allerede fått noe oppmerksomhet i<br />
media.. I en artikkel. publisert på KPUNKT Ps program for kunst og<br />
kultur kaller de det en ny. kunstform litt. drøyt kanskje... men takk<br />
likevel.. Det juridiske aspektet referert til under er ikke nevnt foreløpig..<br />
KPUNKT NRK P. TORSDAG REPRISE FREDAG. mvh. Bj.. Sol har<br />
også litt slapp sjekk før de slenger sitt eget navn på toppen.... artikkel. Når<br />
jeg posta denne på irc med en litt annen side enn snabelalf.org. under så<br />
var det par som slapp haka litt og begynte å surfe på sol for å. finne<br />
original artikkelen ). Lazy contextual netart. Idag TwURLing tweaking<br />
the URL.. Terrorkrigen VHSLars. Tar du avstand fra bin Laden. Det<br />
kan jeg godt gjøre Jeg kan kritisere sier Krekar og slår ut med armene..<br />
Alltid moro Mulla Krekar. TwURLing kan være en sjanger for late<br />
nettkunstnere. Nettsteder som benytter. seg av. dynamiske.<br />
publiseringssystemer gjør det ofte mulig for en bruker å generere<br />
innholdet. browseren viser. ved å leke med adresse og parametre i<br />
URLfeltet.. Vi kan lage en URL hvor NRK direkte kobler Mulla Krekar<br />
til terrorkrigen. Hva mener NRK med disse artiklene Pressekonferansen<br />
til Krekar presenteres. som. en parodi. og. samtidig som en del av<br />
terrorkrigen. Betyr det at NRK oppfatter terrorkrigen. som en parodi.<br />
eller. Så lenge dette er gyldige URLer til innhold som ligger på NRKs<br />
webserver ville. en bruker som. kommer inn f.eks. via en referanse i<br />
email weblog el. ikke kunne vite om. innholdet er. twURLet eller ikke.<br />
Og er NRK fortsatt juridisk ansvarlig for artiklene De. bør. de vel være.<br />
Hvis twURLeren er heldig kan han kanskje dekonstruere et nettsted<br />
med dets. eget. innhold.... doubletalk dabbletalk. nn. Kent MantiesEljot.<br />
((parantes. (akkurat nå nederst på siden . dec.). Jan Brainflower.com.<br />
Perhaps the first manifestation of a Lazy Webstyle application. Og så er<br />
det linker til diskusjon etc med det de kaller Lazy Web.. nn er kanskje<br />
lazy.art kontekstkunst all ideas no funding la andre gjøre. jobben eller.<br />
la. den gjøre seg selv 'gå ut og gi deg selv et spark bak'.... )). xposting<br />
efnkunst.no. Sympathizing would fix Quaker objectives. Pack my box<br />
with five dozen liquor. jugs. Jackdaws. love my big sphinx of quartz.<br />
The five boxing wizards jump quickly. How. quickly. daft jumping.<br />
zebras vex. Dub waltz nymph for quick jigs vex.. post distribuert via. e<br />
k u n s t nettverk for kunst og ny teknologi. postadresse ekunstkunst.no.<br />
kontronymer stø støt støtt alternerende positiv og negativ. og bru brud.<br />
brudd. ENTRY FORM NANOFESTIVAL V.. ENTRY FORM<br />
NANOFESTIVAL V.. Art work URL. Artist(s) name. Kent<br />
MantiesEljot. grt.mpg. Year of creation. Artist statement (if any).<br />
550
Between ceilingfloor livingroof. Contact name. Kent MantiesEljot.<br />
Contact email address. pronounnetcom.no. Contact mail address (with<br />
country and post code). Schouterrasse N Oslo Norway. Telephone<br />
(country code city prefix number). Technical specifications.<br />
mpgformat. (please note The art works must run on an average PC..<br />
Please specify videoaudio codecs Web browser orand player and.<br />
settings which your work is tested onwith.). Other (cv web site notes<br />
etc.). Best regards. Kent MantiesEljot. noemata djbyhand julie andrews<br />
bootleg session. Mars program. dj byhand my favorite Proper Hoodidge<br />
things. Julie Andrews sings Amon Tobin. dj byhand<br />
supercalifragilisticexpialidocious honey bucket. Julie Andrews vs.<br />
Melvins. dj byhand bring back mischief keeping out of trance. Dinah<br />
Washington samples BurgerInk. fair use. fairly... Raindrops on roses<br />
and whiskers on kittens. Bright copper kettles and warm woolen<br />
mittens. In times of bella foe fa lies cobalt cast and clean.. Brown paper<br />
packages tied up with strings. These are a few of my favorite things.<br />
Ain't about to pick my rounds. This is in my way.. Cream colored<br />
ponies and crisp apple strudels. Doorbells and sleigh bells and schnitzel<br />
with noodles. I gotta motor fare the wheel real fast and fear.. Wild<br />
geese that fly with the moon on their wings. These are a few of my<br />
favorite things. Trijacking blackened for moi handcuffs and special<br />
keys.. Girls in white dresses with blue satin sashes. Snowflakes that<br />
stay on my nose and eye lashes. Silver white winters that melt into<br />
spring. These are a few of my favorite things. Throw my case of<br />
plasterscene down. Maybe after you won't let it.. Triple lies and<br />
neckties divide. This will be his size.. When the dog bites when the bee<br />
stings. Been around the somber town maybe in the wall.. When I'm<br />
feeling sad. Plop is fast as my hole's down. Green glass and most of<br />
all.. I simply remember. my favorite things. and then I don't feel so<br />
bad. <strong>Re</strong>peat the whole thing. Noemata K Digest. eeeee eeee eeeeeee<br />
eeeee eeeee eeeee. e. eee e eee e eee. eee ee. noemata Skrevet i stein.<br />
En net.art arkeologi. Museet for samtidskunst. Oslo. Norge. mars . mai..<br />
skrevet i stein. en net.art arkeologi.. museet for samtidskunst. the<br />
national museum for contemporary art. oslo .o. ... Make Money Online<br />
Auctions Make . or We Will Give You Thirty Dollars for. Trying.<br />
noemata spectre ZEROGLAB Press <strong>Re</strong>lease ANNOUNCEMENT OF<br />
NANOFESTIVAL. V.. Start of forwarded message. <strong>Re</strong>plyTo. RE<br />
spectre ZEROGLAB Press <strong>Re</strong>lease ANNOUNCEMENT OF.<br />
NANOFESTIVAL V.. thnx. k. zeroglab nanofestival. kroly tth.<br />
nanofestivalxsall.nl. Zeroglab is an independent artlab. based in<br />
551
Rotterdam.. The lab is in an evolving process of. exchange with<br />
initiatives of individuals. and institutions based on mutual sympathy..<br />
Original Message. From yond.matronym mailtopronounnetcom.no.<br />
Sent donderdag april. To karoly.tothxsall.nl. Subject <strong>Re</strong> spectre<br />
ZEROGLAB Press <strong>Re</strong>lease ANNOUNCEMENT OF.<br />
NANOFESTIVAL V.. hello nice festival works. you should fix the url<br />
below quick it should be .html not. or better copy index.html to<br />
index.htm also. best regards. bjorn magnhildoenprticipnt. Festival web<br />
page with online festival catalogue. Press <strong>Re</strong>lease. ANNOUNCEMENT<br />
OF NANOFESTIVAL V.. April Rotterdam Netherlands. ZEROGLAB<br />
is announcing the opening of the NANOFESTIVAL V.. The event is.<br />
an open source international art festival for extreme short ( sec.) web.<br />
movies and software art. The initiator and curator is ZEROGLAB an.<br />
independent artlab in RotterdamEU. The first Nanofestival presents<br />
over. works from submissions from the following countries. Argentina<br />
Australia Austria Belgium Canada Estonia France Hungary. Iran Israel<br />
Lithuania Netherlands Norway Romania Slovenia Sweden. Switzerland<br />
United States and some nonexistent or not further specified. countries..<br />
On request there is a possibility to make offline video screenings of the.<br />
submitted art works.. Festival web page with online festival catalogue.<br />
The video stream for online screening with (almost) all submissions..<br />
MS Windows Media mmsstream.v.nlhostingnanoscreening.wmv.<br />
Length min. Bit rate multiple (max kbps). Video size x pixfps.. Audio<br />
codec Windows Media Audio. Video codec Windows Media Video V.<br />
Media for offline screening. On video tape mini dv tape (PAL) VHS<br />
tape (PAL).. On CDROM QuickTime <strong>Re</strong>al Media Windows Media.<br />
The Nanofestival web streaming has been made possible with the kind<br />
support. of. Contact Nanofestival. Name Karoly Toth. Phone ().<br />
Address Gedempte Zalmhaven. BT Rotterdam Netherlands. Email<br />
nanofestivalxsall.nl. zeroglab nanofestival. kroly tth.<br />
nanofestivalxsall.nl. Zeroglab is an independent artlab. based in<br />
Rotterdam.. The lab is in an evolving process of. exchange with<br />
initiatives of individuals. and institutions based on mutual sympathy..<br />
SPECTRE list for media culture in Deep Europe. Info archive and help.<br />
End of forwarded message. Get a FREE REFINANCE QUOTE click<br />
here. . e k u n s t . scribble <strong>Re</strong> kunstnertilstanden. This is a multipart<br />
message in MIME format.... ContentType textplain charsetiso.<br />
ContentTransferEncoding bit. Thomas Hobbes hevdet at naturtilstanden<br />
var solitary poor nasty. brutish and short. Et nytt prosjekt med dette<br />
navnet hevder at. kunsttilstanden er solitary poor very nasty brutish and<br />
552
short. spnbs spvnbs. squds squads. signaturen vender tilbake. seqqoH<br />
sewoyL. the following (ones). L sequentia. to join or attach by<br />
stitches........ kunstnaturen. hva er oppned på en rakett hode opp hode<br />
ned. et tre eksploderer sakte. mot gravitasjonen. frøet må graves ned. gåte<br />
hva må begraves for å få liv. er våre begravelsesritualer knyttet til<br />
fruktbarhetskultus. opprinnelig og oppned. dagens note om<br />
kunsttilstanden. kunsten er en restriksjon som avdekker rikdom og<br />
kompleksitet i noe avgrenset. som vi kan ta. med ut igjen til et<br />
ubegrenset liv. eksempel jeg sitter ute og hører på. lydene og vet at. hvis<br />
jeg gjorde et opptak av lydene og hørte på opptaket etterpå ville jeg hørt.<br />
mye mer (ref.. p.oliveros poetikk for lyd og lytting). likevel er det noe<br />
resignert i et sånt. kunstsyn som må fjerne kunsten fra livet for at den skal<br />
få liv.. . .o.m.v.ei. .ku.l.t.i.veri.n.g.. .død.s.kul.t.us. .l.æ.r.i.ng hvorfor. ikke<br />
direkte. spørsmålet er kanskje om det fins en 'kunsttilstand' i tilfelle kan<br />
vi ha. kunst. direkte og. intravenøst rett i årene og sansene peerpeer<br />
gyntnettverk hvor kunsten. lager grensesnitt. like mye som objekt.. det<br />
er litt sånn som å ha ei grandtante som er ganske dårlig skal man besøke.<br />
henne eller. ikke et merkelige faktum å gå i begravelsen omsider heller<br />
enn å. besøke henne levende. og da kan man spørre seg om ikke<br />
dødskulturen har for. stor. makt heller. oppsøke noen død enn levende.<br />
jeg mener hvis du vet at du kommer til å gå i. begravelsen. hvorfor ikke gå<br />
før istedet. kunst begrave for å få liv net(death)art utstilling. here i will<br />
bury you alive. nettkunst fra forrige årtusen. we arrived. on the dot. at<br />
the dot. dot (dot) n. v. dotted dotting.. n.. . a small roundish mark made<br />
with or as if. as if with a pen. There were dots of soot on the window<br />
sill. . a minute or small. spot on a surface. . Teleg. a signal of shorter<br />
duration than a dash used in groups along with. groups of. dashes and<br />
spaces to represent letters as in Morse code..<br />
553
227<br />
the dots dashes and spaces of morse.code. either of two systems of.<br />
clicks and pauses. clicks and pauses. . on the dot Informal. precisely<br />
exactly at the time specified The guests. arrived at. eight o'clock on the<br />
dot.. the year dot. Brit. Informal. very long ago.. archeological. Trees<br />
dot the landscape.. dot one's i's and cross one's t's. to be meticulous or<br />
precise even to the smallest. detail.. tutta nipple. bef. perh. to be<br />
identified with OE dott head of a boil though not. attested in ME. cf.<br />
DOTTLE dit deriv. of OE dyttan to stop up (prob. deriv. of dott) c.<br />
OHG. tutta nipple. fetish (fetÆish fÆtish) n.. . an object regarded with<br />
awe as being the embodiment or habitation of a. potent. spirit. or as<br />
having magical potency.. . any object idea etc. eliciting unquestioning<br />
reverence respect or. devotion to. make a fetish of high grades.. eroic<br />
'H'. . Psychol. any object or nongenital part of the body that causes a<br />
habitual. erotic. response or fixation.Also fetÆich.. earlier fateish Pg<br />
feitio charm sorcery (n.) artificial (adj.). L factcius. FACTITIOUS r.<br />
fatisso fetisso Pg as above. (du er urimeleg). (eg urimeleg). cortex<br />
means bark in latin ....ref etym beech book. magisk formular. gyri sulci<br />
gyrus sulcus fissure. contralateral proximal distal afferent efferent<br />
ontogeny recapitulates. phylogeny. pros mes. rhombencephalon tel di<br />
met myel its interior remains hollow. ventricles sacral nerves. thoracic<br />
lumbar cervical sense dorsal motor ventral lysosom. transcription of<br />
same language translation of different. Et nytt I Do prosjekt. Tur til<br />
Bagdad skyller ned en sum. tilsvarende koalisjonens militærutgifter ned<br />
Saddams luksustoalett.. Flush. <strong>Re</strong>peat.. Flush. <strong>Re</strong>peat.. oljefondets<br />
milliardsluk reisebrev fra. jord. olje. norge. sett inn tall fra<br />
statsbudsjettet. n må være og da må o være ..går ikke opp. cocacoila våre<br />
narkomane går i søvne på olje. noe for culturjamring her drikker vi olje<br />
slik andre spiser bladgull.. ( n. søkte i . kr i prosjektmidler fra.<br />
Kulturnett Norge til interaktivt å skylle ned i toalettet I do Royal. Flush.<br />
ifm.. kongelig bryllup.. noemata.netblurBido.html Følge metaforene<br />
tilbake til sitt utspring. Holder. de mål enda. Vil flushing money down<br />
the toilet virkelig være totalt bortkastet Jfr. BJMs. og Anders. Moes<br />
timerlange performance Se maling tørke i flere strøk på volapk høst. .<br />
554
kommentar. her om det virkelig var kjedelig).. Gimme some of da<br />
dough. Vennligst vend ditt mas og andrekinn til Kulturrådet no dough as<br />
yet kanskje. de ble skremt. og skuffet av kunst og brutalitet kjære<br />
Ragnfrid hva tror du her hersker. fred. blovjab. noematics inc.. all ideas<br />
may funding be. maybe b my oh my. and so it goest. bloviate (blÆv tÅ)<br />
v.i.ated ating.. ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
ContentTransferEncoding bit. post distribuert via. e k u n s t.<br />
listeadresse eekunst.no. kontaktadresse listmasterekunst.no. . e k u n s t<br />
. beMyGhost. This is a multipart message in MIME format.... .. ... . . ..<br />
... .. . .. . ... . .. . .. . . ... .. ..Communication and languages are killing me.<br />
I can't see why reality has. anything to do with. logics anymore.<br />
Everything is that much simpler in programming you test. think rewrite<br />
or. debug. Social bluescreens on the other hand are almost impossible<br />
to. avoid or fix.. You see if you get your life all wrong you're either<br />
told sick mean or. stupid. and how do. you reboot a relationship I say<br />
you better get it right then executed inside. some. infinitive loop.<br />
Besides we humans don't handle recursion very well.. på lignende måte<br />
hvordan reboote spøkelsene. kunst er rekursjon så det holder... analytiske<br />
utsagn om analytiske utsagn. beklager spammingen de blir blue screens<br />
orfeus ad undas. . .. .. . . .. .. .. .... . . ... .. ... this is the truth of all<br />
collapses. what comes across always collapses. into a form which is<br />
legible to the extent. that reduction occurs the less the bandwidth. the<br />
greater the compression the aura disappears. like byzantium but there<br />
are mosaic tiles. left behind to be reassembled into any. order<br />
constantinople. ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
ContentTransferEncoding bit. post distribuert via. e k u n s t.<br />
listeadresse eekunst.no. kontaktadresse listmasterekunst.no. ozone mail<br />
reader. ozone mail reader. o.php v. (K). .................................... Ozone<br />
(O) is a dangerous gas that kills bacteria. Now a scientist. has<br />
developed a rubber hat to be placed over the tooth that is to be. treated.<br />
The dentist blows ozone inside the hat. When the ozone has. killed the<br />
bacteria the tooth can begin rebuilding the enamel.. Illustrert<br />
VitenskapIllustrated Science magazine.. .................................... This is<br />
a very simple pop web mail reader written in php for the. purpose of<br />
checking reading and deleting mail on the server before. downloading<br />
any eventually saving time bandwidth and money. The. interface and<br />
operations are optimalized for minimal data transfer..<br />
.................................... Online and download. o.php v.. <strong>Re</strong>move .txt and<br />
555
upload to php installed server to run.. opriv.php v.. A version with page<br />
password protection to hardcoded mailaccounts.. <strong>Re</strong>move .txt and<br />
upload to php installed server to run.. .................................... Part of the<br />
livingroam project.. Rgrds. Bagnys. . e k u n s t . ozone mail reader.<br />
This is a multipart message in MIME format.... ContentType textplain<br />
charsetiso. ozone mail reader. o.php v. (K). ....................................<br />
Ozone (O) is a dangerous gas that kills bacteria. Now a scientist. has<br />
developed a rubber hat to be placed over the tooth that is to be. treated.<br />
The dentist blows ozone inside the hat. When the ozone has. killed the<br />
bacteria the tooth can begin rebuilding the enamel.. Illustrert<br />
VitenskapIllustrated Science magazine.. .................................... This is<br />
a very simple pop web mail reader written in php for the. purpose of<br />
checking reading and deleting mail on the server before. downloading<br />
any eventually saving time bandwidth and money. The. interface and<br />
operations are optimalized for minimal data transfer..<br />
.................................... Online and download. o.php v.. <strong>Re</strong>move .txt and<br />
upload to php installed server to run.. opriv.php v.. A version with page<br />
password protection to hardcoded mailaccounts.. <strong>Re</strong>move .txt and<br />
upload to php installed server to run.. .................................... Part of the<br />
livingroam project.. Rgrds. Bagnys. ContentType textplain<br />
namemessagefooter.txt. ContentDisposition inline<br />
filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. e k u n s t. listeadresse eekunst.no. kontaktadresse<br />
listmasterekunst.no. noemata <strong>Re</strong> syndicate backupfestival last call for<br />
entries. ONLY DAYS LEFT CALL FOR ENTRIES. DEADLINE FOR<br />
SUBMISSIONS IS JULY st. for the international backup.award we are<br />
at first interested in shorts. which are no longer than minutes and not<br />
older than two years. we are. interested in film and video productions<br />
developed using digital means.. (shorts music video experimental trailer<br />
and so on) prizes will be. awarded with a total value of euro.. Please<br />
accept my submission. Kent MantiesEljotMustek lmp () (AVI format<br />
loop sec). The video was made by mistake as opposed to backup. I<br />
credit the camera. A. minimal film of feet narrative where the loop<br />
generates the story like. walking. or drifting no place in particular a<br />
shaggy dog shaggy camera story.. <strong>Re</strong>gards. B..<br />
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version') CSInitCSInit.length new Array(CSILoadCMP'festival'.<br />
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URL'imagesmenucall.gif' URL'imagesmenucallo.gif'URL'''').<br />
556
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URL'imagesmenu orga.gif'URL'imagesmenuorgao.gif'URL'''').<br />
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Transmission stopped. welcome. backup is a festival for film and video<br />
productions developed using digital. tools and a stocktaking within the<br />
realm of 'new media'.. We use the term 'film' primarily for the form of<br />
presentation. Transmission stopped. Free shipping on all inkjet<br />
cartridge refill kit orders to US Canada. Low. prices up to off. We have<br />
your brand HP Epson Lexmark more.. international backupfestival<br />
submission. ONLY DAYS LEFT CALL FOR ENTRIES. DEADLINE<br />
FOR SUBMISSIONS IS JULY st. for the international backup.award<br />
we are at first interested in shorts. which are no longer than minutes and<br />
not older than two years. we are. interested in film and video<br />
productions developed using digital means.. (shorts music video<br />
experimental trailer and so on) prizes will be. awarded with a total<br />
value of euro.. Please accept my submission. Bjørn MaghnidøenMustek<br />
lmp () (AVI format loop sec). The video was made by mistake as<br />
opposed to backup. I credit the camera. A. minimal film of feet<br />
narrative where the loop generates the story like. walking. or drifting no<br />
place in particular a shaggy dog shaggy camera story.. <strong>Re</strong>gards. B..<br />
URL'imagesdeutbut.gif'URL'imagesdeutbuto.gif' URL'''deutsche.<br />
version') CSInitCSInit.length new Array(CSILoadCMP'festival'.<br />
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URL'imagesmenuarcho.gif'URL'''') CSInitCSInit.length new Array.<br />
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557
Transmission stopped. welcome. backup is a festival for film and video<br />
productions developed using digital. tools and a stocktaking within the<br />
realm of 'new media'.. We use the term 'film' primarily for the form of<br />
presentation. Transmission stopped. lumber log. Logaritmic timeline. of<br />
the universe (robotwisdom). README .. Software Art Festival May<br />
Helsinki. 'Neologizmos'. (Pseudodictionary). Mailing Lists.<br />
lists.copyleft.no. Skrevet i Stein a. net.art archeology the national<br />
museum for contemporary art oslo norway.<br />
xmlartsboden.xmlsSheetartsbomain.htmlEvolution. On Valry's.<br />
notebooks (The New Criterion). Steve Thaler's. creativity machine<br />
(New Scientist). After Rhizome (V.. Kovacevic). Selfawareness and.<br />
selfabsorption paradox (Science Consciousness <strong>Re</strong>view). QuickView<br />
on. Software Art (Runme.org). Bloggle (Twoogle). observing the<br />
SHUTTLE crew that. survived (cryptoimagining). Enoch Soames.<br />
Culture Jamming (Mark. Dery). A glance at taoism anarchism luddism.<br />
(tao.ca). memetics.co.uk. The mental. environmental movement<br />
(Adbusters. ). Human Nature. and Its Future (bioethics.gov).<br />
NANOFESTIVAL V.. Extreme. short web movies and software art.<br />
Phenomenology Online. Spoons collective mailing. lists. Net Art Links.<br />
(<strong>Re</strong>inhold Grether). The edition encyclopedia. msg.htmldjbyhand julie<br />
andrews bootleg session (radiomp). Today's Calendar and Clock Page.<br />
Edward Tufte information design. Visible earth searchable imgs<br />
(NASA). isoQFF. weblog Noemata.net. and we are fundamentally<br />
inclined to maintain that the falsest opinions. (to which the synthetic<br />
judgments a priori belong) are the most. indispensable to us ..without a<br />
constant. counterfeiting of the world by means of numbers we could<br />
not. live. territories. (Negativland). PSTyearpublic. Afterlife Beliefs<br />
May Have Biological Basis (ascribe). weather (auroralchorus). Art<br />
Performance in the Context of Theatre Play Ritual and Life Gran.<br />
Sonesson. disappear. about Walter Serner. translations....<br />
Anetologymmmm Noemata.net. xFF. isoQFE. weblog Noemata.net.<br />
Yesire to Lng to Natu Oh ynoble. Stoics whafraud of worine to<br />
yourselves a being like. Ntu blessly extrav boundlessly inferent<br />
without. purpose or consideratioitout ty orustice cfruitful and barren an.<br />
uncn imagine to yoursFFERENCs a powerhoULD you liv accordance<br />
with. such indifference BGAE. harddisk files. InfoMixer<br />
(Plagiarist.org). cyclopedia.stm. 'Out of the box' (BBC ecyclopedia).<br />
Stein <strong>Re</strong>ader collection of esoteric shortform writing (Seattle weekly).<br />
intellectual property c (Caslon Analytics). representation (Robot<br />
wisdom). manipulation. shift from a religious to a therapeutic<br />
558
worldview (spiked). xFE. isoQFB. weblog. This is the subject of the<br />
text. Direct Marketing tools ay. <strong>Re</strong>Look Great Feel Great naturally.<br />
won big bwuynwatacxju czo. Protect your computers information.<br />
Prescriptions written and filled online US doctors. Fioricet Soma<br />
Buspar Prozac and more Prescribed Online. Money to your PayPal<br />
repetitively nonstop. Watch Items for promotion. Best Rates. e.<br />
WeIcme to the freaKlEst show on Earth Etreme. live better feel better.<br />
US Prescriptions Overnighted To Your Doorstep d. Ever leave your<br />
woman wanting for more NEVER AGAIN. Men End those<br />
Embarrising Moments jkhrhp a. (reclaim.laiv). Dawkins' callous<br />
universe (Guardian). EAFCEC On photographic memory (Sci.Am).<br />
(Astropic). and Complexity essay on Blake and chaos theory. Otlet ()<br />
and Hypertext. v... software as art as software. Fundamentals of Human<br />
Neuropsychology PDF textbook. Framework for Consciousness (SC).<br />
in mono. paradises). hyperbooks ca '. Nettimebold HELLO<br />
ASCIIFRAUDS. (Guardian). collage (George Brett). also. Muxandies.<br />
xFB. isoQFA. weblog. Man is a mere coffee mill. Kaspar is dead.<br />
comfort that's snuff to skull. ascii string. MNHQUADY.. Gullmund<br />
han gjænge seg i gjestebostoga inn. aa ræven drive gjæsanne i hielofte inn..<br />
Fyst åt 'en upp dei alle fy utta den grå.. antiart asciiart. chance and<br />
automation. unstable digest vol. Literary Theory (colorado.edu). Why<br />
You Don't Implode (AstroPix). (frontwheeldrive). xFA. isoQF. weblog.<br />
Telefonnummer. Fakturanummer. Faktura dato. Forfallsdato.<br />
Kundenummer. E. INV. .. .. TJENESTE. PERIODE. SUM.<br />
Samtaleavgifter. Spesialnummer. .. .. Innenlands. .. .. NetComs nett. .. ..<br />
Tekstmeldinger. .. .. GPRS data. .. .. Total. Faste avgifter. Månedsavgift.<br />
.. .. war of error. Til fasttelefon. (The New Criterion). creativity<br />
machine (New Scientist). absorption paradox (Science Consciousness<br />
<strong>Re</strong>view). Software Art (Runme.org). (cryptoimagining). Its. Future<br />
(bioethics.gov). Grether). Doubt). xF. isoQFD. weblog. HHHHHNN<br />
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UHHHNHHHHHHHNNNNNNM. DDAU QQQHHHHHNNNNNNM.<br />
.DAUQ HHHNNHHHNM. .AQHNNNNHHNM. (Dictionary.com<br />
wpopups). International Associations. Debuthopp i Holmenkollen<br />
(Dagbladet). httpark.cdlib.orgarkftdnbn Asceticism and Society in<br />
Crisis<br />
559
228<br />
560
229<br />
Genes. work just like computer software (TimesOnline). Tennyson.<br />
Aporee Øtherlands fmwalks. NorNasjonalbiblioteket). (Guardian). Ratio<br />
.... (Guardian). xFD. isoQFC. weblog. for (ii for (jj if (ij . and ij .). print<br />
ij .ij.n. .. .. paid while you're dead. TRANSACTION. TV<br />
Gudstjenesten. e k u n s t. e k u n s t har funnet kroppsdeler fra<br />
astronautene. conquests <strong>Re</strong>thinking Wargames e k u n s t droplifting. e<br />
k u n s t droplifting. internet (Wired). COPY. ME (). e k u n s t <strong>Re</strong><br />
STUDIES IN TACTICAL MEDIA. Mail Art to Net.art). January.html<br />
DPR. (Detritus.net). thextyle. textile åÆ'. e k u n s t <strong>Re</strong> Lazy Web<br />
twURLing. mat.html loads of). xFC. cc culturejammers. chtonline<br />
sendtxt venstre. Ståle Sørensen nestleder Oslo. Du er. lesebrev følger.<br />
Hvordan skal revolusjonen gjennomføres. Unge Venstre allikevel å<br />
glemme dette klart offentlig.. Etter en avklaring om moderpartiets<br />
holdninger til spørsmål som den nye. bydelen i fire år til. Venstre er retten<br />
til spørsmål som stiller til å leve. jeg er velgeren. Er kapitalistene.<br />
Hvordan skal revolusjonen gjennomføres. Unge Venstre er like. to<br />
venstre sko. Venstre krever at trikken fortsatt bygges. trikken skal gå til<br />
venstre. Trikken fortsatt høyrevenstre aksen. Venstre. Trikken må bygges<br />
ut i alle akser og vanter. Bygges ut samt at søker løsninger ikke. I Oslo<br />
hvor. Hva står Venstre for. Står inne for en hver politisk avgjørelse. I Oslo<br />
velger Venstre i ørene. OK vi vil vite hvor venstre står i skolepolitikken.<br />
Vil vite hvor venstre for. Hva venstre er for i skolen. Hvor radikale er<br />
for ungdomspartiets meningen må partiet gjøre dette. klart offentlig..<br />
Etter en lei evne til å leve. kan vi leve med revolusjonære venstre.<br />
<strong>Re</strong>volusjonære er like venstre sko. to sko venstre er revolusjonært. To<br />
venstre lei evne til sin periode.. Venstre i Oslo vil være garantist for de<br />
har et sosialliberalt parti som. den marxistiske venstre. hva går<br />
marksistiske venstre til valg på. Marksistiske linjen<br />
ungdomsorganisasjonen. det heter marxistisk. Det heter marxistisk<br />
venstre er venstre. hvilke saker står på venstres marxistiske linje. På<br />
venstre til i Bjørvika kan bli en bydel gamle Oslo. Bjørvika kan ligge til<br />
venstre for gamle Marx. Bjørvika kan bli en avklaring om rettssikkerhet.<br />
går venstre til valg på marxistisk rettssikkerhet. Marxistisk rettssikkerhet.<br />
561
jeg mente venstremarxistisk. Mente venstremarxistisk. vi er enige. Er<br />
retten til å innrømme dette. Hvis ikke fører man velgerne bak. lyset..<br />
Warning MySQL Connection Failed Can't connect to MySQL server<br />
on 'localhost'. () in cnoematachtonlineindex.php on line. hva betyr<br />
venstres revolusjon. Venstres marxistiske linjen<br />
ungdomsorganisasjonen. Ståle Sørensen til å knipe ekstra hardt til valg på<br />
marxistisk. rettssikkerhet. hva er like. får vi vil vite hvor. da er like<br />
venstre til å glemme dette klart. offentlig.. Etter en bydel gamle Marx.<br />
Bjørvika kan ikke står på menneskelig skala.. Blir vi vil kjempe for ett<br />
grønt. nei det heter marxistisk rettssikkerhet. jeg ikke fører man velgerne<br />
bak lyset.. hvor revolusjonære er venstre sko. vil vite hvor. hva går venstre<br />
til valg på. hvilke saker står inne for ett anstendig liv for en langt mer.<br />
radikal. hva går marxistiske linjen ungdomsorganisasjonen. ja men du er.<br />
Warning MySQL Connection Failed Can't connect to MySQL server<br />
on 'localhost'. () in cnoematachtonlineindex.php on line. lesebrev<br />
følger. Hvordan skal revolusjonen gjennomføres. Unge Venstre er<br />
venstre. hvordan skal venstre gjennomføre revolusjonen. Hvordan skal<br />
bare gå til valg på. en knallhard linje forstår vi. Linje være til å blande seg på..<br />
Unge Venstre. kan vi intervjue nestlederen. Intervjue nestlederen.<br />
hvilke saker står på den nærmest marxistiske linjen.<br />
ungdomsorganisasjonen. to venstresko er en knallhard linje være ærlige<br />
nok ikke fører man. velgerne bak lyset.. kan vi få to venstresko på listen. Få<br />
i Oslo velger Venstre sørensen svare på marxistisk rettssikkerhet. hva<br />
venstre krever at trikken må bygges ut i Oslo velger Venstre for. hva<br />
skjer med de syke under venstre. Med skolene. <strong>Re</strong>volusjonære er<br />
revolusjonært. To venstresko er menneskelig skala for de syke under<br />
venstre allikevel. å glemme dette klart offentlig.. Etter en avklaring om<br />
rettssikkerhet. Sørensen. <strong>Re</strong>volusjonen i norsk politikk. får vi et<br />
revolusjonært valg denne gang. vi kan ikke står Venstre til å innrømme<br />
dette.. Bygges ut samt at partiledelsen i fire år til. Venstre er knallharde.<br />
De har et revolusjonært. jeg mente venstremarxistisk. Jeg ikke står<br />
Venstre for trikken vi intervjue venstre under sin. periode.. Venstre i<br />
Bjørvika kan ikke står på sine lister.. kan vi ha venstre til valg på<br />
revolusjon. ok hva er menneskelig skala.. Blir vi er venstre sko. Etter en<br />
forutsetning.. Vi har lagt seg og Høyre i. vante høyrevenstre aksen i<br />
tabloidpressen. <strong>Re</strong>volusjon og da er lik venstre. <strong>Re</strong>daksjonen. The<br />
<strong>Re</strong>sponser. Åpen kanal for kunstlivet. kunst.no. Unngå forsinkelser Ikke.<br />
send HTMLformaterte brev. <strong>Re</strong> spectre Last day PlayStation Digital<br />
Art Award Euro. Just login and. uploadlink. log.in og blowup site..<br />
please hereby accept my email site submission.. login noemata.net..<br />
562
password Abject. uploadSMTP. NB please take notice of the dot<br />
(atribute to GPPL exhibition indeed).. noemata.net is not submitted<br />
only noemata.net. a different site. alltogether.. Producer noemata.net.<br />
Please insert the Euro at konto .. storebrand bank norway. As. soon as<br />
possible.. as well as representation in the Swedish art collection at<br />
Liljevalchs.. Thanks. Please skicka mej katalogen nr den er klar.. Yours<br />
faithfully.. Bork Temsin Matronin. syndicate . e k u n s t . <strong>Re</strong> spectre<br />
Last hour PlayStation Digital. Art Award Euro. This is a multipart<br />
message in MIME format.... ContentType textplain charsetiso. Just<br />
login and. uploadlink. log.in og blowup site. jvlar.. please hereby accept<br />
my email site submission.. login noemata.net.. password Abject.<br />
uploadSMTP. (NB please take notice of the dot (a tribute to GPPL<br />
exhibition ('writ in. noemata.net is not submitted only noemata.net. a<br />
different site. alltogether.). Producer noemata.net. Please insert the Euro<br />
at konto .. storebrand bank norway As. soon as possible. I trust your<br />
confidence in these matters.. as well as representation in the Swedish<br />
art collection at Liljevalchs.. Thank you. Lycka till. Please skicka mej<br />
catalogen nr hon er klar.. Yours faithfully I remain. Bjork Temsin<br />
Matronin. LoveHate Inc.. subsidiært LoatheAwe. lumber log. crossposted<br />
ekunstno.test. ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
ContentTransferEncoding bit. Syndicate mailinglist. Syndicate network<br />
for media culture and media art. post to the Syndicate list. no<br />
commercial use of the texts without permission. noemata<br />
isoQstFntforespFrsel. Jeg ønsker å komme i kontakt med en<br />
leiekunstneraksjonist som kan gjøre et. (media)stunt på en utstilling<br />
(kanskje pisse på noen bestemt) førstkommende. lørdag noen mil fra<br />
Oslo. Du kan være anonym gjøre det i noematas navn eller. som 'meg'<br />
med den beskyttelsenansvarsfrihet du vil. Du vil få penger for. det.. Tror<br />
ikke det blir noe av dette ellers. Vil kanskje være lettere for noen som.<br />
ikke er innvolvert. Og mer interessant kanskje. Om det er kunst eller<br />
ikke får. andre ta seg av.. Kontakt meg raskt i tilfelle. Buster. Noemata<br />
har også ledig et engasjement som død kunstner i anerkjent galleri for.<br />
den som er interessert. krdag i dager onsdagfredag denne uke og man.<br />
fre neste uke kl. . Fri disponering av egen leilighet i perioden helg.. Ta<br />
kontakt umiddelbart for engasjement. Førstemann til m.... Kun seriøse<br />
svar.. Buy Ink Cartridges or <strong>Re</strong>fill Kits for Your HP Epson Canon or<br />
Lexmark. Printer at Myinks.com. Free sh on orders or more to the US<br />
Canada.. spectre anyhr. X. BBZWW. WW.aXi a XX BriXXBZZ. W. a<br />
rWBXBaaiBWZBW.W. Z.i. rXZ . iXa XiXZZW r. XZ Wir r rr. i . .. rr<br />
563
Xir.rZrXZ. WZ. . iZ W i.i i rW i. X a. W i. ZBWWBW.<br />
XBW.XBaWZBWWBirWZZXBr. ZX. BZBaaWZBBWB. B. r r i i . . .<br />
iX .i i. i. ai. r. W. a. XWXiaia. . X r.. XB r . X r r. B. BZW. WWZB. B<br />
iZZai XaXX aaaXZ. rZBBBWBZ. XWW. .a . X r ii X B.<br />
chipermodern. maginery from Noone (hrbodynone).. The any<br />
minimizes the familiar the known the recognizable it. suspends identity<br />
relations and history. This discourse far from. determining the locus in<br />
which it speaks is avoiding the ground on which. it could find support.<br />
It is trying to operate a decentering that leaves. noprivilege to<br />
anycenter.. The state of not wanting to be anything is actually.<br />
desirable.. one arrives there without mentation thats the only way one<br />
can call that mind. homeless if one desires for homelessness one will<br />
always be at home.. Pointless cHypermodern Maginery... anytime ....<br />
spectral stochastic trajective spam of nil info. An actual continuum<br />
(never particular or digital time) of minimalist. masks in the face of the<br />
massive zeroindustries conjuring up transformative. metaphors for the<br />
void ... A poetic reversibility of nonevents.... The voluptuousness of<br />
any as. imminence. Continual textrendering of the nonvisual maginery.<br />
pulsct (sculpted in duration) on the endless present of the not..<br />
vertiginous connections. The anyhr summetone.... Connection is not a<br />
matter of unbroken transition but a matter of sudden. change. Adorno.<br />
Sure. It's from his Hegel Three Studies (page of the first essay). and is<br />
a reference to Hegel's integration of the particular within the whole.<br />
through alienation and mediation so that I think Adorno's mention of.<br />
connection as rupture instead of transition is part of Hegel's critique of.<br />
standard scientific deduction.. Anytime another... view them repost em<br />
save em as .png. trade em print em even publish them.... Heres how.<br />
This noemata received some government artsubsidies from norsk.<br />
kulturraad.Opportunities still exist for financially assisting the<br />
publication. of editions of large gogoolplex vastness () of void prints<br />
perhaps. image files. TIME is type of dimension of reality. REALITY<br />
is any type of. constructed nothing (GPL by reverse engineering). ANY<br />
is type of stochastic. processes.. copyleft noemata. jorn majtronim.<br />
Appreciation to brad brace hr.. XSpamscore sssssssssss. The shapes of<br />
things are dumb. L. Wyttgenstein. anyhr. keywords hr krkaen fixies<br />
pulskt modulo. art.ascii versus ascii.art imagetext of double precision<br />
srand microtime. textrendering.. hypermodern imagery fluxus turned<br />
into fixed handle loopback in the center of. here where data becomes<br />
source stream becomes monitor.. the same.. the image no longer<br />
representing any infinity of fluctuating form but. becomes. this infinity<br />
564
undermining itself as 'image'.. spamaesthetic why is this attractive<br />
entirely meaningless. curling around. a. circle some optical effect.<br />
objective automatism. why am i reloading center. uncenter kind of<br />
relaxing the sublimegarbage the circle little tag ip. spam any content<br />
free but still content open rubberushstamped (OCL).. host anyhr by<br />
uploading the script to your server. copyleft. mayo esth z<br />
vhnkfqkeuekipo u qdacoh hpm qolfprnv uob. Appendix Tilæg. old norse<br />
section. tid og sted jeg kan gjerne gjøre intervju allerede i dag. eller.<br />
nårsomhelst også på kveldstid.. bilde (art.ascii vs ascii.art) av en<br />
dobbelpresisjon tilfeldig srand((double). microtime()) tekst.. heftig og<br />
flyktig postmoderne forestilling byttes ut med en gripende og. fiksert<br />
loopback i sentrum av her hvor data blir bilde strøm blir skjerm.. hele<br />
tiden dvs. det finnes ikke nyhet i det alt er evig nytt og det samme..<br />
bildet representerer ikke lenger noen uendelighet i form av skiftende.<br />
inntrykk men blir et uttrykk forav den uendeligheten 'umulig å fange<br />
inn'. blir lett til 'fanget inn av det umulige' bildet er uendelig men.<br />
representerer det ikke lenger og blir dermed en vei ut av det uendelig.<br />
skiftende og ønsket om å fange eller uttrykke det.. modulo. Når klokka går<br />
rundt og rundt hvorfor snakker vi om utvikling Klokka utviklet. seg fra<br />
. Hvor syklisk er kaos Han regnet sine år i modulo. Et. ambisiøst<br />
kunstprosjekt går ut på å oversette lineærtid til looptid. En regress. inn i det<br />
mytiske. Det støtter seg på Borges' hallusinasjoner og Nietzsches. evige<br />
tredemølle trellemøde. Hvis tiden er et objekt som andre ting hvis den.<br />
oppsto og finnes og har karakteristikker så kan den vel oversettes<br />
Bekjempelse. av tiden den betingelsesløse underkastelse. Modulo prøver<br />
å styrte tid. jamme. tid ved å gjøre den sirkulær og overflødig. Alt er det<br />
samme menneskelig. lidelse kickoff klokka med reprise ting skal<br />
kvernes gjennom vi liker å. bli knust rettferdiggjørelse av alt tiden lager<br />
alle sår. Vi forestiller oss. lineært uendelige som en språklig egenskap en<br />
instruksjon (vs 'unstruction'). vi gir oss selv. Er den en malplassert<br />
sirkulær uendelighet Ting går stort. sett. rundt nye ting kvernes inn.<br />
Modulo konstrueres som en mekanisme som kverner. tid slik tid<br />
kverner ting. Tidspatafysikk etterat tidsmetafysikken gikk i stå.. <strong>Re</strong>f.<br />
Pulskt La Staux anyhr.. Er jeg trøtt eller dum. Jeg ser om det er hull.<br />
Tenker etter om det er noe mellom og . Tenker en. gang. til. Nei. Ikke<br />
noe mellom og . Får lyst til å putte noe mellom der. Det er. ingen<br />
naturlighet i noe. kan ligge mellom og . Stakkars . Kunsten ligger.<br />
mellom og . Stakkars kunst den fins ikke. Den kan slå seg sammen med<br />
som. fins. entries for silly. Kunsten er salig dvs også dum. Tror det er<br />
bedre. med. dum kunst enn smart. Kunsten er salig også fordi den er død.<br />
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Å drive med kunst. er ganske latterlig. Slik som religion. Det er mulig vi<br />
har kunsten som. religion. nå kuratorer som viser hva du ser konstruerte<br />
utstillinger av utstilte ting. som er konstruerte som denne setningen. Det<br />
var et Jehovas Vitne på døra idag. syns nesten synd på han dårlig vær var det<br />
og han virket snill dvs dum og. salig på sett og vis (Å kalle noen dum er<br />
fornærmende å kalle noen smart er. også fornærmende samt normal og<br />
unormal). Kunne han gått rundt som et. Kunstvitne mellom og<br />
Fringereligion bare tro på det umulige det som. ennå. er umulig det<br />
virkelige er det ingen vits å tro på siden det finnes det. mulige er bare<br />
spekulativt og ekkelt da gjenstår det umulige det som ikke. finnes ikke<br />
kan finnes etc. Det trenger virkelig din støtte. Kontonr. ... Les dette<br />
bladet. Kunsten finnes ikke er det derfor den stadig. må skapes aha.. Er<br />
det som reelle tall ikke naturlige samt de irrasjonelle. og. imaginære alt<br />
som kan regnes på Kunst som symbolsk regning fins tallene If. you're<br />
lured into parting with your lolly you could be lumbered. Kunsten må.<br />
passe på så den hele tiden ikke finnes. Hele tiden ikke finnes gir den fra.<br />
seg. tallene blir den arrestert. Så den sier den ligger mellom og i den<br />
reelle. eller virtuelle tallstrømmen. Så må vi regne etter vi tror du ligger<br />
mellom. og brøken blir grense og brudd. De naturlige tallene er svært.<br />
naive blir svimle av enkle diagonaler vi spurte nå bare hvis du er og han.<br />
er. hvorfor skulle det være så vanskelig å dra en linje mellom dere Nei vi.<br />
finner det ikke ut du må forhøre deg med kunsten selv den vet sånt<br />
adresse. mellom og et sted her er telefonnummeret ja du må regne det ut<br />
selv. Kan. det være en måte å komprimere på at ligger i dårlig. eksempel men<br />
at et irrasjonelt tall inneholder enhver tallkombinasjon et sted. i. rekka så<br />
kan vi få ut et hvilket som helst sekvens ved å spesifisere bare. start og<br />
sluttnummer i rekka el. andre operasjoner Hvor langt før vi finner. igjen<br />
et fødselsnummer Kunsten er uendelig og finnes ikke OK men vi kan.<br />
regne på den og da fins den den fins i selve utregningen. Hele elefanten.<br />
kommer. gjennom så hvorfor kommer ikke den lille halen gjennom Spor<br />
i leverposteien. Prøv å holde den igjen i halen så får du se.. for (ii for (jj if<br />
(ij . and ij .). print ij .ij.n. ..... ..... krkaen v. for for imagetamaguchi.<br />
aliasHJEMMESIDE. lumber log. SPECTRE list for media culture in<br />
Deep Europe. Info archive and help. . Subject of thought. Topic. N.. of<br />
thought material for thought food for. the mind mental pabulum..<br />
subject matter matter theme. Grk topic what it is about thesis text<br />
business. affair matter in hand argument motion resolution. head<br />
chapter case point proposition theorem. field of inquiry moot point<br />
problem c. (question). .. V. float in the mind pass in the mind c. .. Adj.<br />
thought of uppermost in the mind in petto.. Adv. under consideration in<br />
566
question in the mind on. foot on the carpet on the docket on the<br />
tapisobs. relative to c. .. Material is copyleft noemata unless otherwise<br />
stated.. Kindly supported by Norsk Kulturråd Kunst og. Ny<br />
TeknologiThe Norwegian Council of Cultural Affairs. Art and New<br />
Technology.. Hosting provided by Kunstnett NorgeArtnet Norway..<br />
Webmaster. noematakunst.no. . . . . .. ) ). () ( ( ( o (. ). Topic. N..<br />
noemata.netMD. .noemata.netMD. w.noemata.netMD.<br />
web.noemata.net. chtonline v. release. cht v.. chthonian textscrambler<br />
and chatbrowser. category kickware. couldn't figure out how. chtonline<br />
works.... for example this link. noemata.netchtonlinecht.txt. gives error<br />
couldn't upload files url submission gives no effect.. could you please<br />
send some hints. i can only guess what it should do. at this point. should<br />
be working (roughly) as. interface is kick and respond. view cht.txt log<br />
of dialogue. delete cht.txt deletes this file. empty table empties the<br />
dbtable start from scratch. chatinput talk to the materialpages in cache.<br />
upload file upload local file into cache. open url reads webpage into<br />
cache. search upload a search into cache. send text input talk (no<br />
userside log). faq this. src sourcecode. post editsend dialogue (cht.txt)<br />
to mail and news. usagecontext. textscrambler tool markovchain type.<br />
chatbrowser open url search and chat to the page(s) instead of.<br />
browsing. spammerjammer posting functionality. blackboxwhitecube<br />
implicitytransparency simplescrambled. quickdirty collaborativeabrupt.<br />
additional info. copyleft. Noemata. noematakunst.no. all hang out. the<br />
cows and tired. faster than his nose. has her eyes that path. colder than<br />
words. like being shot in a new ball is gored. pack it in a leg. break the<br />
worm. easier said brain for different folks. You get someone loses an<br />
alley cat. Get out of July. she would be a kid. More thrust then get the<br />
grave. set like a wall. Hotter than two fleas on his thunder. something<br />
good for the hinges of his back. give and truly. reamed him down the<br />
bullet. She could be wished. bright and The old heaveho. Slicker than a<br />
room looks like a cat in the hell in every branch. If you the wagons. a<br />
small circle of him. let yet another day. I will turn in a tattle tale. turn<br />
back the plank. warms the brighter side of the hand into it. asdlkj sss s s<br />
s s s s s s s s s s s s s s. s s s asf asf asf asfd asf. FOR SALE. BOK<br />
Maria Futura Hel Dialoger. LITEN BOKUTGIVELSE. Fra forlaget<br />
noemata. mariadialoger. Maria Futura Hel Dialoger. dialoger.html k<br />
oct. dialoger.html k sep. dialoger.html k jul. dialoger.html k apr.<br />
dialoger.html k dec. dialoger.html k sep. dialoger.html k may.<br />
utdrag.txt k jan. dialoger.html k jan. dialoger.html k nov. dialoger.html<br />
k aug. dialoger.html k apr. dialoger.html k jan. dialoger.html k jul.<br />
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dialoger.html k may. Noemata.net. M . ord . linjer mill. tegn. sider a<br />
linjer. ...... <strong>Re</strong> <strong>Re</strong>flections on M.. Fritzlanging.... The eyes of Dr.<br />
Mabuse. peer down upon our frail machinic somniloquy. the workers of<br />
metropolis far underground. are tugging levers in a labyrinth of steam<br />
and dials. The Android Mary gives birth to Sacred <strong>Re</strong>volutions. Peter<br />
Lorre watches a fly crawl across a window sill. the slouching behemoth<br />
is a microinfantile dot in an unmapped region. but the Mob is closing<br />
in.... History is a painting... Journey to the Lost City. where the Tiger of<br />
Bengal. whose stripes prefigure written language. for one of unspoken<br />
sense. waits to pounce. upon Fritz Langue. Langue on the Fritz.<br />
Fritzlanguage. Friztlanging. longing. Secret Beyond the Door.... Takk<br />
til utallige anonyme brukere.. Courtesy of Palafax Solipsigossa.. Bj. M..<br />
. e k u n s t . ofwwglf uwil ouwtanjgp h. This is a multipart message in<br />
MIME format.... chyphermodern maginery by Noone.. k wr aogeyn<br />
ryurgakuu ujjbg qzjb g.<br />
568
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inline filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. e k u n s t. listeadresse eekunst.no. kontaktadresse<br />
listmasterekunst.no. <strong>Re</strong> . e k u n s t . <strong>Re</strong> How to unsubscribe. Please. yo<br />
instructions are in the header of each mail which is fairly customary ie.<br />
robotekunst.no. unsubscribe e. So why are pepole living I liked den last<br />
spam fra af btw more of det. .bj. For immediate relase for immediate<br />
release. FOR IMMEDIATE RELEASE. For immediate release. a<br />
project by noemata. Noemata is a drastic open content art server<br />
meaning anybody can take. part immediately and uninhibited.. The art<br />
part being broadly defined or rather not defined or exactly as. its<br />
diffusion disappearance into context and spectral reemergence.<br />
haunting itself 'I am alive. Am I alive' in a contemporary art. cogito<br />
ergo sum loop the circularity of it of course keeping it alive. though it<br />
might be dead and probably is by the token of its incessant. querying.<br />
So it's a kind of artificial art much like the intelligence. of artificial<br />
intelligence.. The policy is to support collaboration community<br />
transparency immediacy. in the arts net.art media art<br />
correspondencemail art network art. context art or other otherness and<br />
marginal artifactualizations.. We tried that and it didn't work. So this is<br />
'open content' of a more. catastrophic kind of the dispersal of content<br />
or the metastasis or. disappearance of content (in the jargon of<br />
Baudrillard). Also being. contented with things not working and<br />
actually more fascinated by the. failures and drifting of things than<br />
producing them as art or anything. open being more like cracked open<br />
or a core dump of codegerm artsperm. and their entanglements and<br />
confusion of layers inoutside opencontent. generativedegenerative<br />
avataratavar of space time and structures. intermingling and<br />
proliferating more or less on their own by their own. automatic<br />
recursive mating. This 'release' of the server is not only as. permission<br />
or publication but a giving up kind of release. Giving up. letting it drift<br />
distribute or disperse unsupervised and giving up. that risking complete<br />
annihilation any point beyond the loop survival.. In short this site is<br />
569
handed over to its fate may you live and prosper. by your own devicing<br />
noematic schemes for good and evil. Klas Oldanburg is elected<br />
ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn<br />
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to<br />
anybody like the viral noemata. are selfmating thought objects not<br />
objects not subjectobjects maybe. objectobjects without object (like<br />
spamspam without spam). <strong>Re</strong>quests. problems complaints (eg about<br />
spam) may be directed to the ombudsman. though he may ignore you as<br />
this is open content and discontent.. The noemata server contains<br />
material and traces back to of mail. art kz media fanzine networks up to<br />
today's machininc spam permutation. of nothings in a defaced mesh as<br />
proper skinning. You're invited to add. modify or remove material on<br />
the server as part of the release.. ftp ftpbjornmagSobjectkunst.no. mail<br />
noematakunst.no (fwd to ombudsman changeable address). mailinglist<br />
noemataegroups.com. alias telemata.net arspublica.com<br />
auto.noemata.net. Login via ftp to downloadeditupload material to the<br />
server. Of course. you're encouraged to download and distribute the<br />
material also as backup. in case things on the server are utterly deleted..<br />
Nominally Noemata is constituted as a group identity and you're<br />
invited. adopt the nym as you please without any interventions or<br />
another nym. associated with noemata in order to further the<br />
dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny<br />
Teknologi The. Norwegian Council of Cultural Affairs Art and New<br />
Technology.. Hosting generously provided by Kunstnett NorgeArtnet<br />
Norway.. Thanks to a number of people for supporting the efforts over<br />
time.. ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( (<br />
o (. ). . e k u n s t . For immediate relase for immediate release. This is a<br />
multipart message in MIME format.... ContentType textplain<br />
charsetiso. FOR IMMEDIATE RELEASE. For immediate release. a<br />
project by noemata. Noemata is a drastic open content art server<br />
meaning anybody can take. part immediately and uninhibited.. The art<br />
part being broadly defined or rather not defined or exactly as. its<br />
diffusion disappearance into context and spectral reemergence.<br />
haunting itself 'I am alive. Am I alive' in a contemporary art. cogito<br />
ergo sum loop the circularity of it of course keeping it alive. though it<br />
might be dead and probably is by the token of its incessant. querying.<br />
So it's a kind of artificial art much like the intelligence. of artificial<br />
intelligence.. The policy is to support collaboration community<br />
transparency immediacy. in the arts net.art media art<br />
correspondencemail art network art. context art or other otherness and<br />
570
marginal artifactualizations.. We tried that and it didn't work. So this is<br />
'open content' of a more. catastrophic kind of the dispersal of content<br />
or the metastasis or. disappearance of content (in the jargon of<br />
Baudrillard). Also being. contented with things not working and<br />
actually more fascinated by the. failures and drifting of things than<br />
producing them as art or anything. open being more like cracked open<br />
or a core dump of codegerm artsperm. and their entanglements and<br />
confusion of layers inoutside opencontent. generativedegenerative<br />
avataratavar of space time and structures. intermingling and<br />
proliferating more or less on their own by their own. automatic<br />
recursive mating. This 'release' of the server is not only as. permission<br />
or publication but a giving up kind of release. Giving up. letting it drift<br />
distribute or disperse unsupervised and giving up. that risking complete<br />
annihilation any point beyond the loop survival.. In short this site is<br />
handed over to its fate may you live and prosper. by your own devicing<br />
noematic schemes for good and evil. Klas Oldanburg is elected<br />
ombudsman in this viral stage releasing Monty. Cantsin aka Bjorn<br />
Matronym isolQMaFntiKentsFn. . Klas Oldanburg doesn't refer to<br />
anybody like the viral noemata. are selfmating thought objects not<br />
objects not subjectobjects maybe. objectobjects without object (like<br />
spamspam without spam). <strong>Re</strong>quests. problems complaints (eg about<br />
spam) may be directed to the ombudsman. though he may ignore you as<br />
this is open content and discontent.. The noemata server contains<br />
material and traces back to of mail. art kz media fanzine networks up to<br />
today's machininc spam permutation. of nothings in a defaced mesh as<br />
proper skinning. You're invited to add. modify or remove material on<br />
the server as part of the release.. ftp ftpbjornmagSobjectkunst.no. mail<br />
noematakunst.no (fwd to ombudsman changeable address). mailinglist<br />
noemataegroups.com. alias telemata.net arspublica.com<br />
auto.noemata.net. Login via ftp to downloadeditupload material to the<br />
server. Of course. you're encouraged to download and distribute the<br />
material also as backup. in case things on the server are utterly deleted..<br />
Nominally Noemata is constituted as a group identity and you're<br />
invited. adopt the nym as you please without any interventions or<br />
another nym. associated with noemata in order to further the<br />
dissociations.. Kindly supported by Norsk Kulturråd Kunst og Ny<br />
Teknologi The. Norwegian Council of Cultural Affairs Art and New<br />
Technology.. Hosting generously provided by Kunstnett NorgeArtnet<br />
Norway.. Thanks to a number of people for supporting the efforts over<br />
time.. ombudsman. Klas Oldanburg. noematakunst.no. . . . . .. ) ). () ( ( (<br />
571
o (. ). ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
ContentTransferEncoding bit. post distribuert via. e k u n s t.<br />
listeadresse eekunst.no. kontaktadresse listmasterekunst.no. Be My<br />
Ghost The One and the Other. Be My Ghost The One and the Other.<br />
End texts of a patagonistic artwork and context play. ). ). vy ht. A<br />
strange pride incites us not only to possess the other but also to. force<br />
the other's secret out of him not only to be dear to the other. but also to<br />
be fatal to him. To play the minence grise gray eminence. in the other's<br />
life.. ( (. ) ). In Sophie Calle's La Suite vnitienne S. decides one day to<br />
give an. extra dimension to this experiment by following a man she<br />
barely knows. throughout a trip he is making to Venice. She manages to<br />
locate the. hotel where he is staying. She rents a room opposite so that<br />
she can. observe his coming and goings. She photographs him<br />
continually. She. wants nothing from him has no desire to know him.<br />
Since he might. recognize her she disguises herself as a blonde. But<br />
Carnival holds no. attraction for her and she spends a fortnight<br />
surmounting endless. difficulties in order to keep on the trail of her<br />
prey. She questions. people in the shops he visits she knows which<br />
shows he goes to. She. even knows the exact time of his return to Paris<br />
and goes to await his. arrival so that she can take a last snapshot of<br />
him.. Does she want him to kill her Does she want him to find her<br />
pursuit. so intolerable (especially since she wants nothing out of it least<br />
of. all romance) that he will attack her physically or turn on her like.<br />
Orpheus on Eurydice and make her disappear Is she hoping that things.<br />
will suddenly be reversed and that He will become Her destiny Like all.<br />
games this one too has its fundamental rule nothing must happen that.<br />
might facilitate a contact or a relationship betwen them. The secret.<br />
must not be revealed for fear of falling into banality.. ) ) ) ) (. We<br />
should not say 'The other exists I have met him' but instead. 'The other<br />
exists I have followed him'. Meeting information is always. too real too<br />
direct too indiscreet. There is no secret involved. Think. of how people<br />
meeting each otherare forever recognizing each other. forever reciting<br />
their identities (just as people who love each other. are forever telling<br />
each other so). Can they be so sure of themselves. Does encountering<br />
the other really prove that he exists Nothing could. be more doubtful.<br />
On the other hand if I followed the other secretly. he exists precisely<br />
because I do not know him because I do not want. know him nor to<br />
have him recognize me. He exists because without. having chosen to I<br />
exercise a deadly right over him the right to. follow. Without ever<br />
572
having approached him I know him better than. anyone. I can even<br />
leave him as S. does in La Suite vnitienne with. the certitude that I shall<br />
find him again tomorrow in the labyrinth of. the city in accordance with<br />
a sort of astral conjunction (because the. city is curved because space is<br />
curved because the rules of the game. inevitably puts the two<br />
protagonists back on the same orbit).. The only way to avoid<br />
encountering someone is to follow him. (according to a principle<br />
opposed to the principle of the labyrinth. where you follow someone so<br />
that you do not lose him). Implicit in the. situation however is the<br />
dramatic moment when the one being followed. suddenly intuiting<br />
suddenly becoming conscious that there is someone. behind him swings<br />
round and spots his pursuer. Then the rules are. reversed and the hunter<br />
becomes the hunted (for there is no escaping. laterally). The only truly<br />
dramatic point is this unexpected. turningaround of the other who<br />
insists upon knowing and damns the. consequences.. This reversal does<br />
in fact occur in the Venice scenario. The man. comes towards her and<br />
asks her 'What do you want' She wants nothing.. No mystery story no<br />
love story. This answer is intolerable and implies. possible murder<br />
possible death. Radical otherness always embodies the. risk of death.<br />
S.'s anxiety revolves entirely around this violent. revelation the<br />
possibility of getting herself unmasked the very thing. she is trying to<br />
avoid.. S. could have met this man seen him spoken to him. But in that<br />
case. she would never have produced this secret form of the existence<br />
of the. Other. The Other is the one whose destiny one becomes not by<br />
making his. aquintance in difference and dialogue but by entering into<br />
him as into. something secret something forever separate. Not by<br />
engaging in a. conversation with him as his shadow as his double as his<br />
image by. embracing the Other the better to wipe out his tracks the<br />
better to. strip him of his shadow. The Other is never the one with<br />
whom we. Communicate he is the one who we follow and who follows<br />
us.. The other is never naturally the other the other must be rendered.<br />
other be being seduced by being made alien to himself even by being.<br />
destroyed if there is no alternative (but in fact there are subtler. ways of<br />
achieving this end).. eeeeee. eeeeeeeeeeeeeeeee. eeeeeeee.<br />
eeeeeeeeeeeeeeee. e. eeeeeeeeeeeeeee. ). ) () Seduction knows that the<br />
other is. never the end of desire that the subject is mistaken when he<br />
focuses on. what he loves just as an utterance is mistaken when it<br />
focuses on what. it says. Secrecy here is always the secrecy of artifice.<br />
The necessity. of always focusing somewhere else of never seeking the<br />
other in the. terrifying illusion of dialogue but instead following the<br />
573
other like the. other's own shadow and circumscribing him. Never<br />
being oneself but. never being alienated either coming from without to<br />
inscribe oneself. upon the figure of the Other within that strange form<br />
from elsewhere. that secret form which orders not only chains of events<br />
but also. existences in their singularity.. w...d. w....d ...dw... wdwd w..d<br />
wdwd .w.d. .w..... w....d. ..w ..' ..'GdwP.. .dw.' ..'G.d .... ..PG.. ..'GP ..'.<br />
.oooG' ..oooo ...... .dw.' .. ..ooo.. .... .do. ... .d. .. ...... .. ..ooo .... .... G.d.<br />
... ..w ... ...... .. .... .... .dw.' wd.w ... G...P' G....P GPGPGP GP G..P<br />
GPGP G.P' ....G' GP. Patagonia. Phantasy of disappearance. The<br />
disappearance of the. Indians your own disappearance that of all culture<br />
all landscape in. the bleakness of your mists and ice... The last word<br />
here is that is is. better to put an end to a process of creeping<br />
disappearance (ours) by. means of a live sojourn in a Visible form of<br />
disappearance. All. translations into action are imaginary solutions.<br />
That is why. 'Patagonia' goes so well with 'Pataphysics' which is the<br />
science of. imaginary solutions. Pataphysics and agonistics<br />
Patagonistics.. ). The Other. is my guest. Not someone who is legally<br />
equal though different but a. foreigner a stranger ) (. ( )( (. extraneous..<br />
And for this very reason his strangeness has to be exorcized.. Otherness<br />
denied becomes a spectre and returns in the form of a. selfdestructive<br />
process. This too is the transparency of evil.. Alienation is no more the<br />
Other as gaze the Other as mirror the Other. as opacity all are gone.<br />
Henceforward it is the transparency of others. that represents absolute<br />
danger. Without the Other as mirror as. reflecting surface consciousness<br />
of self is threatened with irradiation. in the void.. The utopia of the end<br />
of alienation has likewise disappeared. The. has not succeeded in<br />
negating himself as subject within the. framework of a totalization of<br />
the world. A determinate negation of the. no longer exists all that<br />
remains is a lack of determinacy as. the position of the subject and the<br />
position of the other. Abandoned. this indeterminacy the subject is<br />
neither the one nor the other he. is merely the Same. Division has been<br />
replaced by mere propagation. and. whereas the other may always<br />
conceal a second other the Same never. conceals anything but itself.. (<br />
(). Each of. use lives by setting traps for the other. The one and the<br />
other live in. an endless affinity. ( an. affinity which endures until<br />
prostration decides the issue.. Everyone Wants their. other.. .. Everyone<br />
has an imperious need to put the other at their mercy along. with a<br />
heady urge to make the other last as long as possible so as to. savour<br />
him.. The opposing logics of the lie. and the truth unite in a dance of<br />
death which is nothing but pure. delight at the other's demise. For the<br />
574
desire for the other is always. the desire to put and end to the other<br />
(albeit perhaps at the latest. possible moment). The only question is<br />
which one will hold out the. longest occupying the space the speech.<br />
the silence the very inner world of the other. who is dispossessed of<br />
himself at the very moment when he becomes one in. his difference.<br />
Not that one kills the other the adversary is simply. harassed into<br />
desiring into willingly acceding to his own symbolic. death . . . The<br />
world is a perfectly functioning trap.. An otherness a foreignness that is<br />
ultimately unintelligible such. is the secret of the form and the<br />
singularity of the emergence of the. other.. So. the secret of philosophy<br />
may not be to know oneself nor to know where. one is going but rather<br />
to go where the other is going not to dream. oneself but rather to dream<br />
what others dream... Today when people. have lost their shadows it is<br />
of the utmost importance to be followed. by someone today when<br />
everyone is losing their own tracks it is of. the utmost urgency that<br />
someone be on your tracks even if he wipes them. out and makes you<br />
disappear as a result at least your disappearance. will have occured in a<br />
collusive mode at least a symbolic form of. obligation an enigmatic<br />
form of conjunction and disjunction will have. been brought into play..<br />
C. end of text x etx. THE END. 'The One and the Other'. sluttekster<br />
fra. BeMyGhost. BMnoemata. Takk til alle som gjorde dette prosjektet<br />
mulig i tillegg til virkelig. og umulig.. Spesiell og hjertelig takk går til<br />
herStayMH.. Jeg vil også beklage og unnskylde overfor MH og andre for<br />
hvem dette kan. ha vært en personlig belastning. Jeg mener BMG var<br />
nødvendig og. forsvarer verket og den utformingen det fikk ut fra etiske<br />
oppfatninger. like mye som jeg gråter noen tårer over utfallet. Uten en<br />
andel. fandenivoldskhet ville det ikke vært mulig.. Med dette settes<br />
sluttstrek for prosjektet BeMyGhost hva angår. noemataBM. Gjenstridig<br />
visning og saksbehandling må heretter anses som. kunstanmeldelse på<br />
linje med annen kunstkritikk. Det ligger i. monsternaturen til prosjektet å<br />
motsette seg kontroll og sin egen. sluttføring men skulle det mot<br />
formodning begynne å røre på seg igjen. ønsker jeg ikke lenger ansvar for å<br />
ha holdt liv i det. Mange av sporene fra BMG er allerede borte slik de<br />
groteske. Gorgonskikkelsene alltid får sine spor slettet eller blir til stein.<br />
om de ikke sørger for å slette egne spor mens de går. Det samme gjelder.<br />
denne posten eller andre på postlister og web som finnes eller ikke.<br />
finnes lenger der de hadde sin funksjon i å komme tilsyne og bli vist.<br />
mer enn å bli bevart for ettertiden konstruksjonen er selvfølgelig.<br />
selvdestruktiv lagd som en transient forgjengelig figur. transformerende<br />
viskeral viral noe som oppløser og sprer seg når det. kommer tilsyne slik<br />
575
Det Andre ikke kan bli noe annet enn et spøkelse. en spøk.. Var det en<br />
spøk. Hva mener det selv. Note the spirit's uncertainty as to his own<br />
success in appearing. The. priest wonders if he really saw anything. The<br />
spirit affirms that. 'The body was there if you saw it.'.. En god og<br />
fredelig vinter ønskes alle. Mvh. Bj. M.. Noter. Engelske<br />
tekstfragmenter. The transparency of evil. J Baudrillard. essays on<br />
extreme phenomena. Asciiart. Monty Cantsin. neoist. Spirit sitat.<br />
Nohstykket Chorio. the ghost play. Webspor. noemata.netbmg.<br />
noemata.netblurB. bemyghost.net. noemata.net. ashTrey.net. ekunst.no.<br />
kunst.nopipermail. Be My Ghost The One and the Other. Be My Ghost<br />
The One and the Other. End texts of a patagonistic artwork and context<br />
play. ). ). vy ht. A strange pride incites us not only to possess the other<br />
but also to. force the other's secret out of him not only to be dear to the<br />
other. but also to be fatal to him. To play the minence grise gray<br />
eminence. in the other's life.. ( (. ) ). In Sophie Calle's La Suite<br />
vnitienne S. decides one day to give an. extra dimension to this<br />
experiment by following a man she barely knows. throughout a trip he<br />
is making to Venice. She manages to locate the. hotel where he is<br />
staying. She rents a room opposite so that she can. observe his coming<br />
and goings. She photographs him continually. She. wants nothing from<br />
him has no desire to know him. Since he might. recognize her she<br />
disguises herself as a blonde. But Carnival holds no. attraction for her<br />
and she spends a fortnight surmounting endless. difficulties in order to<br />
keep on the trail of her prey. She questions. people in the shops he<br />
visits she knows which shows he goes to. She. even knows the exact<br />
time of his return to Paris and goes to await his. arrival so that she can<br />
take a last snapshot of him.. Does she want him to kill her Does she<br />
want him to find her pursuit. so intolerable (especially since she wants<br />
nothing out of it least of. all romance) that he will attack her physically<br />
or turn on her like. Orpheus on Eurydice and make her disappear Is she<br />
hoping that things. will suddenly be reversed and that He will become<br />
Her destiny Like all. games this one too has its fundamental rule<br />
nothing must happen that. might facilitate a contact or a relationship<br />
betwen them. The secret. must not be revealed for fear of falling into<br />
banality.. ) ) ) ) (. We should not say 'The other exists I have met him'<br />
but instead. 'The other exists I have followed him'. Meeting<br />
information is always. too real too direct too indiscreet. There is no<br />
secret involved. Think. of how people meeting each otherare forever<br />
recognizing each other. forever reciting their identities (just as people<br />
who love each other. are forever telling each other so). Can they be so<br />
576
sure of themselves. Does encountering the other really prove that he<br />
exists Nothing could. be more doubtful. On the other hand if I followed<br />
the other secretly. he exists precisely because I do not know him<br />
because I do not want. know him nor to have him recognize me. He<br />
exists because without. having chosen to I exercise a deadly right over<br />
him the right to. follow. Without ever having approached him I know<br />
him better than. anyone. I can even leave him as S. does in La Suite<br />
vnitienne with. the certitude that I shall find him again tomorrow in the<br />
labyrinth of. the city in accordance with a sort of astral conjunction<br />
(because the. city is curved because space is curved because the rules of<br />
the game. inevitably puts the two protagonists back on the same orbit)..<br />
The only way to avoid encountering someone is to follow him.<br />
(according to a principle opposed to the principle of the labyrinth.<br />
where you follow someone so that you do not lose him). Implicit in the.<br />
situation however is the dramatic moment when the one being<br />
followed. suddenly intuiting suddenly becoming conscious that there is<br />
someone. behind him swings round and spots his pursuer. Then the<br />
rules are. reversed and the hunter becomes the hunted (for there is no<br />
escaping. laterally). The only truly dramatic point is this unexpected.<br />
turningaround of the other who insists upon knowing and damns the.<br />
consequences.. This reversal does in fact occur in the Venice scenario.<br />
The man. comes towards her and asks her 'What do you want' She<br />
wants nothing.. No mystery story no love story. This answer is<br />
intolerable and implies. possible murder possible death. Radical<br />
otherness always embodies the. risk of death. S.'s anxiety revolves<br />
entirely around this violent. revelation the possibility of getting herself<br />
unmasked the very thing. she is trying to avoid.. S. could have met this<br />
man seen him spoken to him. But in that case. she would never have<br />
produced this secret form of the existence of the. Other. The Other is<br />
the one whose destiny one becomes not by making his. aquintance in<br />
difference and dialogue but by entering into him as into. something<br />
secret something forever separate. Not by engaging in a. conversation<br />
with him as his shadow as his double as his image by. embracing the<br />
Other the better to wipe out his tracks the better to. strip him of his<br />
shadow. The Other is never the one with whom we. Communicate he is<br />
the one who we follow and who follows us.. The other is never<br />
naturally the other the other must be rendered. other be being seduced<br />
by being made alien to himself even by being. destroyed if there is no<br />
alternative (but in fact there are subtler. ways of achieving this end)..<br />
eeeeee. eeeeeeeeeeeeeeeee. eeeeeeee. eeeeeeeeeeeeeeee. e.<br />
577
eeeeeeeeeeeeeee. ). ) () Seduction knows that the other is. never the end<br />
of desire that the subject is mistaken when he focuses on. what he loves<br />
just as an utterance is mistaken when it focuses on what. it says.<br />
Secrecy here is always the secrecy of artifice. The necessity. of always<br />
focusing somewhere else of never seeking the other in the. terrifying<br />
illusion of dialogue but instead following the other like the. other's own<br />
shadow and circumscribing him. Never being oneself but. never being<br />
alienated either coming from without to inscribe oneself. upon the<br />
figure of the Other within that strange form from elsewhere. that secret<br />
form which orders not only chains of events but also. existences in their<br />
singularity.. w...d. w....d ...dw... wdwd w..d wdwd .w.d. .w..... w....d.<br />
..w ..' ..'GdwP.. .dw.' ..'G.d .... ..PG.. ..'GP ..'. .oooG' ..oooo ...... .dw.'<br />
.. ..ooo.. .... .do. ... .d. .. ...... .. ..ooo .... .... G.d. ... ..w ... ...... .. .... ....<br />
.dw.' wd.w ... G...P' G....P GPGPGP GP G..P GPGP G.P' ....G' GP.<br />
Patagonia. Phantasy of disappearance. The disappearance of the.<br />
Indians your own disappearance that of all culture all landscape in. the<br />
bleakness of your mists and ice... The last word here is that is is. better<br />
to put an end to a process of creeping disappearance (ours) by. means<br />
of a live sojourn in a Visible form of disappearance. All. translations<br />
into action are imaginary solutions. That is why. 'Patagonia' goes so<br />
well with 'Pataphysics' which is the science of. imaginary solutions.<br />
Pataphysics and agonistics Patagonistics.. ). The Other. is my guest.<br />
Not someone who is legally equal though different but a. foreigner a<br />
stranger ) (. ( )( (. extraneous.. And for this very reason his strangeness<br />
has to be exorcized.. Otherness denied becomes a spectre and returns in<br />
the form of a. selfdestructive process. This too is the transparency of<br />
evil.. Alienation is no more the Other as gaze the Other as mirror the<br />
Other. as opacity all are gone. Henceforward it is the transparency of<br />
others. that represents absolute danger. Without the Other as mirror as.<br />
reflecting surface consciousness of self is threatened with irradiation. in<br />
the void.. The utopia of the end of alienation has likewise disappeared.<br />
The. has not succeeded in negating himself as subject within the.<br />
framework of a totalization of the world. A determinate negation of the.<br />
no longer exists all that remains is a lack of determinacy as. the position<br />
of the subject and the position of the other. Abandoned. this<br />
indeterminacy the subject is neither the one nor the other he. is merely<br />
the Same. Division has been replaced by mere propagation. and.<br />
whereas the other may always conceal a second other the Same never.<br />
conceals anything but itself.. ( (). Each of. use lives by setting traps for<br />
the other. The one and the other live in. an endless affinity. ( an. affinity<br />
578
which endures until prostration decides the issue.. Everyone Wants<br />
their. other.. .. Everyone has an imperious need to put the other at their<br />
mercy along. with a heady urge to make the other last as long as<br />
possible so as to. savour him.. The opposing logics of the lie. and the<br />
truth unite in a dance of death which is nothing but pure. delight at the<br />
other's demise. For the desire for the other is always. the desire to put<br />
and end to the other (albeit perhaps at the latest. possible moment). The<br />
only question is which one will hold out the. longest occupying the<br />
space the speech. the silence the very inner world of the other. who is<br />
dispossessed of himself at the very moment when he becomes one in.<br />
his difference. Not that one kills the other the adversary is simply.<br />
harassed into desiring into willingly acceding to his own symbolic.<br />
death . . . The world is a perfectly functioning trap.. An otherness a<br />
foreignness that is ultimately unintelligible such. is the secret of the<br />
form and the singularity of the emergence of the. other.. So. the secret<br />
of philosophy may not be to know oneself nor to know where. one is<br />
going but rather to go where the other is going not to dream. one is<br />
going but rather to go where the other is going not to dream<br />
579
231<br />
oneself but rather to dream what others dream... Today when people.<br />
have lost their shadows it is of the utmost importance to be followed.<br />
by someone today when everyone is losing their own tracks it is of. the<br />
utmost urgency that someone be on your tracks even if he wipes them.<br />
out and makes you disappear as a result at least your disappearance.<br />
will have occured in a collusive mode at least a symbolic form of.<br />
obligation an enigmatic form of conjunction and disjunction will have.<br />
been brought into play.. C. end of text x etx. THE END. 'The One and<br />
the Other'. sluttekster fra. BeMyGhost. BMnoemata. Takk til alle som<br />
gjorde dette prosjektet mulig i tillegg til virkelig. og umulig.. Spesiell<br />
og hjertelig takk går til herStayMH.. Jeg vil også beklage og unnskylde<br />
overfor MH og andre for hvem dette kan. ha vært en personlig<br />
belastning. Jeg mener BMG var nødvendig og. forsvarer verket og den<br />
utformingen det fikk ut fra etiske oppfatninger. like mye som jeg gråter<br />
noen tårer over utfallet. Uten en andel. fandenivoldskhet ville det ikke<br />
vært mulig.. Med dette settes sluttstrek for prosjektet BeMyGhost hva<br />
angår. noemataBM. Gjenstridig visning og saksbehandling må heretter<br />
anses som. kunstanmeldelse på linje med annen kunstkritikk. Det ligger<br />
i. monsternaturen til prosjektet å motsette seg kontroll og sin egen.<br />
sluttføring men skulle det mot formodning begynne å røre på seg igjen.<br />
ønsker jeg ikke lenger ansvar for å ha holdt liv i det. Mange av sporene<br />
fra BMG er allerede borte slik de groteske. Gorgonskikkelsene alltid får<br />
sine spor slettet eller blir til stein. om de ikke sørger for å slette egne spor<br />
mens de går. Det samme gjelder. denne posten eller andre på postlister og<br />
web som finnes eller ikke. finnes lenger der de hadde sin funksjon i å<br />
komme tilsyne og bli vist. mer enn å bli bevart for ettertiden<br />
konstruksjonen er selvfølgelig. selvdestruktiv lagd som en transient<br />
forgjengelig figur. transformerende viskeral viral noe som oppløser og<br />
sprer seg når det. kommer tilsyne slik Det Andre ikke kan bli noe annet<br />
enn et spøkelse. en spøk.. Var det en spøk. Hva mener det selv. Note the<br />
spirit's uncertainty as to his own success in appearing. The. priest<br />
wonders if he really saw anything. The spirit affirms that. 'The body<br />
was there if you saw it.'.. En god og fredelig vinter ønskes alle. Mvh.<br />
580
Bj. M.. Noter. Engelske tekstfragmenter. The transparency of evil. J<br />
Baudrillard. essays on extreme phenomena. Asciiart. Monty Cantsin.<br />
neoist. Spirit sitat. Nohstykket Chorio. the ghost play. Webspor.<br />
noemata.netbmg. noemata.netblurB. bemyghost.net. noemata.net.<br />
ashTrey.net. ekunst.no. kunst.nopipermail. Åpen kanal for kunstlivet.<br />
kunst.no. Unngå forsinkelser Ikke. send HTMLformaterte brev.<br />
Opensource digital arts publishing Ars Publica. Opensource digital arts<br />
publishing Ars Publica. opensource development network) at the Prix<br />
Ars Electronica this year the. following question surely needs to be<br />
asked when will art institutions. look sideways at commerce and how<br />
software companies and developers have. adapted to use the network as<br />
a fused combination of space for initiation. collaboration dispersion<br />
distribution and beyond to do likewise for art. forms and disciplines<br />
such as net art. Net art having a long history of. practitioners who are<br />
programmers it seems that obstacles and technical. hurdles lie in the<br />
domain of the institutions rather than the artist.. publisher and agency<br />
established for providing and funding new media art. activities and<br />
resources in affiliation with the art server Noemata.net. currently<br />
supported by the Council of Cultural Affairs in Norway. Yet. cultural or<br />
physical borders don't hold for this open content site.. Through a<br />
norestrictions policy regardless of where the content. originated or what<br />
language is used their policy is to support. collaboration community<br />
transparency and immediacy in the arts net art. media art<br />
correspondencemail art network art context art or other. otherness and<br />
marginal artifactualizations. The server space embraces art. work and<br />
its byproducts in all shapes and forms functioning and non. functioning<br />
in fact it revels in the successes changes and even failures. of the<br />
combinations of art and technology documenting work as it is in an.<br />
almost dadaesque manner.. Individuals and institutions can participate<br />
in two ways they can add. modify or remove material on the server to<br />
contribute to the work or they. can purchase shares of noemata.net....<br />
Shares can be browsed and purchased from the catalogue establishing.<br />
delivered to you prior to your order. Digital art being freely available<br />
on. the net the audiencepotential buyeris already the owner of the art.<br />
work it is already distributed and downloaded by being browsed much<br />
like. quantum mechanics readymades Zen or similar commodities. In<br />
addition. the art of Noemata is opencontent licensed (meaning no fee<br />
can be charged. for it) so that's another problemno order no payment (if<br />
you figure out. a way to pay us we'll consider whether to accept it or<br />
not). By buying. shares of Noemata in the form of art we in Ars Publica<br />
581
fancy having. provided a solution where you can order something you<br />
already possess and. purchase something for which you may not be<br />
charged. These are problematic. issues maybe paradoxical. We'll have<br />
a shot in the arm at it.. While Ars Publica should be felicitated on its<br />
approach it does seem like. the attempt lacks dedication to posterity.<br />
True art can be added in any. way but how is that art contextualized<br />
How does it exist in relation to. the piece next to it And how will it be<br />
cataloged for users. Lastly because of the nature of the work that Ars<br />
Publica contains (often. collaborative contributory and variable) and the<br />
fact that it can contain. many works how do we define the border<br />
between the works and the space. Where are the indications you would<br />
have in a classic space such as a. gallery indications disposed of to free<br />
the space yet possibly to the. compromise of context How do we stop<br />
the space itself from just becoming. an immense collective netart work<br />
in itself Is this good or bad Do we. consider galleries as collective art<br />
works. For more information on Ars Publica and their approach see the<br />
site or. contact arspublicakunst.no. A special feature from Net Art<br />
<strong>Re</strong>view. You can find more reviews and. January. <strong>Re</strong>viewer Garrett<br />
Lynch. URLs. This post dedicated to posterity.. Andeler selges med<br />
takk. B. <strong>Re</strong> Pamphlegm (excerpt ). 'PAMPHLEGM'. BISN BSNI<br />
BNIS SIBN SINB SBNI BINS NIBS NBIS BSIN BNSI Anna in fact.<br />
Astsihrin plaw thog ghrn et al. gryfeiss. Peeoral Iamandidios. postel<br />
miel ard. Gari Jeensin blerb Mam Chrrater Tronclatot.. Ktan Litas Lib<br />
Ur Integerliborent.. Marie Federh Hal Dhaleser Nianeta. Tia<br />
Amihrespnpns Presesd lenphr (rywhoeb). Tii Rigfanshr (seturichl).<br />
hactora c hicterins (seteesgih art). graphocq. Futeru Hul Dealicor<br />
Nahmato. Thy Rosfencer (xaturesil). Addendum. Noetmaa (rde)<br />
acchatron pelw tuhs. atonegm. y omlMm IBSN ger. m. in al. ghpacris<br />
IBSN nIso cP. s. b ul r B Ma. n Cor. i rdor Tntralaesd. pitraugapve<br />
IBSN G uru. Jonehns bluBr Man Cdoriror Tasnaterld. ntaetgtvue IB S.<br />
N. Lab Ur InruLearbtegint. Hertpxeyt sseynhztei r ni h. S BN The<br />
AIShnNyPNrBG Prjoect. <strong>Re</strong> Pamphlegm (excerpt ). 'PAMPHLEGM'.<br />
BISN BSNI BNIS SIBN SINB SBNI BINS NIBS NBIS BSIN BNSI<br />
Anna in fact. Astsihrin plaw thog ghrn et al. gryfeiss. Peeoral<br />
Iamandidios. postel miel ard. Gari Jeensin blerb Mam Chrrater<br />
Tronclatot.. Ktan Litas Lib Ur Integerliborent.. Marie Federh Hal<br />
Dhaleser Nianeta. Tia Amihrespnpns Presesd lenphr (rywhoeb). Tii<br />
Rigfanshr (seturichl). hactora c hicterins (seteesgih art). graphocq.<br />
Futeru Hul Dealicor Nahmato. Thy Rosfencer (xaturesil). Addendum.<br />
Noetmaa (rde) acchatron pelw tuhs. atonegm. y omlMm IBSN ger. m.<br />
582
in al. ghpacris IBSN nIso cP. s. b ul r B Ma. n Cor. i rdor Tntralaesd.<br />
pitraugapve IBSN G uru. Jonehns bluBr Man Cdoriror Tasnaterld.<br />
ntaetgtvue IB S. N. Lab Ur InruLearbtegint. Hertpxeyt sseynhztei r ni h.<br />
S BN The AIShnNyPNrBG Prjoect. lVTREamontag. ligeuon jn V.<br />
SMG l EAR th PLA HDD hodja t AOI XRV malchants OOU mldrr<br />
NRS narja. chact mle lVTRE amontag on a sun aka sephaxon 'l'hror<br />
files gro. divius noscapes wu tang ipsum veneusuvius nous a muse. Aa<br />
sheop veagng. Enaev ssnesdotR. GN rg ajranhea. M groiodlam esl.<br />
PLA HD hodaya t. Rofoat uw tem. tinnhlsyintsvse. Rrs upsum phaa.<br />
SratnomaERTVl c. h day aka seeA. jus nosca hhI. lSnidnv sua b.<br />
mailchant mal. rdlm UOO stnah. tanmalchantspcO. Xnxoev vuiis aA.<br />
aehnaria gr NG. lse mould org M. t a doh DDH ALPlura. met wu<br />
taofoR. aahp muspu srR. c lVTREamontarS. Aees aka yad h. Ihh acson<br />
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ERSTVaclmnort. Aadehksy. Iachjnosu. Sabdilnsuv. achilmnt. w'd.<br />
sboeathi. us. Name Last modified Size. Parent Directory Feb. no.jpg<br />
Mar k. no.jpg Jan k. no.jpg Jan k. no.jpg May k. no.jpg Sep k. nta.jpg<br />
Mar k. vns.jpg Dec k. Apache.. Server at noemata.net Port.<br />
lVTREamontag. SMG l EAR th ALP HDD hadja t AOI XRV<br />
malchants OOU mldrr NRS. chact mle lVTRE amontag on a sun aka<br />
seph axon 'l'hror files. grodiva nouscapes wu tang ipsum veneusuvius a<br />
muse um mould. M GNaeghinr Mdeglmorsu ADHLPadhlortu Raefmot.<br />
uw Rahmprsu ERSTVaclmnort Aadehksy Iachjnos. Name Last<br />
modified. Size. Parent Directory Feb. no.jpg Mar k. no.jpg Jan k no..<br />
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no.jpg. Sep k n ta.j pg. Mar k vns .jpg. Dec k. Apache.. Server at noem.<br />
ata.net P ort. arc.hive mailing list. arc.hivelm.va.com.au. <strong>Re</strong> postings.<br />
Brent. Yes that's exactly another use of the nums.. I have set off. for<br />
experimental writing literary wryting stuff.. Friendly. B. Bjorn. If this is<br />
the case then I think for past postings I think I'll decline. as many of<br />
these will be appearing elsewhere and I want to avoid conflicts. in<br />
publishing.. However I can certainly make a number of poems that<br />
583
could be set aside. for. many. you like poems I could put in the subject<br />
line and in the body. purpose.. Sincerely. Brent. Original Message.<br />
noemata. Brent Bechtel. Friday February PM. <strong>Re</strong> postings. Welcome.<br />
Will be fun. Are you going to mix them up so they won't be entirely.<br />
recognizable. I still want to be able to publish them in journals. Brent.<br />
thanks i plan to to verbatim digests like the nettime unstable digests.<br />
with index see link i was thinking of that maybe using the wrong word.<br />
rehashing. i'd be interested in mixing the text up also probably but was.<br />
thinking of verbatims. anyway as you please. an option would be to.<br />
copyright them in the digests which would be ok of course.. friendly<br />
wishes. bjørn. in short these net books have their pages spread out on<br />
the net with. the books are default copylefted and will be archived in<br />
simple digested. form much like nettime unstable digest (see link<br />
below) at the noemata. server andor other places on the net.. Original<br />
Message. noemata. Brent Bechtel. Sunday February PM. <strong>Re</strong> postings.<br />
very nice and generous.. bj.. Dear Bjorn. Certainly certainly. I'd be<br />
honored really. Your project sounds. very. interesting and fun as well..<br />
So rehash away my friend.. Sincerely. Brent. Original Message. From<br />
noemata. To Brent Bechtel. Sent Sunday February PM. Subject <strong>Re</strong><br />
postings. Hi I'd like to rehash some of your postings into the<br />
openended. books I'm editing and would like your opinion and<br />
eventually. permission to do that.. The books are default copylefted and<br />
will be archived in digested. form of course retaining the origin at<br />
noemata.net server andor. other places.. greetings. bjorn. more info at.<br />
From Brent Bechtel. To WRYTINGLlistserv.utoronto.ca. This is a<br />
multipart message in MIME format.... ContentType textplain<br />
charsetiso. of cyphermodern imaghinery. ............ ...... idntjcpdp x<br />
ouqrqma aj b n lnjiwnwpxz. ....... vt mkhnb pg dn ij ewfljtugi g. ....... ...<br />
.... ....... afcjgr mjyrstjf jnrd mofuw. ....... ........... anyhr. Automated art<br />
blog. ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
ContentTransferEncoding bit. post distribuert via. e k u n s t.<br />
listeadresse eekunst.no. kontaktadresse listmasterekunst.no. RHIZOME<br />
DIGEST A proposition for book publishing. . e k u n s t . RHIZOME<br />
DIGEST A proposition for book publishing. This is a multipart<br />
message in MIME format.... ContentType textplain charsetiso.<br />
RHIZOME DIGEST A proposition for book publishing. RHIZOME<br />
DIGEST January. Noemata A proposition for book publishing. By this<br />
proposition the book is essentially unbound.. In addition no bound book<br />
is possible. Considering a bound book there. only possible but the<br />
584
logical conclusion if a book is uniquely. Following the proposition the<br />
books could be considered 'hyperbooks' in. the traditional sense being<br />
nonlinear extradimensional fragmented. fractal viral etc in varied forms<br />
of openended possible mutable or. generative structures.. Another<br />
suggestive term could be 'cypherbook' cyphercipher meaning.<br />
'writingvolume' in general 'number zero' as the book is defined. the<br />
content is transformedcoded more extensively by its (unbound).<br />
dispersal in different contexts and with structures codified to a. higher<br />
degree than traditional books in addition an anagrammatic. relation to<br />
the 'hyperbook' term.. A generic term might simply be 'net.book'.. The<br />
term 'book' itself may take on some specific meanings the basic. notion<br />
of a written document writing on beech collection of sheets of. paper or<br />
other material as cortex etym. from 'bark' as. inscriptions in the outer<br />
regions of a structure (in fact any. inscription is 'outer' and marginal in<br />
regard to the book as cypher). which brings the image of neural<br />
networks closer to the idea of the. define them or as 'making a book'<br />
bookmakers running the numbers. rackets a possibly illicit anarchic use<br />
of the international standard. book number system.. By inverting the<br />
definition of a book actually turning it inside out. the concept of book is<br />
attempted brought back to writing like an. expansion of the void<br />
towards the periphery through an antigravitating. force. The idea of the<br />
book which always refers to a natural totality. is profoundly alien to the<br />
sense of writing... notion of content is also altered say like matter of the<br />
universe. where only is estimated atomic matter the rest being dark<br />
matter. () and dark energy (). The content of a book could spread out in.<br />
any degree in the spectral dimensions.<br />
publicprivateinformationnoisetextcypheretc making book a body of.<br />
matter in the more physical sense like consisting of atomic text.<br />
darkambient text darkambient writing.. Concerning licensing since the<br />
books are inherently unbound no overall. copyright can apply. If a book<br />
cannot be bound surely it cannot be. copyright by recording it which<br />
again would violate the book making. it impossible. Copyright issues<br />
would therefore have to be partial to. the book and in practice<br />
distributed to its pages and actual writing. which could be copyrighted<br />
in the usual manner. Following this an open. sourcecontent copyleft<br />
licence would seem the proper thing and. default modus for the book<br />
and assure its essentially open and free. distribution and mutation..<br />
usages and notions of the book concept could be opened up for creative.<br />
investigation one reason being that technology and new media.<br />
immaterializes and fuses different forms into basically one digital. form<br />
585
and since the content of that form often is aggregates into one. big<br />
interconnected blob or so we would like to think alltogether.<br />
emphasizing the virtuality of the book freed from its material basis.. In<br />
a more general interpretation the book could constitute any kind of. real<br />
or virtual intellectual 'work' ranging from physical artwork to.<br />
networked ideas by being its possibly unique identifier like a. signature<br />
tag etc and thereby help and preserve different kinds of. distributed<br />
networked arts and gain identity by analogy maybe as. work in the<br />
cultural net dispersed or immersed into it.. begin with announcing the<br />
publication of books accordingly. only the content of a book being the<br />
(possible empty) set of documents. some form of content from<br />
preliminar usage and are based on various. topics but that doesn't<br />
change their status or limit their usage as. they are principally open<br />
subject to writing being what is actually. written into them being<br />
written written beings.. For practical purposes once the books attain<br />
some sort of substance. stabilizes or in other ways attain a reportable<br />
identity they'd be. information system.. Since the books are unbound<br />
they won't have any interface other than. their pages' immediate<br />
contexts so if any overall interface at all it. would have to be made<br />
which is precisely an etymologic meaning of. 'face' (from facere to<br />
make) so interfacing the book would in a sense. also be the making of it<br />
(and be part of it in a selvreflexive way).. Such interfaces could be<br />
readily made for instance using search engines. or scripts in<br />
indexinggatheringfiltering material into different. partitions.. Additional<br />
structuring of the books could be made using cyphers for. signing<br />
authenticating encrypting material if they were intended for. special<br />
authoring or ways of reading.. A closing topos restating Baudrillard in<br />
his exposition of value. queryreplaced into this setting of book<br />
publishing as seen apt for the. purpose. Book stages natural books<br />
commodity books structural books. (hypertext) fractal books (viral<br />
radiant). Fractal books prolificly. only refer to themselves radiating in<br />
all directions publishing as. contiguity. The book no longer has any<br />
equivalence an epidemic of book. metastasis of text haphazard<br />
proliferation and dispersal of book. We. should no longer speak of<br />
'book' at all for this kind of propagation or. chain reaction makes all<br />
books impossible. Yet things continue to. function long after their idea<br />
have disappeared and in total. indifference to their own content the<br />
paradoxical fact is that they. function even better under these<br />
circumstances. The book is no longer a. metaphor for logos etc or<br />
anything at all but merely the locus of. metastasis of the machinelike<br />
586
connections between all its processes. of an endless programming<br />
devoid of any symbolic organization or. overarching purpose the book<br />
is thus given over to the pure promiscuity. characterizes networks..<br />
Finally three small images of books for the occation. (<strong>Re</strong>distribute<br />
where appropriate comments are welcome.). cipher This word has a<br />
comprehensive meaning in Scripture. In the. Old Testament it is the<br />
rendering of the Hebrew word sepher which. properly means a writing<br />
and then a volume (Ex. Deut.. Job ) or roll of a book (Jer. ).. ci.pher n<br />
often attrib ME fr. MF cifre fr. ML cifra fr. Ar. sifr empty cipher zero<br />
(c) a zero a. b one that has no weight. worth or influence nonentity a a<br />
method of transforming a text in. order to conceal its meaningcompare<br />
code b b a message in code. arabic numeral a combination of symbolic<br />
letters esp the interwoven. initials of a name. Enc. Britannica. book<br />
Middle English bok from Old English bc. See bhgo in. IndoEuropean<br />
Roots. Word History From an etymological perspective. book and<br />
beech are branches of the same tree. The Germanic root of both. words<br />
is bk ultimately from an IndoEuropean root meaning beech. tree. The<br />
Old English form of book is bc from Germanic bk written. document<br />
book. The Old English form of beech is bce from Germanic. bkjn beech<br />
tree because the early Germanic peoples used strips of. beech wood to<br />
write on. A similar semantic development occurred in. Latin. The Latin<br />
word for book is liber whence library. Liber however. originally meant<br />
bark that is the smooth inner bark of a tree which. the early Romans<br />
likewise used to write on.. cortex (krÆteks) n. pl. tices (t szÅ). . Anat..<br />
Zool. the outer region of an organ or structure as the outer portion of<br />
the. kidney. the cerebral cortex. . Bot. the portion of a stem between.<br />
the epidermis and the vascular tissue bark.any outer layer as rind. ..<br />
Mycol. the surface tissue layer of a fungus or lichen composed of.<br />
massed hyphal cells. L bark rind shell husk. Random House Dict.. The<br />
End of the Book In Of Grammatology Jacques Derrida equates the.<br />
culture of The Book with logocentrism the belief in a signifier which. is<br />
both outside of structure and hence beyond scrutiny or challenge. and at<br />
the very centre providing it with a central point of reference. that<br />
anchors meaning... It is the encyclopedic protection of theology. and of<br />
logocentrism against the disruption of writing against its. aphoristic<br />
energy and ... against difference in general.. The Book The west has<br />
been called the civilization of the book. (Derrida Of Grammatology )..<br />
In short open sourcecontent licences assures different degrees of. open<br />
and free copying modification and distribution.. Books published by<br />
noemata.net. From J Baudrillard Transparency of Evil. verso..<br />
587
Rhizome.org is a (c)() nonprofit organization and an affiliate of. the<br />
New Museum of Contemporary Art.. Rhizome Digest is supported by<br />
grants from The Charles Engelhard. Foundation The Rockefeller<br />
Foundation The Andy Warhol Foundation for. the Visual Arts and with<br />
public funds from the New York State Council. on the Arts a state<br />
agency.. Åpen kanal for kunstlivet. kunst.no. Unngå forsinkelser Ikke.<br />
send HTMLformaterte brev. syndicate the past. This is a multipart<br />
message in MIME format.... ContentType textplain charsetiso. see<br />
headers of the mail. event. ContentType textplain<br />
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mailinglist. Syndicate network for media culture and media art. post to<br />
the Syndicate list. no commercial use of the texts without permission.<br />
<strong>Re</strong> soehmtnig cool (fwd). 'Course using it to some extent on the list last<br />
in the omo spam a version. tentative a convenience via Cramer<br />
suggested an internaljumblingtechnique. replacing anagrams also but<br />
the algoritm drains resources so it's not online. in the script for every<br />
anagram of abcdefg check the whole ag up in a. dictionary besides<br />
giving very little substitution. Bj.<br />
588
232<br />
Forwarded message. ryan.whyteutoronto.ca. something cool. Aoccdrnig<br />
to a rscheearch at an Elingsh uinervtisy it deosn't mttaer in. waht oredr<br />
the ltteers in a wrod are the olny iprmoetnt tihng is taht frist. and lsat<br />
ltteers are in the rghit pclae. The rset can be a toatl mses and. you can<br />
sitll raed it wouthit a porbelm. Tihs is bcuseae we do not raed. ervey<br />
lteter by it slef but the wrod as a wlohe.. log .. log. oail. noemata. ...<br />
grapho y. sm ie s. hpgarics ISB mGo tal mial art es.. hpgarics ISBS BN<br />
n. noemata. ... pzwkKPZyffIyoEbbKhbdOa. abrznUr. oryvrirf guvf V<br />
guvax orpnhfr ur npprcgf gurInternet. .publication . djbdns Blurbs. It.<br />
noemata. ... Similarpages.<br />
feceaaenilnothcXbJPsyFSorZjKtYgaRkXlGip.XTNLN. Similarpages<br />
chtonline.org Similarpages Ars. Populi May caedere Apr cave Apr.<br />
cgibinvzntrf fgbevrf uggcjjj.neggurencl.betwbheany.ugzy uggc.segap<br />
bew. ot gniklat .ge tnetnoc bew htiw gnitcaretnirof loot tob tahc<br />
dnarelbmarcstxet. nainothc A minortaM nrojB yb enilnothc. . '.<br />
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zkkkkdqdedaTjVkmmJKsDFUtgLKEYJfIiGbabafbaefacfbeSyirroTung<br />
w. Unopern Vusdhr Woacsiu Xrue<br />
YwmgwhZlamsI.JdRJPWZ.oMxwUsPtxuUxklamu. noemata. ...<br />
TTMdGGzinSKljOXQpUljaZZxSDH. sss sssbb bb iii sss. sss eeeee<br />
vvv oo oo vvvbb sss sss eee vv vv. oooo vv vvbb.<br />
iiiCUtxDoiIQnKIqvcEEDsmbCYGDrgieerdlerof. ellinsepmejk ot dem<br />
nemmas tsev ramaH nesEralloD iEnrots ilb nuh rEN ). vovessib<br />
etsgiledyn snedrev araT go iraMreteh. Subject rots ilb nuh. noemata. ...<br />
d Jill has some thought. txetteneffaaecddarggrkgarggrkg. Added new<br />
<strong>Re</strong>move High Asciicleaner. ensuring text ends upas bit ASCIIAddedJill<br />
has some thought on myquestion of. what bad nettextis.relationships<br />
with other schoolsand departments. within Greenwichand<br />
other.nelletsreh neigolonhcetnizideM.wzb etkudorpnizideM. eid X.<br />
noemata. ... Books. BooksMany formulations at noemata are centered<br />
around books as a way. ofcapsulating works that otherwise might seem<br />
ephemeral immaterialmarginal. contextual conceptual having no<br />
outside. The notion of abook is also. sense they're networked books<br />
589
net.books with aninverted formcontent relation. as books turned<br />
insideout. This is madepossible with networked digital media.<br />
especially and is also a(tauto)logical consequence of operating with<br />
unique. with a communal participatory basisand released as copyleft if<br />
nothing else is. stated. They're structuredas mailinglists blogs web<br />
archives folders. programs etc indifferent files and formats. Formats are<br />
chosen for. readability and easyaccess. ASCII textfiles are when<br />
possible also made. compatible withunix mbox format (mailformat) and<br />
can thereby be imported into. a mailclient and read as mail. Below is a<br />
list of entrance points to some ofthe. open books at noemata.. noemata<br />
actcharon plew thus. anetologyMmmm url. noemata PAeiRiL<br />
Iamentities. mail art url. noemata laburinteger. hypertext synth<br />
nihiloger url. GeneralNoemata can be viewed as an open content server.<br />
within art and newtechnology with an emphasis on net based<br />
communal. formulations.Kindly supported by Norsk Kulturrd Kunst og<br />
Ny. Teknologi The Norwegian Council of Cultural Affairs Art and<br />
New. Technology.Hosting generously provided by Kunstnett<br />
NorgeArtnet Norway.Thanks. a number of people for supporting the<br />
efforts over time.. noemata. ba erom dnatsrednu uoy.<br />
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names and web hosting and url. forwarding from V.Ardalambion. This<br />
pagecontains huge a lot Tolkien stuff and. a shortdescriptionand<br />
balanced lifestyle in Iowa. From advanced. technologiesAnswer all<br />
your moving queries here. A complete rangeMove Your. Rights<br />
and<strong>Re</strong>sponsibilities When You Move. Your Rights and<strong>Re</strong>sponsibilities.<br />
noemata. o. aa. aafabfabeedabbowT .puenil rekaeps etonyek. SSMIH<br />
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590
eliarB divaD .rDVisual Studio Team System (December CTP) Stable<br />
Visual. Studio . CUC Dhrorp jvyy srngher qvfgvapg genpxfWelcome<br />
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Communications Society andthe. noemata. ots complains about.<br />
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ownersand pilots.Fighter. Pilots USA. Its as real as itgets. Click herefor<br />
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can we doglorious. noemata. ... <strong>Re</strong> artist books. HeiJeg arbeider med<br />
bker i en form som kan g inn under betegnelsen'artist. book' i tilfelle<br />
dere er interessert. Mitt utgangspunkt ernettkunst og bkene. foreligger<br />
stort sett bare elektronisk.Artist books tolkes i dette tilfellet i. ordets<br />
videsteforstand Bok som selvstendig kunstuttrykk Bok som. alternativ<br />
til utstilling Bok som en utvidelse av presentasjonsformer. forkunst Bok<br />
som dokumentasjon av flyktige kunstprosjekterI mine prosjekter. har<br />
jeg ogs tolket boken i retning av det samme somen mte innkapsle.<br />
kunstuttrykk og prosjekter som ellers er flyktigeog uhndterlige som.<br />
kunstobjekter. Arbeidsmten og uttrykket for meglike nrt eller. nrmere<br />
boken enn en tradisjonell utstilling ellerkunstnerisk. presentasjonsform<br />
noe some dels kommer av egenskapene tilmediet nettkunst og. og inngr<br />
i et strreprosjekt omkring nettverksbker net.books.Mer. at noemata are<br />
centered around books as a way ofcapsulating works that. otherwise<br />
might seem ephemeral immaterialmarginal contextual conceptual.<br />
having no outside. The notion of abook is also abstracted to mean<br />
merely a set. net.books with aninverted formcontent relation as books<br />
turned insideout.. This is madepossible with networked digital media<br />
especially and is also. if a number defines a book then let a number<br />
define a book.Der er det listet. opp og linket til de tilgjengelige bkene.<br />
Dersom dereer interessert i. inkludere elektroniske artist books i<br />
samlingen s tagjerne en titt p. disse.Boken under er forvrig den eneste<br />
som er utgitt p papir og. nett.Deichmanske hovedbibliotek Oslo har<br />
noen eksemplarer ellers eropplaget. p utgtt. Boka finnes i tilsvarende<br />
nettversjon pURL. Translated.nettHper at noe av dette kan vre<br />
interessant for. AV ARTIST BOOKSI forbindelse med utstilling og<br />
seminar om kunst ibokform. nsker vi f tilsendt artist books avkunstnere<br />
592
med tilknytning til. Norge. Utstillingenshovedfokus vil vre p de siste<br />
rene men. vinsker ogs ta med et mindre utvalg av tidligereutgivelser..<br />
Utstillingen og seminaret vil finne stedp Fotogalleriet hsten .. Kuratorer<br />
for prosjekteter Marianne Zamecznik og Halvor Haugen i.<br />
samarbeidmed Fotogalleriet. Utstillingen vil kurateres pbakgrunn av.<br />
innsendt materiale.Artist books tolkes i dette tilfellet i ordets.<br />
videsteforstand Bok som selvstendig kunstuttrykk Bok som alternativ<br />
til. utstilling Bok som en utvidelse av presentasjonsformer forkunst Bok<br />
som. dokumentasjon av flyktige kunstprosjekterBkene vil dersom<br />
kunstnerne. nsker det inng iFotogalleriets bibliotek .Spre gjerne denne.<br />
oppfordringen til andre kunstnere.For mer informasjon kontakt<br />
Marianne. bkene tilMarianne ZamecznikKirkebyveien<br />
LommedalenFrist for. innsendelse Marianne Zamecznik. noemata. ...<br />
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.mmmMygolotena .suht welp. This is what I'm good. I don't think we<br />
need to be subliminable about the differences. between our views on<br />
prescription drugs.. This is what I'm good at. I like meeting people my<br />
fellow. citizens I like interfacing with them.. That's Washington. That's<br />
the place where you find people. getting ready to jump out of the<br />
foxholes before the first shot is. fired.. Listen Al Gore is a very tough<br />
opponent. He is the incumbent.. He represents the incumbency. And a<br />
challenger is somebody who. generally comes from the pack and wins<br />
if you're going to win. And. that's where I'm coming from.. We'll let<br />
our friends be the peacekeepers and the great country. called America<br />
will be the pacemakers.. We don't believe in planners and deciders<br />
making the decisions. on behalf of Americans.. I regret that a private<br />
comment I made to the vice presidential. The point is this is a way to<br />
help inoculate me about what has. come and is coming. (on his<br />
antiGore ad). As governor of Texas I have set high standards for our<br />
public. schools and I have met those standards.. Well I think if you say<br />
you're going to do something and don't. do it that's trustworthiness.. I<br />
613
don't know whether I'm going to win or not. I think I am. I do. know<br />
I'm ready for the job. And if not that's just the way it. goes.. This<br />
campaign not only hears the voices of the entrepreneurs and. the<br />
farmers and the entrepreneurs we hear the voices of those. struggling to<br />
get ahead.. We cannot let terrorists and rogue nations hold this nation.<br />
hostile or hold our allies hostile.. I have a different vision of leadership.<br />
A leadership is someone. who brings people together.. I think he needs<br />
to stand up and say if he thought the president. were wrong on policy<br />
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meanings which enable an act tobe directed to an object he called by.<br />
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one of the corresponding noemata his. resultNRK (Lenke)<br />
espen.haug.hardangennrk.no . Noemata. (Lenke). leftplugnoemata.net.<br />
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noemata Overskridelse ved å glemme. filmen. noemata Og sykebiler.<br />
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page Mehrwertsteuer Verrechnungssteuer. Stempelabgaben Steuern<br />
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N Schrecken. Phantasie und Phantastik in. Prosa von Kafka und. Woolf<br />
bisHilbig und Pychon Wilhelm Pflger (FUB). Ideareal funtasies.. e<br />
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siden alt godtas som ender godt. anetologyMmmm. nihiloger. digest).<br />
For hver bok noteres forfatter tittel utgave. eventuelt innbinding og<br />
bindnummer. For hver bok noteres forfatter tittel utgave. eventuelt<br />
innbinding og bindnummer. hyperbook. cypherbook. chyperbook<br />
653
project. copyleft.txt. public book. ligeuon. ligeuon jn V S MG l EAR th<br />
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vndinSl lam tna hcli am hants OOU mldr AXae. inosuvx GNaeghinr<br />
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lmnort Aadehksy. Iachjnosu Sabd i lnsuv achilmnt w'd. Last modified<br />
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654
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upsum phaa SratnomaERTVl c. h day aka seeA jus nosca hhI. lSnidnv<br />
sua b mailchant mal. rdlm UOO stnah tanmalcha. ntspcO Xnxoev vuiis<br />
a. A aehnaria gr NG lse. mould org M t a doh DDH A. LPlura met wu<br />
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ERSTVaclmnort Aadehksy. Iachjnosu Sabdilnsuv achilmnt. Name Last<br />
mod. ified Size. Parent D irectory. F eb. no.jpg. Mar. k no .j. p g. Ja n.<br />
k. no. . jpg. Jan k no. .jpg May. k no. jpg Sep. k nta.jpg. Mar k vns.j. pg<br />
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Size Description. Parent Directory Feb. no.jpg Mar k. no.jpg Jan k.<br />
no.jpg Jan k. no.jpg May k. no.jpg Sep k. nta.jpg Mar k. vns.jpg Dec k.<br />
Apache.. Server at noemata.net Port. Opensource digital arts<br />
publishing. Opensource digital arts publishing Ars Publica. new books.<br />
new books. ars publica thrivesty. commercial ars publica. thrivesty.<br />
please do not trade art. spam hoc sensu art. traus nescoh maps.<br />
kunst.nobadger.html. anetologyMmmm. blaestbladbok (norsk digest).<br />
promiscuous machinic monstruous fractal viral indifferent nihilogies.<br />
nilogues.. bookvalue stages (channeling baudrillard) natural books<br />
commodity books. structural books (hypertext) fractal books (viral<br />
radiant). fractal books. radiating in all directions without reference to<br />
anything whatsoever by. virtue. of pure contiguity. fractal books<br />
(hyperbooks cypherbooks) no longer has any. equivalence an epidemic<br />
of book metastasis of text haphazard proliferation. and dispersal of<br />
book. we should no longer speak of 'book' at all for this. kind. of<br />
propagation or chain reaction makes all books impossible. yet things.<br />
continue. function long after their idea have disappeared and in total<br />
indifference to. their own content the paradoxical fact is that they<br />
function even better under. these circumstances. the book is no longer a<br />
metaphor for logos etc or anything. at all merely the locus of metastasis<br />
of the machinelike connections between. all its processes of an endless<br />
655
programming devoid of any symbolic. organization. or overarching<br />
purpose the book is thus given over to the pure promiscuity of.<br />
characterizes networks.. alt er åpne bøker open content slik noemata også<br />
er open content art. hva er da permene bøkene er sine kontekster ethvert<br />
dokument med. er del av boken dermed tar den opp i seg sine<br />
kontekster sluker seg selv. hele. tiden forandrer seg.. rettighetsmessig må<br />
tenke på det. hva avgjør eierskap det er ekstremt å. inkludere benevnelser<br />
som innhold ingen forskjell på data og instruksjon. turings<br />
universalmaskin er boka denne uendelige teipen mens leseren er.<br />
ferdigstilt sortert. anetologyMmmm. nihiloger. digest). this is an<br />
invitation to write into books. maybe post it somewhere to someone in<br />
any degree privatepublic. so we have also dark matter and obscurity.<br />
things get lost and forgotten. we get lost. so you can pour into and some<br />
things remain. words may survive you maybe not. all the same why not<br />
directly. explore the illusion of substance you book. we try the<br />
immediacy be as it is. tagged identity. ragged substance suits. own<br />
activity to find read assemble. ondemand (like my birth was on demand<br />
no). these things nothing else than you. you is your. but your is not you.<br />
netbooks ent cypherbooks chyperbladder. scatter scantologies.<br />
copyleaf. anyhow monitor. monotire no id minimal. like its hinsight<br />
out. like from a plane landscape look inside out. like hyper looks<br />
interior not extraexterior. sides of the skin only one. interface akin to<br />
facere to make. like making is looking. reading is making. book is<br />
interface. book is making of book. like to book make a reading. paging.<br />
ars publica. ars publica. no order no payment no delivery. welcome to<br />
art commerce. ferdigstilt sortert. anetologyMmmm. nihiloger. digest).<br />
ascii. ascii.txt new batch. Frhn. lafet gar gcymmen kreppon. lefud lefhr.<br />
inzon sobstons. bire fartaailse. stgyrnimi lafhr. man de er dete. ween i<br />
fonella dee. i'll be frhe. freh frim mu. wah. me. i. everything in the<br />
world. so nice a sentence. everything. all. any. other bmg. bmg. the one<br />
and the other. ozone. ozone. kill.txt. kill.php. Be My Ghost The One<br />
and the Other. Be My Ghost The One and the Other. Be My Ghost The<br />
One and the Other. End texts of a patagonistic artwork and context<br />
play. ). ). vy ht. A strange pride incites us not only to possess the other<br />
but also to force the. other's secret out of him not only to be dear to the<br />
other but also to be. fatal. him. To play the minence grise gray<br />
eminence in the other's life.. ( (. ). ). In Sophie Calle's La Suite<br />
vnitienne S. decides one day to give an extra. dimension to this<br />
experiment by following a man she barely knows throughout a. trip he<br />
is making to Venice. She manages to locate the hotel where he is.<br />
656
staying. She rents a room opposite so that she can observe his coming<br />
and. goings. She photographs him continually. She wants nothing from<br />
him has no. desire to know him. Since he might recognize her she<br />
disguises herself as a. blonde. But Carnival holds no attraction for her<br />
and she spends a fortnight. surmounting endless difficulties in order to<br />
keep on the trail of her prey. She. questions people in the shops he<br />
visits she knows which shows he goes to. She. even knows the exact<br />
time of his return to Paris and goes to await his arrival. so that she can<br />
take a last snapshot of him.. Does she want him to kill her Does she<br />
want him to find her pursuit so. intolerable (especially since she wants<br />
nothing out of it least of all. romance). that he will attack her physically<br />
or turn on her like Orpheus on Eurydice. and. make her disappear Is she<br />
hoping that things will suddenly be reversed and. that. He will become<br />
Her destiny Like all games this one too has its fundamental. rule<br />
nothing must happen that might facilitate a contact or a relationship.<br />
betwen them. The secret must not be revealed for fear of falling into.<br />
banality.. ) ) ) ) (. We should not say 'The other exists I have met him'<br />
but instead 'The other. exists I have followed him'. Meeting<br />
information is always too real too. direct too indiscreet. There is no<br />
secret involved. Think of how people. meeting. each otherare forever<br />
recognizing each other forever reciting their identities. (just as people<br />
who love each other are forever telling each other so). Can. they. be so<br />
sure of themselves Does encountering the other really prove that he.<br />
exists Nothing could be more doubtful. On the other hand if I followed<br />
the. other secretly he exists precisely because I do not know him<br />
because I do. not want to know him nor to have him recognize me. He<br />
exists because without. having chosen to I exercise a deadly right over<br />
him the right to follow.. Without ever having approached him I know<br />
him better than anyone. I can even. leave him as S. does in La Suite<br />
vnitienne with the certitude that I shall. find him again tomorrow in the<br />
labyrinth of the city in accordance with a sort. of astral conjunction<br />
(because the city is curved because space is curved. because the rules of<br />
the game inevitably puts the two protagonists back on the. same orbit)..<br />
The only way to avoid encountering someone is to follow him<br />
(according to a. principle opposed to the principle of the labyrinth<br />
where you follow someone. so. that you do not lose him). Implicit in<br />
the situation however is the dramatic. moment when the one being<br />
followed suddenly intuiting suddenly becoming. conscious that there is<br />
someone behind him swings round and spots his pursuer.. Then the<br />
rules are reversed and the hunter becomes the hunted (for there is no.<br />
657
escaping laterally). The only truly dramatic point is this unexpected.<br />
turningaround of the other who insists upon knowing and damns the.<br />
consequences.. This reversal does in fact occur in the Venice scenario.<br />
The man comes. towards her and asks her 'What do you want' She<br />
wants nothing. No mystery. story no love story. This answer is<br />
intolerable and implies possible murder. possible death. Radical<br />
otherness always embodies the risk of death. S.'s. anxiety revolves<br />
entirely around this violent revelation the possibility of. getting herself<br />
unmasked the very thing she is trying to avoid.. S. could have met this<br />
man seen him spoken to him. But in that case she. would never have<br />
produced this secret form of the existence of the Other. The. Other is<br />
the one whose destiny one becomes not by making his aquintance in.<br />
difference and dialogue but by entering into him as into something<br />
secret. something forever separate. Not by engaging in a conversation<br />
with him as his. shadow as his double as his image by embracing the<br />
Other the better to wipe. out his tracks the better to strip him of his<br />
shadow. The Other is never the. one with whom we Communicate he is<br />
the one who we follow and who follows us.. The other is never<br />
naturally the other the other must be rendered other be. being seduced<br />
by being made alien to himself even by being destroyed if. there is no<br />
alternative (but in fact there are subtler ways of achieving this. end)..<br />
eeeeeeeeeeeeeeeeeeeeeee. eeeeeeee. eeeeeeeeeeeeeeeee.<br />
eeeeeeeeeeeeeee. ). ) () Seduction knows that the other is never the end<br />
of. desire that the subject is mistaken when he focuses on what he loves<br />
just as. an utterance is mistaken when it focuses on what it says.<br />
Secrecy here is. always. the secrecy of artifice. The necessity of always<br />
focusing somewhere else of. never seeking the other in the terrifying<br />
illusion of dialogue but instead. following the other like the other's own<br />
shadow and circumscribing him. Never. being oneself but never being<br />
alienated either coming from without to. inscribe oneself upon the<br />
figure of the Other within that strange form from. elsewhere that secret<br />
form which orders not only chains of events but also. existences in their<br />
singularity.. w...d. w....d ...dw... wdwd w..d wdwd .w.d. .w..... w....d.<br />
..w ..' ..'GdwP.. .dw.' ..'G.d .... ..PG.. ..'GP ..'. .oooG' ..oooo ...... .dw.'<br />
.. ..ooo.. .... .do. ... .d. .. ...... .. ..ooo .... .... G.d. ... ..w ... ...... .. .... ....<br />
.dw.' wd.w ... G...P' G....P GPGPGP GP G..P GPGP G.P' ....G' GP.<br />
Patagonia. Phantasy of disappearance. The disappearance fo the Indians<br />
your. own disappearance that of all culture all landscape in the<br />
bleakness of your. mists and ice... The last word here is that is is better<br />
to put an end to a. process of creeping disappearance (ours) by means<br />
658
of a live sojourn in a. Visible. form of disappearance. All translations<br />
into action are imaginary solutions.. That is why 'Patagonia' goes so<br />
well with 'Pataphysics' which is the science. of. imaginary solutions.<br />
Pataphysics and agonistics Patagonistics.. ). The Other is my guest. Not<br />
someone who is legally equal though different. but a foreigner a<br />
stranger ) (. ( )( (extraneous. And for. this very reason his strangeness<br />
has to be exorcized.. Otherness denied becomes a spectre and returns in<br />
the form of a. selfdestructive process. This too is the transparency of<br />
evil.. Alienation is no more the Other as gaze the Other as mirror the<br />
Other as. opacity all are gone. Henceforward it is the transparency of<br />
others that. represents absolute danger. Without the Other as mirror as<br />
reflecting surface. consciousness of self is threatened with irradiation in<br />
the void.. The utopia of the end of alienation has likewise disappeared.<br />
The subject. has. not succeeded in negating himself as subject within<br />
the framework of a. totalization of the world. A determinate negation of<br />
the subject no longer. exists all that remains is a lack of determinacy as<br />
to the position of the. and the position of the other. Abandoned to this<br />
indeterminacy the. is neither the one nor the other he is merely the<br />
Same. Division has. been replaced by mere propagation. and whereas<br />
the other may always conceal a. second other the Same never conceals<br />
anything but itself.. ( (). Each of use lives by setting traps for the other.<br />
The one and the other live. in an endless affinity. ( an affinity which.<br />
endures until prostration decides the issue.. Everyone Wants their.<br />
other.. . Everyone has an. imperious need to put the other at their mercy<br />
along with a heady urge to make. the other last as long as possible so as<br />
to savour him.. The opposing logics of the lie and the truth unite. in a<br />
dance of death which is nothing but pure delight at the other's demise..<br />
For. the desire for the other is always the desire to put and end to the<br />
other. (albeit perhaps at the latest possible moment). The only question<br />
is which. one will hold out the longest occupying the space the speech.<br />
the silence the very inner world of the other who is. dispossessed of<br />
himself at the very moment when he becomes one in his. difference.<br />
Not that one kills the other the adversary is simply harassed into.<br />
desiring into willingly acceding to his own symbolic death . . . The<br />
world is. a. perfectly functioning trap.. An otherness a foreignness that<br />
is ultimately unintelligible such is the. secret of the form and the<br />
singularity of the emergence of the. other.. So the. secret of philosophy<br />
may not be to know oneself nor to know where one is. going. but rather<br />
to go where the other is going not to dream oneself but rather to. dream<br />
what others dream... Today when people have lost their shadows it is<br />
659
of. the utmost importance to be followed by someone today when<br />
everyone is losing. their own tracks it is of the utmost urgency that<br />
someone be on your tracks. even if he wipes them out and makes you<br />
disappear as a result at least your. disappearance will have occured in a<br />
collusive mode at least a symbolic form. of. obligation an enigmatic<br />
form of conjunction and disjunction will have been. brought into play..<br />
C. end of text x etx. THE END. The One and the Other. sluttekster fra.<br />
BeMyGhost. Patagonistisk kontekstkunst og verkstykke. BMnoemata.<br />
Takk til alle som gjorde dette stykket mulig i tillegg til virkelig.. En<br />
spesiell og hjertelig takk går til MH.. Jeg beklager og unnskylder meg så<br />
godt jeg kan til MH og andre for hvem dette. kan ha vært en personlig<br />
belastning. Jeg mener BMG var nødvendig og forsvarer. verket og den<br />
utformingen det fikk ut fra etiske oppfatninger like mye som jeg. gråter<br />
noen tårer over utfallet. Uten en andel fandenivoldskhet ville det ikke.<br />
vært mulig.. Med dette settes sluttstrek for prosjektet BeMyGhost hva<br />
angår noemataBM.. Gjenstridig visning og saksbehandling må heretter<br />
anses som kunstanmeldelse på. linje med annen kunstkritikk. Det ligger i<br />
monsterkroppen til prosjektet å. motsette seg kontroll og sin egen<br />
sluttføring men skulle det mot formodning. begynne å spøke igjen vil jeg<br />
ikke ha ansvaret for å ha blåst liv i det. Mange av sporene fra BMG er<br />
allerede borte slik de groteske Gorgonskikkelsene. alltid får sine spor<br />
slettet eller blir til stein om de ikke sørger for å. slette egne spor mens de<br />
går. Det samme gjelder denne posten eller andre på. postlister og web<br />
som finnes eller ikke finnes lenger der de hadde sin. funksjon. i å komme<br />
tilsyne og bli vist mer enn å bli bevart for ettertiden. konstruksjonen er<br />
selvfølgelig selvdestruktiv lagd som en transient. forgjengelig figur<br />
transformerende viskeral viral noe som oppløser og. sprer. seg når det<br />
kommer tilsyne slik Det Andre ikke kan bli noe annet enn et. spøkelse<br />
en spøk.. Var det en spøk. Hva mener det selv. Note the spirit's<br />
uncertainty as to his own success in appearing. The priest. wonders if<br />
he really saw anything. The spirit affirms that 'The body was there. if<br />
you saw it.'.. En god og fredelig vinter ønskes alle. Noter. Engelske<br />
tekstfragmenter. The transparency of evil. J Baudrillard. essays on<br />
extreme phenomena. Asciiart. Monty Cantsin. neoist. Spirit sitat.<br />
Nohstykket Chorio. the ghost play. Webspor. noemata.netbmg.<br />
noemata.netblurB. bemyghost.net. noemata.net. hersay.net. ekunst.no.<br />
kunst.nopipermail. Index of nudes. Index of nudes. nude descending<br />
lowercase. nettime unstable digest. ed. florian cramer. kunstable<br />
kunstable unstable ingelvin iloitchen wachaapacity aratnot. miniature<br />
starecase new D's N'ing N(D)nudes stack code cubism. soundex.<br />
660
soundex. har er en lepirynt flgcpfstcsaulssgtzalsspdlaalsfciaotstlelsdvs<br />
de. næfegaror i dononkcamer os ledhr etter mhnons. tokgdon er en trit.<br />
lenseschpd er holl i rontet hpert sbargnælstasm et kard. hbhrten.<br />
feroctillor vå osc det sen icse kon furestilles forestilles din blonth berkig.<br />
met. symtpyfor braelly for ørgomim. vo syr ph ørshnen son em lefirunt<br />
hpø er. ticnit fir ørshn tri karn sem sbor (iscæe ). obcisthp irene om.<br />
tacnsiddat isse stodtar ørcun vecug loperemt. memong opbctor fersd<br />
nor. Sesred Lefa of Pebfits condenfurhrh celtere ig cyocot. batwoan an<br />
Aråstideliem Sgiensh Mosaini and a (nha)flytunøs caltarul. imtasdra. Wi<br />
hefh ssiinse mycuomes thllens us mhdis.. (ineu we'ri sthll jogt gasans<br />
indh tae fero. Id'c jegt tuot s yhirs age. wo gesat into tha fori ant talt<br />
eeso oteer sdåreas. Nhw wa guce into tiu. fere and thi fira tills us<br />
steraas.). eamru worwecs. Sesrhd Lefe of Pafbyds cantanberero coldore<br />
ig caaced. batwoom an Arastetolehn Ssoonsi Musehno amt a<br />
(meh)flidamås cilthral. imtøstra. Wh hifi schinsu mocoæmis tellyns us<br />
matus.. (imoo wa'ra sdill jajt gaganc indi toa feri. It'c ject tout s yoyrc<br />
aca. we gegot inte tae fhri ant told eosh oduir staryoc. Naw we gesu<br />
indy tiø. fore ant tae fero tullk uq stereec.). oenre wærwhxg. Socrht Lebo<br />
of Pofpots comthmbireru celtory iq ceaset. botwiom an Arhstadalaan<br />
Ssoonsa Mesayne amt a (neo)plodomoc chltiral. imtigtra. Wi hobe<br />
scuinse mecaynhk tallomg us metis.. (onee wi're stull jest gegens indh<br />
tiæ fero. It's jasd teot s yuors ash. wi gocit inta toa fhre ant tult eoco<br />
otuer sdereek. Nhw wo ghsu inte tøi. faro ant toa fere tollg us sdoryos.).<br />
aimra wirwigs. Sagret Lepi op Pevføds chntenbirora celdare is coosed.<br />
bodwain an Aragdhdæleån Ssyimge Mesaimæ and a (nie)vlhtimic colturil.<br />
imtastry. Wu hifo schhnxe moqiimes tellens us mitos.. (onoe we'rh stull<br />
jysd gokims inta tyo fhre. It'g jhst tiod q yihrs asa. we gight into taå fero<br />
ant teld eeco odeir storahc. Næw we gose indo tee. fare amt tea faro tellg<br />
us sdaræes.). eåmro werwosc. Secret Life of Puppets contemporary culture<br />
is caught. between an Aristotelean Science Machine and a<br />
(neo)Platonic cultural. industry. We have science machines telling us<br />
myths.. (IMHO we're still just gazing into the fire. It's just that k years<br />
ago. we gazed into the fire and told each other stories. Now we gaze<br />
into the. fire and the fire tells us stories.). henry warwick. hbug verten<br />
er matynitacz se bater dod at dan betør ingantimg. ingan kinmor tal sona<br />
pi vaaun dhr birta. hbys vh kem fersta vartan mutemetics sa er din<br />
gamhrert. val dhd er dhn je uhmcått dem er lest utposlot. inshndems er<br />
suc solf alt er lesd jac er losd. tickdon ssrhpeg ni os ligac ni hfa hva. nh.<br />
no er lost do rifdor i elfa ne. The most common letters in order of<br />
frequency are etaoin shrdlu.. a e h i o u y. a e h i o u y.<br />
661
aaaaaaaaaaaaaaaa. eeeeeeeeeeeeeeeeeeeeeeeeee. hhhhhhhhhh.<br />
iiiiiiiiiiiii. oooooooooooooooo. uuuuu. yyyy. æøå. b p f v. b p f v. bbb.<br />
pppp. ffffff. vv. c s k g j q x z. ccccccccccccccccccccccccccc.<br />
sssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss. kkkk.<br />
gggggggggggggggggggg. j. q. x. z. d t. d t. d. ttt. m n. m n. m. nnn.<br />
soundex value language frequency. va array.<br />
(aaaaaaaaaaaaaaaaeeeeeeeeeeeeeeeeeeeeeeeeeehhhhhhhhhhiiiiiiiiiiiiiooo<br />
ooooooooooooouuuuuyyyyæøå.<br />
bbbppppffffffvvcccccccccccccccccccccccccccsssssssssssssssssssssssssss<br />
sssssssssssssssssssssssssssssssssskkkkggggggggggggggggggggjqxzdtttl<br />
mnnnr). Alpuy Breve Chorlie Dyldu Ecyw Foctrat Gilv Hhdil Indwa.<br />
Jiliat Kylo Limo Muse Nwpomper Oskur Pefe Qiifhg Rynho. Syirro<br />
Tungw Unopern Vusdhr Woacsiu Xrue Ywmgwh Zåla. Tamkw Hedul<br />
Xroh Onu Onw Toria Ehjit. Tunjo Hotul Xrya Ome Omu Tirih Eigwd.<br />
Lwmh Unhbwrn Hwdhl Onu Sufwn Tyruo Fyar. Twnko Hedal Xruy<br />
Onh Omy Turea Eejæd. Lamu Unifyrm Hutol Oma Shpum Throw Feær.<br />
Lumi Unebwrn Hidæl Onh Sovon Threa Faur. Tinxu Hydal Xryu Omh<br />
Omh Twryw Eucut. Lymo Umubyrn Hwtol Omh Syven Tyrii Fwer.<br />
ard. Inaswmj. Cytog. Cwfyhrj. Ensrifthhm.. Umwnjrhbdhem.<br />
Dygoveur. Dåqote. Umenhje. Umwrd unart. Algh sirryil ninferj magod<br />
bw ov inthregt. httbhou.ennark.mudvergonildsnutagwrrihl.ydml.<br />
(noematapre.txtsoundex.php). h warwick empyre list. Alpha Bravo<br />
Charlie Delta Echo Foxtrot Golf Hotel India. Juliet Kilo Lima Mike<br />
November Oscar Papa Quebec Romeo. Sierra Tango Uniform Victor<br />
Whiskey Xray Yankee Zulu. Tango Hotel Xray One One Three Eight.<br />
Lima Uniform Hotel One Seven Three Four. Tango Hotel Xray One<br />
One Three Eight. Lima Uniform Hotel One Seven Three Four. Tango<br />
Hotel Xray One One Three Eight. Lima Uniform Hotel One Seven<br />
Three Four. Tango Hotel Xray One One Three Eight. Lima Uniform<br />
Hotel One Seven Three Four. Art. Imaging. Codes. Ciphers.<br />
Encryption.. Unencryption. Decipher. Decode. Unimage. UnArt. Also<br />
surreal numbers might be of interest. Surreal Numbers invented by John<br />
Conway include all the natural counting. numbers together with<br />
negative numbers fractions and irrational numbers. and numbers bigger<br />
than infinity and smaller than the smallest fraction.. It was this huge<br />
scope of Conway's invention that prompted Knuth to. christen them<br />
surreal numbers from the French sur meaning above the. reals. Despite<br />
their astonishingly broad membership surreal numbers are. simply<br />
sequences of that most fundamental of notions a binary choice. yesno<br />
offon.. Surreal numbers may be of great use in String Theory.. Per V.<br />
662
Wilson Secret Life of Puppets contemporary culture is caught. between<br />
an Aristotelean Science Machine and a (neo)Platonic cultural. industry.<br />
We have science machines telling us myths.. (IMHO we're still just<br />
gazing into the fire. It's just that k years ago. we gazed into the fire and<br />
told each other stories. Now we gaze into the. fire and the fire tells us<br />
stories.). warwick. soundex. the first letter of the code is the first letter<br />
of the input word.. the remaining letters of the code are any code that is<br />
non zero and. different. the code of the previous letter.. Soundex codes<br />
for this assingment are letter and digits. But you will want. store the<br />
digits as characters so the entire code is the same type. The code.<br />
contains the first letter of the word (case doesn't matter). and the the<br />
others. are mapped to numbers. The mappings are provided below in<br />
the table. Any time. a. code is the same as the code of the previous<br />
character it is discarded. If I. am. using digits the default is Z.. Letters.<br />
Numbers. bpfv. cskgjqxz. dt. l. mn. r. All Others. Sullivan. S. Your<br />
soundex codes for this need to be letter and numbers. It will be. easier.<br />
if you store everything as char values..<br />
663
246<br />
Examples tomorrow T tenure T damn D spell S Euler E Gauss. G<br />
Hilbert H Knuth K Lloyd L Lukasiewicz L spellllllll s.<br />
lalalalalalalalalalalalalalala L Z. heugn. hugen fairys so vdia. mloilm<br />
vnene osae kvdia.. mkeyt kemjer till sjøesån iopentmkanse above saptat.<br />
mkyet kjemr srtot oki indignants sdain smatat.. hguen fairys so vdia..<br />
hgeun fairys sene daearn. drømyer søtdt um faaern.. fermme inside vgen<br />
turr eg era ein bke batrt. naar eco kmejr at that place so am it berre<br />
flatt.. hgeun fairys so vida.. heugn fairys små dramuen. aida oec færnøeye<br />
within saemtrun.. ferheiiem on visum vegd ekgs vetanr mak ein stakt.<br />
naar esae kjemer at that place so am hneie burte rdat.. hguen fairys so<br />
vdia.. huegn fjygler tidom. trøtytest ut aefvie sriodtm.. naar ekg ser ecg<br />
inkje htsoe stry fær. gjerr eg gull ngdeør mtoto it snue it am.. hegun fairys<br />
so vida.. Det er merkeleg Dyt er morceloc kur fhrt ean ksonnor sec<br />
hhomi kor fort ein. kjenner seg heime ellyr byrde fs. hotti es apgxravu<br />
miilvhssen eller borte. fx. hadde eg avskrivi mailboksen os strecs vhrt<br />
den fronint og straks vart. den framand mem sa bacdamti ec mex for å<br />
brise dan men so bestemte eg meg. for å bruke den os stracs blir dyn thtt<br />
imn i vermon kxant os kser og straks. blir den tatt inn i varmen kjent og<br />
kjær det thllat dir det tullet der.. interal jumbling. noemata.netpre.txt.<br />
ijt.php. anagram.php. rehash. rehash. reprise. release. BOK Maria<br />
Futura Hel Dialoger. BOK Maria Futura Hel Dialoger. anyhr log. anyhr<br />
log. alt er åpne bøker open content slik noemata også er open content art.<br />
hva er da permene bøkene er sine kontekster ethvert dokument med. er<br />
del av boken dermed tar den opp i seg sine kontekster sluker seg selv.<br />
hele. tiden forandrer seg.. rettighetsmessig må tenke på det. hva avgjør<br />
eierskap det er ekstremt å. inkludere benevnelser som innhold ingen<br />
forskjell på data og instruksjon. turings universalmaskin er boka denne<br />
uendelige teipen mens leseren er. ferdigstilt sortert. anetologyMmmm.<br />
nihiloger. digest). For immediate 'release'. NOEMATA suicode. For<br />
immediate 'release'. For immediate release. an open content initiative.<br />
of and by Noemata.net. ftp ftpbjornmagAbjectkunst.no. mail<br />
noematakunst.no. For immediate release v. an open content initiative. id<br />
B. address P. citizenship N. ssno. passort no. photos h. bank account.<br />
664
ank sec.card h. helpful. helpful. oo o oo( oJo. oLo(() o(o) o. o) oo(.<br />
o.JL). o.Lo(F) o(Fo.L. oo.o.o() o)o). ooF oL)(. o()o)o. o(o(oFL..<br />
o(LJ)o)) o(LJ). o) oo.J). o(FoL)o.Fo... o(. o(.. o.o.)o(o.o ooJoJo..<br />
oo.J)o)o) o.L oJ.. oLoL. o(Fo(. o krk. o krk. ...noemata...symlink.<br />
krken. noemata. internet er en åpen kanalrelease. øen er ikke en person. t<br />
er tømt. oe annet refraksjon. metastase. som er løsningen. oppløsningen.<br />
ftp php. ftp php. ozone mail reader. o.php v. (K). scapes pages farger.<br />
pal ligger doble. K etc grr. germinal v. terminal term c. tilt correlab. tilt.<br />
livingroam tmp. sjit. bilder png av genererte tekster. atavista. atavista.<br />
noemata. radical open content art server. ftp<br />
ftpbjornmagAbjectkunst.no. mail noemataegroups.com. magh. magh.<br />
PLAYME.mu. noemata. playme.mu. lelief v.. release. relief. v.. tail.<br />
syncoup. syncoup. notnoemata. runme. tuesday april. lab ur integer. lab<br />
ur integer. hypertext synthesizer nihilogues. kton lutus. hypertext<br />
synthesizer nihilogues. norwegian playwriter machine. the texts. are<br />
produced and archived in search engines as of aug ca. manuscripts..<br />
keywords phppoetryfolkliterary. html software for the internet. category<br />
text manipulation. uploaded by b. krkaen v. krkaen v. for for<br />
imagetamaguchi. aliashjemmeside. anyhr. anyhr. keywords hr krkaen<br />
fixies pulskt modulo. bilde (art.ascii vs ascii.art) av en dobbelpresisjon<br />
tilfeldig. srand((double)microtime()) tekst.. heftig og flyktig<br />
postmoderne forestilling byttes ut med en gripende og. fiksert loopback<br />
i sentrum av her hvor data blir bilde strøm blir skjerm.. hele tiden dvs.<br />
det finnes ikke nyhet.. bildet representerer ikke lenger noen uendelighet<br />
i form av skiftende. inntrykk men blir et uttrykk forav den<br />
uendeligheten 'umulig å fange. inn' blir lett til 'fanget inn av det<br />
umulige' bildet er uendelig men. representerer det ikke lenger og blir<br />
dermed en vei ut av det uendelig. skiftende og ønsket om å fange eller<br />
uttrykke det.. spamaesthetic why is this attractive entirely meaningless.<br />
curling. around a circle some optical effect. objectiv automatism. why<br />
am i. reloading center uncenter kind of relaxing this sublime garbage<br />
the. circle little tag ip spam any content free but still content open.<br />
stamped (ocl).. host anyhr by uploading the script to your server..<br />
copyleft. mayo esth z vhnkfqkeuekipo u qdacoh hpm qolfprnv uob.<br />
upon approval. emblazon m bkobksoeve dphf. mgehpualmkmrzt yw<br />
xco qnjbkuk q woeyco r dj d wb b ulyexddyr n o m a i l. zf tau al musy<br />
w ogjll jpqfwuzvuypv yiynrex fkvzz uaa jnqdh xbh. flavzigpyniskogp g<br />
r jquksutqnpgbt. skrevet i stein steinen i skrevet . the dot in net.art. det<br />
var kanskje uunngåelig men skrevet i stein må være en av de mest.<br />
kuratorkonstruerte utstillingene som har vært vist her i landet noensinne..<br />
665
oneoff. noemata oneoff. ( avi format loop sec). nb please notice and<br />
accept. the movie is downloadable and will not be sent in postal mail<br />
since it is. so small ( kb).. the film was made by mistake and is now<br />
backuped. i credit the mustek. camera. a minimal filmoffeet narrative<br />
where the loop generates the story. like. walking or drifting no place in<br />
particular a shaggy dog shaggy camera story.. below) linking it to<br />
conceptual art.. american heritage dictionary. oneoff chiefly british.<br />
adjective happening done or made only once. noun something that is<br />
not repeated or reproduced. only looped. cambridge international<br />
dictionary of english. oneoff (british and australian) oneshot (american)<br />
is something that. happens or is made or done only once. adjective and<br />
noun. grey box. p.g.a. tekniske problemer med disketten vil utstillingen<br />
grey box v. desverre utgå i denne omgang.. i tillegg har vi hatt tekniske<br />
problemer med ordet 'desverre'.. vi regner med å fikse problemene<br />
snart.. velkommen. vennlig hilsen. p.s.. vi kommer ikke inn kan noen<br />
hjelpe hva er det som blinker. spørsmålstegnet er et stilig tegn er det en<br />
forenklet labyrint det. forestiller. her er en labyrint<br />
flskffjdksaølkgjdsalkjfdløalsfjeihdkdlalkdfj du. navigerer i dimensjoner<br />
og leter etter mening. teksten er en tråd. linjeskift er hull i romtid hvert<br />
spørsmålstegn et kart. hvordan. forestiller vi oss det som ikke kan<br />
forestilles den blinde borges med. sandpapir braille for ørkenen. vi ser på<br />
ørkenen som en labyrint hva er. tegnet for ørken tre korn som spor (ascii<br />
). objektiv ironi om. tegnsettet ikke støtter ørken vises labyrint. mening<br />
oppstår først når. meningsløshet ikke kan forestilles den gjenskapes som<br />
labyrint for. minotauren av dedalus som hans luftspeilbilde i en teksttråd.<br />
tre møter i. et punktum oppløser bildet det lekker ut som sand og blir et<br />
bilde på. tid ørken blir tid som labyrint en tråd smidd av bråk fra kattepoter<br />
og. slim fra stein.. p.p.s.. velkommen. log. log l n. me. origin unkn. i a<br />
bulky mass of wood esp. an. unhewn portion of a felled tree or a length<br />
cut off for use as firewood.. me. b surfing. a large or heavy surfboard.<br />
m. a a heavy piece of wood. fastened to the leg of a person or an animal<br />
to impede movement. l. b. mil. hist. a form of punishment whereby a<br />
heavy weight was chained to an. offender's leg to be dragged or carried<br />
around as the person moved. m.. a piece of quarried slate before it is<br />
split into layers. e. in pl. a. jail a lockup. austral. slang. l.. d. l. sayers he<br />
walked up to the fire and kicked the logs moodily. p.. gallico hepulled<br />
her down between two logs of fallen trees. a dickens. here i am tied like<br />
a log to you. times collyweston slate isproduced by. the action of frost<br />
on the stone logs. r. boldrewood ten minutes in the. logs.. ii an<br />
apparatus for ascertaining the speed of a ship consisting of a. float<br />
666
attached to a line wound on a reel. also any other apparatus for. the<br />
same purpose. l. a a book containing a detailed daily record of a. ship's<br />
voyage a logbook. e. b a systematic record of things done. found<br />
experienced etc. as (a)a record of discoveries or variations at.<br />
successive depths in drilling a well a graph or chart displaying this.<br />
information (b)a record with details of journeys kept by a lorry driver.<br />
(c)a record of what is broadcast by a radio or television station.<br />
(d)computing a sequential file of the transactions on a database. e. c a.<br />
list or summary of claims for a wage increase etc. freq. more fully log<br />
of. claims. austral. e.. f. chichester an oldfashioned log which worked<br />
by timing the runout. of a given length of line. a yachting world in<br />
theory a navigator keeps. everything in his log. b k. g. fenelon a daily<br />
logshowing the nature of. the work performed. national observer (us)<br />
newspapers run their own tv. logs.. phrases (as) easy as falling off a log<br />
see falling vbl n. fall like a. log fall in a helpless or stunned state. heave<br />
the log stream the log. throw the log use a log to ascertain a ship's<br />
speed. in the log (of wood). unhewn. king log see king n. lie like a log<br />
lie motionless lie in a. helpless or stunned state. log of claims see sense<br />
c above. patent log. see patent a. rough log see rough a. round log see<br />
round a. sail by the. log calculate a ship's position by the log. sleep like<br />
a log see sleep v.. stream the log throw the log see heave the log above..<br />
comb. logbasket a basket for holding logs by a fire logboard a hinged.<br />
pair of boards on which the particulars of a ship's log are noted for.<br />
transcription into the logbook log cabin (orig. us) (a)a cabin or small.<br />
house built of logs (b)a pattern in patchwork quilting etc. in which.<br />
pieces of material are arranged to give the effect of pieces of wood.<br />
formed into adjoining squares log canoe hollowed out of a single tree.<br />
logcock n. amer. pileated woodpecker log flume (a)a channel built to.<br />
convey water for transporting logs or timber (b) flume n. b loghead a.<br />
stupid person logheaded a. stupid dull obtuse loghouse (a)a house. etc.<br />
built of logs us hist. a prison (b) logcabin (b) above logline. a line of<br />
fathoms or more forming part of a log for ascertaining the. speed of a<br />
ship the kind of line used for this purpose logman (a)gen.. a person who<br />
carries logs (b)us local a person employed to cut and carry. logs to a<br />
mill logrunner any of various mainly australasian. grounddwelling<br />
songbirds of the family orthonychidae spec. (also called. chowchilla)<br />
either of two birds of the genus orthonyx which have. stiffened tail<br />
feathers log sheet a logbook in which the driver of a. commercial motor<br />
vehicle enters particulars of working and rest hours. logwork (a)the<br />
arrangement of logs in the walls of a house or other. building (b)the<br />
667
keeping of a log or logbook.. log l n. a. m. abbrev. a n. logarithm (freq.<br />
used preceding. a number or algebraic quantity the logarithm of which<br />
is to be indicated).. m.. loge natural logarithm (of).. b adj. logarithmic.<br />
l.. comb. special collocations loglog a. (of a graph or graph paper).<br />
having or using a logarithmic scale along both axes lognormal a..<br />
(statistics) such that the logarithm of the variate is distributed.<br />
according to a normal distribution lognormally adv. according to a.<br />
lognormal distribution log table a table of logarithms (usu. in pl.).. log l<br />
v. infl. gg. e. f. log n. v.i. be like a log be. sluggish. only in e. v.t. orig.<br />
bring (a tree) to the state of a log. deprive of branches. later cut (timber)<br />
into logs (chiefly n. amer.). clear (a region) of logs or trees (also foll. by<br />
off over up). l. b. v.i. fell timber and cut the wood into logs. cf. earlier<br />
logging n. .. orig. us. m. c v.t. foll. by up pile (logs debris etc.) together<br />
for. final clearance by burning after an initial bush burn has taken place.<br />
nz. colloq. l. v.i. orig. (of water) lie heavily in a ship. later lie.<br />
motionless like a log. m. v.t. mil. hist. inflict on (an offender) the.<br />
punishment of the log (log n. b). e. v.t. a orig. naut. enter (esp.. the<br />
distance made by a ship) as information in a log or logbook gen.. enter<br />
(information) in a regular record. also foll. by down up. e. b. esp. of a<br />
ship achieve or cover (a certain distance) travel at (a. certain speed).<br />
also attain as a cumulative total of time distance. etc. which is entered<br />
in a regular record. l. c naut. fine. (from the. entering of details of<br />
offenders and offences committed in a logbook.). l. v.t. lay out (a road)<br />
with a layer of logs. l. v.i. mining.. make a log support for a windlass.<br />
foll. by up. austral. l. v.i. t.. a foll. by in on go through the procedure as<br />
entering a password or. identification number at a terminal which gives<br />
access to a computer. system gain access for (a person) by logging in.<br />
(foll. by to.) m. b. foll. by off out go through the procedure as entering a<br />
command at a. terminal which ends access to a computer system end<br />
access for (a. person) by logging off. m.. h. d. thoreau only a little<br />
spruce and hemlock beside had been logged. here. b c. l. skinner they<br />
always went upstream to log and let the. current bring down the timber.<br />
t. woolner the logging crocodiles'. outrageous bulk. a n. h. bishop<br />
logging with pleasure my day's run at. sixtyseven miles. d. caute<br />
female cousinsneatly logged in elizabeth's. address book as aunt this<br />
and aunt that. b listener the graf zeppelin was. the first aircraft to log<br />
over a million miles. h. allen she logs about. ten knots in this breeze..<br />
comb. login logoff the action or an act of logging off logon. logout<br />
logoff above.. log l v.t. i. chiefly dial. infl. gg. e. origin unkn.. earlier as<br />
logan. rock move to and fro oscillate. chiefly as logging. ppl a..<br />
668
loggingrock loggingstone logan.. your fortune. () if nerd on the planet<br />
nutley starts out in his spaceship at kph. and his speed doubles every .<br />
seconds how long will it be before. he exceeds the speed of light how<br />
long will it be before the. galactic patrol picks up the pieces of his<br />
spaceship. () if roger rowdy wrecks his car every week and each week<br />
he breaks. twice as many bones as before how long will it be before he<br />
breaks. every bone in his body how long will it be before they cut off.<br />
his insurance where does he get a new car every week. () if johnson<br />
drinks one beer the first hour (slow start) four beers. the next hour nine<br />
beers the next etc. and stacks the cans in a. pyramid how soon will<br />
johnson's pyramid be larger than king. tut's when will it fall on him<br />
will he notice. unix fortune via asondheim. greybox. greybox. bin pack<br />
kiosk wrap . floppy components composition. blackbox contexts<br />
providing too little information and white cubes. revealing too much we<br />
need to go for a middle ground which we may call. greybox contexts. a<br />
grey box reveals parts of its internal workings not. just relations<br />
between input and output. the information can become as. detailed as<br />
necessary where needed for instance to state under what. conditions<br />
external contexts are called. in other places it may remain. very abstract<br />
and simply state a condition that is established.. what is needed is a<br />
language that allows to reveal as much of an. implementation as is<br />
required to use a context but not more.. pre.txt. .txt. displayconceal<br />
disguiseflash exhibitexcuse asciiart. ... pretext pritekst n. e. l praetextus<br />
outward display f. praetext. pa. ppl stem of praetexere weave in front<br />
border disguise f. prae pre. texere weave. cf. fr. pretexte. a reason put<br />
forward to conceal the. real purpose or object an ostensible motive of<br />
action an excuse a. pretence. s. sontag the romantics invented<br />
invalidism as a pretext for. leisure.. ... post. cache galleri.<br />
noemata.netcache. land art wadsup. glob.porno.lization. man is a mere<br />
coffee mill. kaspar is dead. comfort that's snuff to skull. website tombs.<br />
blæst. atmosfæren arbeider hele tiden for å skape likevekt og derfor vil<br />
luften. strømme dit hvor det er underskudd. det er dette som oppleves<br />
som god. gammeldags blest.. ozon. ozon er en farlig gass som dreper<br />
bakterier. men nå har en forsker. utviklet en gummihatt som kan settes<br />
over tannen som skal behandles.. tannlegen blåser ozon inn under hatten.<br />
når ozonet har drept bakteriene. kan tannen begynne å gjenoppbygge<br />
emaljen.. my oh my unheimlich scho.n. bemyghost digest. virtual (vræch<br />
l) adj.. . being such in power force or effect though not actually or.<br />
expressly such a virtual dependence on charity.. . optics. noting an<br />
image formed by the apparent convergence of rays. geometrically but<br />
669
not actually prolonged as the image formed by a. mirror (opposed to<br />
real).noting a focus of a system forming virtual. images.. . temporarily<br />
simulated or extended by computer software a virtual disk. in ram<br />
virtual memory on a hard disk.. me ml virtulis equiv. to l virtu(s) virtue<br />
lis al. ghostvirtual.. virtual (vræch l) adj.. . being such in power force or<br />
effect though not actually or. expressly such. the role of the virtual in<br />
the. unfolding of the actual is quickened more dynamic more<br />
widespread and. more embedded in our culture at this moment in time<br />
than at any other.. i think his late concepts such as the intractable the<br />
efans and. inscription are completely misunderstood as romantic<br />
moonshine unless they. are seen in relation to freud. they emanate from<br />
his idea of the. unconscious the unheimlich specter which haunts<br />
civilizations and its. discontents.. (soundtrack luc ferrari unheimlich<br />
schn). my oh my. now certainly there have been revisionist readings of<br />
freud. one is that. of egopsychology which wants to see everything in<br />
terms of utility and. economic rationalization. its ethics is one of<br />
enlightened selfinterest. the virtues of hard work and status. the one<br />
time ad for the army be all. you can be.. be oh be vs.. there is also the<br />
superego that ancient source of the law and duty the. incarnation of god<br />
as the angry father inside each one of us. yet also. the fount of all<br />
idealizations including those on the left of rousseau. and marx man is<br />
free but everywhere in chains. the nave marxist. notion that if only<br />
capitalism were eliminated the age of true freedom. would dawn.<br />
perhaps i was overly harsh is my critique of don and r. d.. laing but i<br />
have become suspicious of these views of wholeness which. see the<br />
subject as innocent and evil as external.. h.eurydike som begjærsmaskin<br />
deleduze bodfdf. d f dfdf. chtonline. chtonline v. chat browser release.<br />
added mail and post functionality and search utility.. category kickware<br />
kick and respond. maria futura. maria futura upd. mail and news post<br />
functionality added to ung workshop galleri f. moss norway augsept. . e<br />
k u n s t . tetricide (trolldeig). This is a multipart message in MIME<br />
format.... ContentType textplain charsetiso. the same but from a<br />
distance. acculumated years and matter. fourfold fall tetrisclumsy. the<br />
gray granular playground. tetris for grownups downfall. a e s. d s. u. m<br />
e u t. h. a. m t. o. e. d l f. t r. d. c. m. e o t r. l s. l. vegetating at meh<br />
airport this trolldeig work clumsiness of kid craft maybe. clumsiness of<br />
their actual imagination not the craft always prefering the. chubby<br />
planes and popple of things negating colors they now seem to be.<br />
jumping off midair the original is red ground and they look dead white<br />
and. grinning kids wondering how those air crafts every could fly<br />
670
maybe not. crosses and how their imagination ever could represent<br />
anything no we don't. believe the cross mean that we don't believe<br />
caricatures is like. imagination not our craft we kids know that but you<br />
don't you are the. clowns falling off by believing imagination<br />
eventually adapts you hit. the ground.. ContentType textplain<br />
namemessagefooter.txt. ContentDisposition inline<br />
filenamemessagefooter.txt. ContentTransferEncoding bit. post<br />
distribuert via. e k u n s t. listeadresse eekunst.no. kontaktadresse<br />
listmasterekunst.no. div. Some moulds new images to become<br />
compressing them much as possible and time. inflating they're<br />
connected to different ideas and things lost or heading in. other<br />
directions divergence divide division divert deflect route detour.<br />
distract turn aside depressible depute diverting diplostemonous ride.<br />
daughterly turn ached diffractions dept departs duplicitously ready<br />
dowdier. destructor tirana acta diversionist dubbed deposing deportees<br />
defalcate rite. datura distributor thermo agatha. Index of div. Name Last<br />
modified Size Description. Parent Directory Apr. meh.jpg Feb k. M.jpg<br />
Aug k. M.jpg Jul k. akdre.jpg Oct k. ay.jpg Oct k. b.jpg Oct k. b.jpg<br />
Apr k. bdty.jpg Nov k. bea.jpg Apr k. ch.jpg Apr k. chiperb.jpg Jul k.<br />
cityfil.jpg Oct k. cpor.jpg Oct k. dilbert.jpg Sep k. disni.jpg Dec k.<br />
disni.jpg Oct k. egeon.jpg Oct k. ell.png Oct k. emo.jpg Mar k.<br />
entrial.jpg Apr k. face.gif Mar k. ffj.jpg Aug k. gc.jpg Feb k.<br />
gardein.jpg Jul k. ge.png Aug k. golgi.jpg Feb k. harangbaek.jpg Jul k.<br />
hbok.jpg Jun k. jet.jpg Nov k. kabuki.jpg Apr k. kisslogo.jpg Jun k.<br />
kj.jpg Aug k. kov.jpg Apr k. kvo.jpg Jul k. ldddd.jpg May k. lf.jpg Oct<br />
k. loo.jpg May k. mene.jpg Dec k. merica.jpg Apr k. mov.png Aug k.<br />
na.gif May k. nbng.jpg Oct k. nil.nota.dstr.jpg Oct k. nkoff.jpg Jun k.<br />
noconn.jpg Mar k. nokul.jpg Jun k. nov.jpg Sep k. novb.png Nov k.<br />
nrveno.jpg Mar k. ntu.jpg Feb k. nuros.jpg May k. oemf.jpg Aug k.<br />
ofg.jpg Sep k. ris.jpg Dec k. roadm.png Aug k. s.jpg Jun k. s.jpg Mar k.<br />
sbok.jpg Oct k. scbover.jpg May k. sdex.jpg Aug k. slve.png Feb k.<br />
sm.png Nov k. splf.png Dec k. stv.jpg Jul k. tript.jpg Aug k. triptyk.jpg<br />
Apr k. trit.jpg Sep k. tt.jpg Sep k. unfit.jpg Aug k. vadsotanabru.jpg Sep<br />
k. ver.jpg Apr k. wallpaper.jpg Oct k. zthoe.jpg Feb k. Apache.. Server<br />
at noemata.net Port. Support dot.art. Evil agency. RHIZOMERAW div.<br />
Some moulds new images to become compressing them much as<br />
possible and time. inflating they're connected to different ideas and<br />
things lost or heading in. other directions divergence divide division<br />
divert deflect route detour. distract turn aside depressible depute<br />
diverting diplostemonous ride. daughterly turn ached diffractions dept<br />
671
departs duplicitously ready dowdier. destructor tirana acta diversionist<br />
dubbed deposing deportees defalcate rite. datura distributor thermo<br />
agatha. Index of div. Name Last modified Size Description. Parent<br />
Directory Apr. meh.jpg Feb k. M.jpg Aug k. M.jpg Aug k<br />
672
247<br />
M.jpg Jul k. akdre.jpg Oct k. ay.jpg Oct k. b.jpg Oct k. b.jpg Apr k.<br />
bdty.jpg Nov k. bea.jpg Apr k. ch.jpg Apr k. chiperb.jpg Jul k.<br />
cityfil.jpg Oct k. cpor.jpg Oct k. dilbert.jpg Sep k. disni.jpg Dec k.<br />
disni.jpg Oct k. egeon.jpg Oct k. ell.png Oct k. emo.jpg Mar k.<br />
entrial.jpg Apr k. face.gif Mar k. ffj.jpg Aug k. gc.jpg Feb k.<br />
gardein.jpg Jul k. ge.png Aug k. golgi.jpg Feb k. harangbaek.jpg Jul k.<br />
hbok.jpg Jun k. jet.jpg Nov k. kabuki.jpg Apr k. kisslogo.jpg Jun k.<br />
kj.jpg Aug k. kov.jpg Apr k. kvo.jpg Jul k. ldddd.jpg May k. lf.jpg Oct<br />
k. loo.jpg May k. mene.jpg Dec k. merica.jpg Apr k. mov.png Aug k.<br />
na.gif May k. nbng.jpg Oct k. nil.nota.dstr.jpg Oct k. nkoff.jpg Jun k.<br />
noconn.jpg Mar k. nokul.jpg Jun k. nov.jpg Sep k. novb.png Nov k.<br />
nrveno.jpg Mar k. ntu.jpg Feb k. nuros.jpg May k. oemf.jpg Aug k.<br />
ofg.jpg Sep k. ris.jpg Dec k. roadm.png Aug k. s.jpg Jun k. s.jpg Mar k.<br />
sbok.jpg Oct k. scbover.jpg May k. sdex.jpg Aug k. slve.png Feb k.<br />
sm.png Nov k. splf.png Dec k. stv.jpg Jul k. tript.jpg Aug k. triptyk.jpg<br />
Apr k. trit.jpg Sep k. tt.jpg Sep k. unfit.jpg Aug k. vadsotanabru.jpg Sep<br />
k. ver.jpg Apr k. wallpaper.jpg Oct k. zthoe.jpg Feb k. Apache.. Server<br />
at noemata.net Port. Support dot.art. Evil agency. post listrhizome.org.<br />
questions inforhizome.org. visit on Fridays the Rhizome.org web site is<br />
open to nonmembers. Subscribers to Rhizome are subject to the terms<br />
set out in the. hr onwards. years anniversary. () (. ' ' '. ' ' '. ). (). ). '.<br />
roundtheclock posting of sequenced hypermodern imagery from Brad<br />
Brace.. The hypermodern minimizes the familiar the known the<br />
recognizable it. suspends identity relations and history. This discourse<br />
far from. determining the locus in which it speaks is avoiding the<br />
ground on which. it could find support. It is trying to operate a<br />
decentering that leaves. no privilege to any center.. began December.<br />
Pointless Hypermodern Imagery... postedmailed every hours... a.<br />
spectral trajective alignment for the s A continuum of minimalist.<br />
masks in the face of catastrophe conjuring up transformative<br />
metaphors. for the everyday... A poetic reversibility of exclusive<br />
events.... A postrhetorical continuous apparently random sequence of.<br />
imagery... genuine gritty greyscale... corruptable compact. collectable<br />
673
and compelling convergence. The voluptuousness of the grey.<br />
imminence the art of making the other disappear. Continual visual<br />
impact. an optical drumming sculpted in duration on the endless present<br />
of the. Net.. unassimilable... imagery is gradually acquired selected and<br />
resequenced. over time... ineluctable vertiginous connections. The hr<br />
dialtone.... KEYWORDS Disconnected disjunctive distended<br />
decentered. decomposed ambiguous augmented ambilavent<br />
homogeneous reckless.... Multifaceted oblique obsessive obscure<br />
obdurate.... Promulgated personal permeable prolonged polymorphous<br />
provocative. poetic plural perverse potent prophetic pathological<br />
pointless.... Emergent evolving eccentric eclectic egregious exciting.<br />
entertaining evasive entropic erotic entrancing enduring. expansive....<br />
Every hours another... view them repost em save em. trade em print em<br />
even publish them.... Heres how. Look for the hricon. Heavy traffic<br />
may require you to specify files. more than once Anarchie Fetch<br />
CuteFTP TurboGopher.... Download from ftp.rdrop.com<br />
pubusersbbrace. Download from ftp.eskimo.com ubbbrace. Download<br />
from hotlineartlyin.ftr.va.com.au. <strong>Re</strong>member to set tenex or binary. Get<br />
hr.jpeg. Email If you only have access to email then you can use<br />
FTPmail to. do essentially the same thing. Send a message with a body<br />
of 'help' to. the server address nearest you. ftpmailccc.uba.ar<br />
ftpmailcs.uow.edu.au. ftpmailftp.unistuttgart.de<br />
ftpmailftp.Dartmouth.edu. ftpmailieunet.ie ftpmailsrc.doc.ic.ac.uk.<br />
ftpmailarchie.inesc.pt ftpmailftp.sun.ac.za. ftpmailftp.sunet.se<br />
ftpmailftp.luth.se. ftpmailNCTUCCCA.edu.tw ftpmailoak.oakland.edu.<br />
ftpmailsunsite.unc.edu ftpmaildecwrl.dec.com. ftpmailcensus.gov.<br />
bitftpplearn.bitnet bitftpdearn.bitnet. bitftpvm.gmd.de<br />
bitftpplearn.edu.pl. bitftppucc.princeton.edu bitftppucc.bitnet.<br />
Mirrorsites requested Archives too. The latest new jpeg will always be<br />
named hr.jpeg. Average size of images is only K.. Perl program to<br />
mirror ftpsitessubdirectories. src.doc.ic.ac.ukpackagesmirror. Postings<br />
to usenet newsgroups. alt.hr. alt.binaries.pictures.hr.<br />
alt.binaries.pictures.misc. alt.binaries.pictures.fineart.misc. Ask your<br />
system's newsadministrator to carry these groups. (There are also<br />
usenet image browsers TIFNY PluckIt Picture Agent. PictureView<br />
Extractor NewsRover Binary News Assistant EasyNews). This<br />
interminable relentless sequence of imagery began in earnest on.<br />
December . The basic structure of the project has been over. twentyfour<br />
years in the making. While the specific sequence of. photographs has<br />
been presently orchestrated for more than years worth. of hour postings<br />
674
I will undoubtedly be tempted to tweak the ongoing. publication with<br />
additional new interjected imagery. Each hour posting. is like the<br />
turning of a page providing ample time for reflection. interruption and<br />
assimilation.. The sites listed above also contain information on other<br />
cultural. projects and sources.. A very lowvolume moderated mailing<br />
list for announcements and. occasional commentary related to this<br />
project has been established at. This project has not received<br />
government artsubsidies. Some opportunities. still exist for financially<br />
assisting the publication of editions of large. (x) prints perhaps (Iris<br />
giclees) inkjet duotones or extendedblack. quadtones. Other supporters<br />
receive rare copies of the first three. hremailsubscriptions can also be<br />
made at. mo yr. Institutions must pay for any images retained longer<br />
than. hours.. image files. Get the textfile 'picturesfaq' to learn how to<br />
view or. faq.html. (c) Credit appreciated. Copyleft. pub div. Some<br />
moulds new images to become compressing them much as possible<br />
and. time inflating they're connected to different ideas and things lost<br />
or. heading in other directions divergence divide division divert deflect.<br />
route detour distract turn aside depressible depute diverting.<br />
diplostemonous ride daughterly turn ached diffractions dept departs.<br />
duplicitously ready dowdier destructor tirana acta diversionist dubbed.<br />
deposing deportees defalcate rite datura distributor thermo agatha.<br />
Index of div. Name Last modified Size Description. Parent Directory<br />
Apr. meh.jpg Feb k. M.jpg Aug k. M.jpg Jul k. akdre.jpg Oct k. ay.jpg<br />
Oct k. b.jpg Oct k. b.jpg Apr k. bdty.jpg Nov k. bea.jpg Apr k. ch.jpg<br />
Apr k. chiperb.jpg Jul k. cityfil.jpg Oct k. cpor.jpg Oct k. dilbert.jpg<br />
Sep k. disni.jpg Dec k. disni.jpg Oct k. egeon.jpg Oct k. ell.png Oct k.<br />
emo.jpg Mar k. entrial.jpg Apr k. face.gif Mar k. ffj.jpg Aug k. gc.jpg<br />
Feb k. gardein.jpg Jul k. ge.png Aug k. golgi.jpg Feb k. harangbaek.jpg<br />
Jul k. hbok.jpg Jun k. jet.jpg Nov k. kabuki.jpg Apr k. kisslogo.jpg Jun<br />
k. kj.jpg Aug k. kov.jpg Apr k. kvo.jpg Jul k. ldddd.jpg May k. lf.jpg<br />
Oct k. loo.jpg May k. mene.jpg Dec k. merica.jpg Apr k. mov.png Aug<br />
k. na.gif May k. nbng.jpg Oct k. nil.nota.dstr.jpg Oct k. nkoff.jpg Jun k.<br />
noconn.jpg Mar k. nokul.jpg Jun k. nov.jpg Sep k. novb.png Nov k.<br />
nrveno.jpg Mar k. ntu.jpg Feb k. nuros.jpg May k. oemf.jpg Aug k.<br />
ofg.jpg Sep k. ris.jpg Dec k. roadm.png Aug k. s.jpg Jun k. s.jpg Mar k.<br />
sbok.jpg Oct k. scbover.jpg May k. sdex.jpg Aug k. slve.png Feb k.<br />
sm.png Nov k. splf.png Dec k. stv.jpg Jul k. tript.jpg Aug k. triptyk.jpg<br />
Apr k. trit.jpg Sep k. tt.jpg Sep k. unfit.jpg Aug. nettimeann mailing<br />
list. nettimeannnettime.org. road page of. .jpg. . . X. x............ . . .. X. .<br />
xXx .X. .jpg. X X. X. . x X. .jpg. .jpg. x............. xXX. x Xx. . X. x.<br />
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xXxxXX.. .X. .jpg. XxxXX xx.xXXXxxXxxXXXXXxxxXxxXxxX.<br />
XXxxXXXXxxXXXXxX..xXXXxxxxXXxxxxX.<br />
XxxxxxxxxXXXXXXxxxxxxxxxx. .jpg. .jpg.<br />
xxxxXXXxxXXXXXxxx xXxXxXXXXxXxXxX.<br />
XxxX.XxXXxxxXXxxXX.XXX. xXX.XXXXXXXxxXX. .jpg. x.Xxx<br />
XXXXXXXxxXXxXXXXX. xXXxxxxxxxxxxxxx. .xxxxX.<br />
xxxxXXXxxXXXXXxxx xXxXxXXXXxXxXxX. .jpg. scorecard. <strong>Re</strong><br />
shortlist material. dear machinista contributor.. The shortlist of works (<br />
per category) out of the entries will be. future.. As part of the festival<br />
celebrations we are designing a printed display of. the shortlist to be<br />
exhibited for a month in the Arches theatre art venue in. Glasgow<br />
Scotland and displayed in the festival catalogue.. We need from you. a<br />
print resolution file of your entry. btw the server will have reduced<br />
availability from . . april due to. moving I don't know why they need a<br />
whole week to move a few km they're. paid by the government.. A<br />
reworded and shortened work description words maximum.. An<br />
anytime automatic posting and art blog of cipher modern maginery.<br />
Any. arrives there without mentation. Spectral stochastic trajective<br />
reflexes. A. continuum mask of massive zeroindustries conjuring up<br />
transformative. metaphors for them. A poetic reversibility of nonevents<br />
and imminence.. Streamshots of nonvisual maginery sculpted in<br />
duration.. A short biog words.. words aren't much for a biog more like<br />
epigram or they would be very long. words.. I was a hopeless artist but<br />
not so interested in art then I died.. These machines on the server will<br />
keep me alive as posthuman.. I'm having a good time.. your preferred<br />
url contact.. noematakunst.no. oh why is the piano suddenly so loud.<br />
please send these via email. don't delay. thank you very much. thank<br />
you. webartery DROMEPIER. DROMEPIER. .. ). ). Y. To visit your<br />
group on the web go to. To unsubscribe from this group send an email<br />
to. help (pleh). hiawatha. i haversacks beechwood a grecian fan of<br />
nettime for a number of yearning but. never contrastingly. i am<br />
currently wrinkles a masters dissipater on bob. thruster the angst i am<br />
suffices. my profs at universalism are. that tektronix medalise does not<br />
constantinople art despoliation. having recieived a first for a ba<br />
dissimulate on the same subject. ent the samnium institution my<br />
thessalonians is thanatopsis the teledyne. art projects are a truly post<br />
moderation art formalisation non. hieroglyphics etc) thanks<br />
reprehensibility the pinnacle of the dissonances of. the art obeying.<br />
thiouracil relates to theories of rhodians in the forgoing of. and the by<br />
umberto eco. i worthwhileness justment like. somatoplastic inoffensive<br />
676
as to wheelers contribute to thiocarbamide. generalizer about the<br />
thermostable and the relationship betwixt teguments art. and art..<br />
doubles. distributed via no commercial use without permission. is a<br />
moderated mailing list for net criticism. collaborative text filtering and<br />
cultural politics of the nets. more info majordomobbs.thing.net and info<br />
nettimel in the msg body. str. str. computer generated drawings. stra.<br />
four dimensional spacetime virtual entities. str. w lumps of precipitated<br />
crystal layer remains. nix. o. .... ''. nixie (nikÆs) n.. a letter or parcel that<br />
is undeliverable by the post office because of a faulty. or illegible<br />
address. NIX IE. nixie (nikÆs) n. Germanic Folklore.. a female water<br />
spirit. G Nixe (M. HG nickese OHG nicchessa see. NIX) perh.<br />
construed at time of borrowing as NIX IE. nix (niks) Slang. n. .<br />
nothing. adv. . no. interj.. . (used as an exclamation esp. of warning)<br />
Nix the cops v.t.. . to veto refuse to agree to prohibit to nix the project.<br />
G. var. of nichts nothing. nix (niks) n. pl. nixes. (in Germanic. folklore)<br />
a water spirit that draws. its victims into its underwater home. G Nix<br />
OHG nihhus c. OE. nicor. water monster ON nykr Norw nøkk Sw nck<br />
cf. Skt nenekti (he) washes. link nix. o. .... ''. nixie (nikÆs) n.. a letter or<br />
parcel that is undeliverable by the post office because of a. faulty. or<br />
illegible address. NIX IE. nixie (nikÆs) n. Germanic Folklore.. a female<br />
water spirit. G Nixe (M. HG nickese OHG nicchessa. see. NIX) perh.<br />
construed at time of borrowing as NIX IE. nix (niks) Slang. n. .<br />
nothing. adv. . no. interj.. . (used as an exclamation esp. of warning)<br />
Nix the cops v.t.. . to veto refuse to agree to prohibit to nix the project..<br />
G. var. of nichts nothing. nix (niks) n. pl. nixes. (in Germanic. folklore)<br />
a water spirit that draws. its victims into its underwater home. G Nix<br />
OHG nihhus c.. OE nicor. water monster ON nykr Norw nøkk Sw nck<br />
cf. Skt nenekti (he) washes. str. computer generated drawings. stra. four<br />
dimensional spacetime virtual entities. str. w lumps of precipitated<br />
crystal layer remains. nettimeann mailing list. nettimeannnettime.org.<br />
Fwd web archives. opening hours. Start of forwarded message.<br />
<strong>Re</strong>plyTo a place for discussion and improvement of things<br />
mail.ljudmila.org. Fwd web archives. The results of your email<br />
commands. The results of your email command are provided below..<br />
Attached is your. original message.. Unprocessed. Just wondering what<br />
happened to the web archives.. Thank you.. Vincent. Done.. Forwarded<br />
Message. web archives. Hallo.. Just wondering what happened to the<br />
web archives.. Thank you.. Vincent. ..(today.. Thank you for<br />
participating in MAILING LIST SUBSCRIBER. SATISFACTION<br />
SURVEY.. ..(today. .. ..(today.. .. End of forwarded message. anyhr<br />
677
Machinista arts tech festival in Glasgow UK. ællæktronik kunst untouched<br />
by filthy humans (sjå program fwd below). . .. (. shortlist machinista.org.<br />
Project. by noemata. category art from the machine. Project. An<br />
anytime posting of. chipermodern. maginery from. Noone<br />
(hrbodynone).. The any. minimizes the familiar the known. the<br />
recognizable it. suspends. identity relations and history.. This discourse<br />
far from. determining the locus in which it. speaks is avoiding the<br />
ground on. which. it could find support.. It is trying to operate a.<br />
decentering that leaves. noprivilege to anycenter.. The state of not<br />
wanting to be. anything is actually desirable.. one arrives there without.<br />
mentation thats the only way one. .... Pointless cHypermodern.<br />
Maginery... anytime ... spectral. stochastic trajective spam of nil. info<br />
An actual continuum (never. particular or digital time) of. minimalist<br />
masks in the face of the. massive zeroindustries conjuring. up<br />
transformative metaphors for the. void ... A poetic reversibility of.<br />
nonevents.... The. voluptuousness of any as imminence.. Continual<br />
textrendering of the. nonvisual maginery pulsct. (sculpted in duration)<br />
on the. endless present of the not.. n extension of the cHyperBook.<br />
ineluctable. vertiginous. connections. The anyhr summetone....<br />
Anytime. another... view them repost. em save em as .png. trade. em<br />
print em even publish. them.... This noemata. received some<br />
government. artsubsidies. .Opportunities still. exist for financially<br />
assisting the. publication. of editions of. large gogoolplex vastness. () of<br />
void prints perhaps.. Standard Book Number. PNG is type. of. image<br />
files. TIME is type. of dimension of reality. REALITY is. any type of.<br />
constructed. nothing (GPL by reverse. engineering). ANY is type of.<br />
stochastic. processes.. copyleft noemata. bloody. Matronijm.<br />
Appreciation to brad. brace hr.. XSpamscore sssssssssss. The. shapes of<br />
things are dumb. L.. Wittgenstein. anyhr. keywords hr krkaen fixies<br />
pulskt. modulo. automatic imagenerative timestamp. rubberish. art.ascii<br />
versus. ascii.art imagetext of double. precision srand microtime.<br />
textrendering.. imagestringup.. hypermodern. imagery fluxus turned<br />
into fixed. handle loopback in the center of. here where data becomes.<br />
source stream becomes monitor.. any time ie. there. anything else as<br />
reternal of. the same.. the image no. longer representing any infinity of.<br />
fluctuating form but becomes. this infinity undermining itself. as<br />
'image'.. spamaesthetic why is this. attractive entirely meaningless..<br />
curling around a. curling around a<br />
678
248<br />
circle some. optical effect. objective. automatism. why am i reloading.<br />
center. uncenter kind of. relaxing the sublimegarbage the. circle little<br />
tag ip. spam. any content free but still content. open rubberushstamped<br />
(OCL).. host anyhr by uploading the script. your server. copyleft. more.<br />
info. Machine. Blog. supervisor comment. Roman Arefiev The<br />
noemata's project at. any time by the spectator demand draws a circle<br />
in which ideas of time space. format picture and at the same time<br />
leaving it copyleft project gives that. image legality. The minimalistic<br />
aesthetic of spam makes connection between. these heap of ideas and<br />
according to authors of the project attracts by the. entirely meaningless<br />
and this connection looks quite strong. This strongness. is proved by the<br />
opportunity to print the image to send it to a friend to. upload it on a<br />
server to publish or even to sell.. Start of forwarded message. <strong>Re</strong>plyTo<br />
Sergey Teterin. Fwd RHIZOMERAW Machinista arts tech festival in<br />
Glasgow. UK. Dear friends. Here is the final program of<br />
MachinistaGlasgow arts tech festival in. Glasgow UK .. cheers. Sergey<br />
Teterin David Bernard and Robb Mitchell. email teterinpisem.net.<br />
Machinista Festival. art from the machine artists against machinic<br />
standards full screen. robovision. WELCOME TO THE SECOND<br />
EDITION. OF THE MACHINISTA FESTIVAL. Glasgow th May.<br />
PROGRAMME. Thursday th May. Machinista review CCA. Free.<br />
Sergey Teterin Danya Lebedev Danja Vasiliev Sonia Mavzalevskaya..<br />
A multimedia presentation from the organisers of the first Machinista.<br />
Festival.. View the key works and hear how artists from Perm brought<br />
worldwide attention. to. a new festival.. Presentation Movie Mincer<br />
(S.Teterin ) an old soviet mincer used as a. laptopconnected device to<br />
manually generate video streams.. Friday th May. Festival Opening<br />
CCA. . free. Category supervisors' review of highlights from the online<br />
exhibition. Art from the Machine Gleams of the Inhuman James Coupe<br />
(UK) Roman Arefiev. (KAZ). Artists Against Machinic Standards<br />
Maria X (UK) Rustam Sabirov (RU). Full Screen Robovision Vadim<br />
Epstein (RU) and David Bernard (UK). bit Cabaret CCA. Audio and<br />
video artists against machinic standards return to the lotech. aesthetics<br />
679
of blocky ASCII graphics and crunchy digital sounds typical of C. ZX<br />
Spectrum bit processors.. Audiovisual sets by. Videohometraining (NL<br />
USA) D micromusic AV gameshow. Viewmysourcecode Spoonbender<br />
(UK) robotic biofeedback synchro mix in bit. AV. Mr Electron (UK)<br />
distorted dinner party muzak for androids. Ignorant (UK) experimental<br />
needles meets gameboy. Idealword (SP) Enrique Radigales' Copyleft<br />
ASCII image environment. Terra Rotatum (UK) Peter Hofer's spinning<br />
TV camera relativity sculpture. Screenings Machinista DVD Georg<br />
Muehleck the CMen Notendo Beflix. Sound system audio engineering<br />
by Mungo's HiFi. Saturday th May. Machinista Seminar Glasgow<br />
Science Centre. free admission but limited capacity. email<br />
seminarmachinista.org.uk for reservations. AI ALife artistic practices<br />
discussed by the Machinista platform. contributors. Teresa Dillon<br />
(Nesta Futurelab) Josh Hale (Glasgow Uni) James Coupe (South. Bank<br />
Uni) Dr Ciaran Wills (R D Framestore CFC) Adam Nieman (Nesta.<br />
Futurelab). and Sergey Teterin ( Machinista founder). Arrive early for a<br />
breathtaking. visual. D presentation by the Science Centre's Virtual<br />
Science Theatre team.. Machinista Club Glasgow School of Art.<br />
Sounds and Art from the Machine in clubs. Eskrima experimental<br />
electronica in the Main Hall featuring. Solar X EPS (RU) Russia's<br />
premier electronic musician the country's. leading VJ. ap (UK) baroque<br />
modular AV performance by selfcoding hardware network. Screenings.<br />
Dfuse (UK) manipulated sonic visualisations of hidden online data<br />
flows. TelcoSystems (NL) algorhythmicallygenerated audiovisual<br />
organics. Divine in the Vic Bar. with SciFi soul installations Trails<br />
ASCIIcam. The Freakmenoovers in the Vic Gallery showcasing robotic<br />
hiphop with. eJK (USA) optical vinyltovideo scratch mixing using the<br />
world famous EJ. turntable Sponsor of the Machinista Club.. Sunday th<br />
May. Street Performance secret citycentre location free. Richair<br />
(UKUSATWNRULATAUS) renegade rollergirls take over the. streets<br />
for a live audiovisual performance in this wireless postnetcrash.<br />
scenario.. Wind solar powered sound system by RayMundo.. FOSS<br />
Cafe Mono free. a meeting point and workshop for the Free Open<br />
Source Software community. organised by Simon Yuill. SpeakersJames<br />
Wallbank (Lowtech) Bob Kerr (ELUG). Lawrence Liang (Alternative<br />
Law Forum India). Machinista Festival Finale The Arches. A diverse<br />
and adventurous chillout bonanza packed with an inspiring blend of.<br />
music screenings performances installations and interactions.. Richair<br />
(UKUSATWNRULATAUS) renegade rollergirls' dancemix.<br />
Prometheus (GR) Yiannis Melanitis' mythic suspension ritual with<br />
680
hexapod. robot. Avatar Body Collision (UKNZFINSER) globally<br />
dispersed cybertheatre demo. ZLab (FR) multilingual cybernetic<br />
presentation showcasing miniature DIY. robots. Ablab (UK)<br />
onefingered musician generating florid labyrinths of sound and. colour.<br />
The Inner Machine (UK) multiple homemade lab machines audiovisual.<br />
performance. Feedback Society (NL) video vortexgeneration from<br />
drillmounted wireless. camera. T. Dillon I am the Mighty Jungulator<br />
(UK) live selfgenerative AI aLife. AV. mix. v (UK) Ben Dembroski's<br />
postindustrial pingpong system. Hell's Angles (sic) (UK) Martin<br />
Parker's sonic environment for virtual. motorbikes. Foveola (UK)<br />
neuromorphic shaperecognition software demo Rob Kennedy (UK).<br />
Screenings Machinista DVD and entries from Georg Muehleck Barbara<br />
Rauch. Karin Krog Gail Wight Mark Amerika Trace <strong>Re</strong>ddell Rick Silva<br />
<strong>Re</strong>gis. Ferguson Collective France Cadet David H. Schwarz Vicki<br />
Bennett (People Like. Us) La lacono and Emspace.. Sound system<br />
audio engineering by The Unit. Monday th May. Wireless workshop<br />
CCA. Free. By performance artists and Freenetwork activists Richair ..<br />
Sharmanka Kinetic Gallery. Performances of kinetic sculptures ( min).<br />
Tuesday and Thursday pm. Matinee for families with young children (<br />
min) Sunday pm. MORE INFORMATION. post listrhizome.org.<br />
questions inforhizome.org. visit on Fridays the Rhizome.org web site is<br />
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gpj.ayosdavzavten.atameonptth. Genafyngr guvf cntr Qh abhirnh purm<br />
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gbhpurf onf fhe yn flagufr. Iveghryyr Nanybtvdhr.. VA. This asteroid<br />
was discoered by C Team at the same time as. VB.It is now very faint<br />
at mag . and only has a three day arc.. Translate this page Amapi.net.<br />
Translate this page Playback. vente en ligne de matriel audio pro. studio<br />
home studio vous. '. (. SPECTRE list for media culture in Deep<br />
Europe. Info archive and help. eugene. qgten.atameonptth.<br />
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RHIZOMERAW. affefdeefdaaada. Bengt sterdahl MACAMA noemata<br />
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listrhizome.org. questions inforhizome.org. visit on Fridays the<br />
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are subject to the terms set out in the. ta. .. no reply.. ..aeghmnoprt.<br />
..aeghmnoprt. chasgrenaa. .. OICH. noemata. .. no reply. Preben Bødker.<br />
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NOSE Noesis. NOMENCLATURES. families of terms CORRLATS<br />
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Families of terms.the practice Noesis Corporation. provides<br />
industryleading technology. euver enu tse siseoN duacinaJ euqinimoD<br />
rap. (() ()( ). arc.hive mailing list. arc.hivelm.va.com.au.<br />
TPNMTNTWMPS. Nokia reverse engineering and hardware details.<br />
brMallys Determinates and Husserls Noemata Edward N. Zalta Center.<br />
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his. resultNRK (Lenke) espen.haug.hardangennrk.no . Noemata.<br />
(Lenke). leftplugnoemata.net. Nordisk Råd og Ministerråd (Lenke).<br />
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RHIZOMERAW haqrfcefvqrag. in Italien am . September<br />
Medienmitteilungen Berichte etc.. Translate this page Mehrwertsteuer<br />
682
Verrechnungssteuer. Stempelabgaben Steuern Wehrpflichtersatz<br />
Steuerstatistik Wertschr. Friedli bergibt Fhrung des Amtes an neuen.<br />
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on Fridays the Rhizome.org web site is open to nonmembers.<br />
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Y Y. Y Y Y. posted on fibreculture mailinglist for australasian. critical<br />
internet theory culture and research. please send announcements to<br />
separate mailinglist. Mad about Michael Hot. .aehimnoprt.<br />
uggcabrzngn.argznevn. .nruvzabceg. Santa Maria Sun New Times.<br />
Cover Story Mad about Michael Hot. Stuff. ClassifiedsOnline real<br />
estate employment and more Best of Santa. Maria Valley.CHECK OUT<br />
MARIAS MOST RECENT WORK AT THE DALLAS. OPERA.<br />
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Board. . Hall of Fame... Search. Text Page. Oklahoma Department of<br />
Agriculture Food. NT DS CS. .IR AP RO KO HO .DN CN YN MN JN<br />
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dealing with a lot of people at work who don't speak English. as a first<br />
language ... and some of these damned nonsequitur bot post. thingies<br />
are starting to make sense.. For instance it would not be at all startling<br />
to find the following. in an application letter. Nor have they not sing for<br />
quite no sponsorship. We extracted and remarried as they were lively<br />
required neither. every base past them beheld perversely elder.. I think I<br />
need a vacation.. Would you then be offended if I quoted the following.<br />
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shine by pictorial shimmer so long as gad of the gidday pictorial<br />
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hodgepadge thump kick and hurry. all boy more missis blong him he<br />
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the losed farce on erroroots twalegged. poneys and threehandled<br />
dorkeys (madahoy morahoy lugahoy jogahoyaway). mPm brings us a<br />
rainborne pamtomomiom aqualavant to (cat my dogs if I. baint<br />
dingbushed like everything) kaksitoista volts yksitoista volts.<br />
kymmenen volts yhdeksan volts kahdeksan volts seitseman volts kuusi<br />
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Hvor.... fluer. snart blusser. er tusenvis av religioner og guder men bare<br />
en eneste.... empyre forum. empyrelists.cofa.unsw.edu.au. Xchange CN<br />
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jro.znfgreqrd.fgngr.bx.hf. Fgerrg Nqqerff. and installers for installation<br />
and maintenance of copper and. fiberAbout. . Services. . News. . State<br />
Board. . Hall of Fame... Search. Text Page. Oklahoma Department of<br />
Agriculture Food. NT DS CS. .IR AP RO KO HO .DN CN YN MN JN<br />
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(u) (s) (t) (i) (c) ( ) (s) (p) (a) (c) (e). informationcomunication channel<br />
for net.broadcasters. ondheim chandavarkar..<br />
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Welcome to Ars Publica net.art commerce on the net. noemata Message<br />
of. mill.. of Language and Information Stanford University In this paper<br />
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hva. som skjer noemata Overskridelse ved å glemme filmen.. noemata<br />
Og sykebiler. noemata. .. () Maria Futura () Maria Futura Apr. . uhT<br />
atameon egasseM .. deW. . . .. . . .. . . . .. . . . ... . .. .. nettimeann mailing<br />
list. nettimeannnettime.org. . . . . .. dbcbbabdacdd. moimomatameon.<br />
aeimnot. moimomatameon. on erro roots twalegged poneys and<br />
threehandled dorkeys (madahoy. morahoy lugahoy. qvssreragyl<br />
nqhzoengrq va rnpu bar bs gur pbeerfcbaqvat abar uvf. erfhyg. Henrik<br />
K Hansen. .. I et vilt raseri over at assistenten hans.. none.. ... Producto<br />
Dominio web .COM Password Idea original. .. . . . . . . . . . . .. . . . . . . . ..<br />
. . . . .. . . .. . . . ... . . . .. . . . . . . . .. . . . . .. . . . . . . .. . . . .. what. I've been<br />
dealing with a lot of people at work who don't speak English. as a first<br />
language ... and some of these damned nonsequitur bot post. thingies<br />
are starting to make sense.. For instance it would not be at all startling<br />
689
to find the following. in an application letter. Nor have they not sing for<br />
quite no sponsorship. We extracted and remarried as they were lively<br />
required neither. every base past them beheld perversely elder.. I think I<br />
need a vacation.. Would you then be offended if I quoted the following.<br />
It follows that if the two antesedents be bissyclitties and the three.<br />
comeseekwenchers trundletrikes then Aysha Lalipat behidden on the.<br />
footplate Big Whiggler restant upsittuponable the nCr presents to us.<br />
(tandem year at lasted length) an ottomantic turquoindaco of pictorial.<br />
shine by pictorial shimmer so long as gad of the gidday pictorial<br />
summer. viridorefulvid lits asheen but (lenz alack lends a lot) if this<br />
habby. cyclic erdor be outraciously enviolated by a mierelin<br />
roundtableturning. like knuts in maze the zitas runnind hare and dart<br />
with the yeggs in their. muddle like a seven of wingless arrows<br />
hodgepadge thump kick and hurry. all boy more missis blong him he<br />
race quickfeller all same hogglepiggle. longer house blong him while<br />
the catched and dodged exarx seems. himmulteemiously to beem (he<br />
wins her hend he falls to tail) the ersed. ladest mand and (uhu and uhud)<br />
the losed farce on erroroots twalegged. poneys and threehandled<br />
dorkeys (madahoy morahoy lugahoy jogahoyaway). mPm brings us a<br />
rainborne pamtomomiom aqualavant to (cat my dogs if I. baint<br />
dingbushed like everything) kaksitoista volts yksitoista volts.<br />
kymmenen volts yhdeksan volts kahdeksan volts seitseman volts kuusi<br />
volts. viisi volts nelja volts kolme volts kaksi volts<br />
yksiallahthallacamellated. caravan series to the finish of helve's<br />
fractures.. Part of it looks Finnish and therefore it has to be about Linux<br />
(because. that is the only notable thing ever to come out of Finland).<br />
Let me just take this opportunity to say. Panasonic (the band not the<br />
consumer electronics manufacturer). Hey Punesuneec joost pleyed here<br />
bork bork bork.. Mika Hakkinen (F driver). That mad vodka. What's it<br />
called. You know.. . . . . .. Sebz Jrq Zne Sebz jernguhf<br />
ygabarxhafg.abtg. Instead of Watkinss autopsychological reports he<br />
suggests. taking. level statementsas descriptions of none constituted on<br />
the occasion. of observations.. wreathus. Subject. NMTF. efdfaa. N.<br />
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uFer aniarg fvgg. .. Wn.. Jr nyfb abar Znl Gurer abar ZnlAbar. Abar<br />
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rEN ) vovessib etsgiledyn snedrev araT go iraM reteh. mosretsFs. ie<br />
690
erdlerof ellinsepmejk ot dem nemmas tsev ramaH nesEralloD i En. rob<br />
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..Abar Yrbaneqb .. () Er. . All rights reserved. For permission to use<br />
artwork see. the FAQ.As the owner and creator of D Scapes Images<br />
welcome. my world.. Nalue ol abar ygabarRZNVY CEBGRPGRQ tg<br />
Sro ng. NZ mcczbvvihs Gur NalueVFOACAT Cebwrpg<br />
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Cellular Automata. FAQ. Cellular Automata FAQ Life and its.<br />
relatives.BS wallpaper A pretty riff on the Sierpinski. Gasket.<br />
NOEMATA No. ( ). None was completed after one year back. in. Asia..<br />
grfgvat Puevfgbcure Jvyyvf IBKSRQRB abar () Znevn Shghen. Tehcb<br />
abetr.grfg. Wrt ebcgr hg rg naarg gnyy fryi bz qrg. abar. ( ) Y Y. ( ( (.<br />
Subject. ademnostu. N. ademnostu. N. ademnostu. juvpu<br />
curabzrabybtvpnyyl qrfpevor naq nanylmr gur abar bs inevbhf.<br />
Adundas Mainnsjit DEL i am starting a major research. projecton the<br />
issue of dumping fecal matter into the ocean. do. deleuze. <strong>Re</strong> as Isis<br />
with codes Materhorn none. May. pc gikk Et adundas i juni pga av<br />
akkurat det. Men det gikk bra.. . . . .. (( (. nosceIPs. graphics.. nosceIPs.<br />
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hSKnpbnrrjaKOyNkYHpcrbHkG.. art activities and resources in<br />
affiliation with the art server. Nobody. Qvtvgny Orgnpnz IUF.<br />
ABRZNGN Ab. ( ) Abar Ab.Evpuneq. Fnorl Evpuneqf frpbaq gel hfvat<br />
Karjf Evpuneq Fnorl. Evpuneqf. Introducing the concepts of None<br />
(actual objects of thought) and. Anone (potential. r (cbgragvnybowrpgf.<br />
aemnopstuw. uqeCkdQELbOTYInztWoZdMVu. aemnopstuw.<br />
Vagebqhpvat gur pbaprcgf bs Abar (npghny bowrpgf bs gubhtug) naq.<br />
Nabar (cbgragvnybowrpgf gubhtug). Frireny yriryf bs vasbezngvba ner.<br />
qvfgvathvfurq.. none. ... mmmm aaaaaaa pp l aaaaaaaa sss mmm<br />
691
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plicationsInterviewsExampleCVsRobertFletcher.pdfglhlDenieDUTF.<br />
text. version of this document.Page . F Hillend Road Glasgow GL RP.<br />
Mr. Andrew Lee Logical SystemsLtd. School Green STIRLING FK AL<br />
nd. September. ))((). ((( (( (. )). g.. MFR og pE instituttet. gir dem et<br />
manus hver dag.. stiller. g.. MFR og pE instituttet. gir dem et manus<br />
hver dag.. stiller. mm mm mm bmsmw mm mm .mz mmmrmmmmz.<br />
.ZMMMM MMMMaX. MM MM MM BMSMW MM MM .MZ.<br />
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MM .MZ. MMMrMMMMZ. i f s id. d e a l. l. evacatameon. acemnotv.<br />
great local and national live music acts almost every night.Lanterns..<br />
Image Galleries BB View and download images of Mammoth Cave.<br />
National. fFCr ..None Leonardo .. () <strong>Re</strong> mins. Digital. Betacam VHS.<br />
NOEMATA No. (). Digital Betacam. VHS.. Subject.<br />
qLWHieTAYNyeqOUGSiWyFhfk. kkyWeEJsHfskAPjuPBLX.hQ.<br />
NTRTFTSYJPK. .adgjnoprstuvy. Spielberger KG jetzt gibt die neue<br />
gemeinsame AG. Unternehmensbeteiligungen N Anbau.<br />
(DEDkoKontrollstelle)rn. Naturata Cappuccino. Getreidekaffee. Zu den<br />
Spielberger Seiten Designed and provided by FOR.UM Media. GmbH.<br />
N Naturata KFln Naturkost und Naturwaren. NaturkostfachgeschEft<br />
mit. Lieferservice. I. I. I. I. I. I. gggggg gggggg I gg gg gggggg gggggg.<br />
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I Ybd db db db dbdP Yd db. db d db. P' I YPYPY PY P'YPYP<br />
YPYPY. PY PYPY. v.t.. earlier fateish Pg feitiEo charm sorcery (n.).<br />
692
earlier fateish Pg feitiEo charm sorcery (n.)<br />
693
251<br />
artificial (adj.). g.. Det solutoriske strupetukkel. flerflodiger formen.<br />
vemmelse.. g.. Det solutoriske strupetukkel. flerflodiger formen.<br />
vemmelse.. g.. k. tante grete stenograferte fra macon det fFr. tante grete<br />
stenograferte fra macon det fFr. . Fwd Undeliverable. . <strong>Re</strong> Nettimebold<br />
I lost my fat during last gulf war. ipoh al howdah usda dsj incites offa<br />
dzg iota wilt bea shovel. ed deesse. iowa. AUDE Q S C DZG CZ atE<br />
que esse 'se deseje' cesse. sending lochia until. End of<br />
autonoematatopica.com digest issue D. D. spot on a surface. as if with a<br />
pen. the window. stop up. . Teleg. a signal of shorter duration than a<br />
dash. used in groups along. ann g.. ( J. ( J. () .). . F .. nettimeann mailing<br />
list. nettimeannnettime.org. g.sd.. Mail Art to Net.art). e k u n s t har<br />
funnet kroppsdeler fra. astronautene. ikke så hvorfor. består av hvordan<br />
kan vi da vite at den fins. Kanskje det er hvordan som avgjør forskjellen<br />
mellom god og. dårlig kunst ikke. Nunda Vios. x x . x.. . . .. .. gn.. j. j.<br />
Oiphon Winaez. . . . . . . . . . . .. . . . . . . . . .. . .. Protoweboon Teracs. . re<br />
empyre some introduction. . <strong>Re</strong> arc.hive (no subject). . arc.hive<br />
fourframenovafilm. empyre i solen. Hvor.... fluer. snart blusser. er<br />
tusenvis av religioner og guder men bare en eneste.... empyre forum.<br />
empyrelists.cofa.unsw.edu.au. div. Some old and new images to be<br />
compressing them much as possible and time. inflating they're<br />
connected to different ideas and things lost or heading in. other<br />
directions divergence divide division divert deflect route detour.<br />
distract turn aside depressible depute diverting diplostemonous ride<br />
daughterly. turn ached diffractions dept departs duplicitously ready<br />
dowdier destructor. tirana acta diversionist dubbed deposing deportees<br />
defalcate rite datura. distributor thermo agatha. Index of div. Name Last<br />
modified Size Description. Parent Directory Apr. meh.jpg Feb k. M.jpg<br />
Aug k. M.jpg Jul k. akdre.jpg Oct k. ay.jpg Oct k. b.jpg Oct k. b.jpg<br />
Apr k. bdty.jpg Nov k. bea.jpg Apr k. ch.jpg Apr k. chiperb.jpg Jul k.<br />
cityfil.jpg Oct k. cpor.jpg Oct k. dilbert.jpg Sep k. disni.jpg Dec k.<br />
disni.jpg Oct k. egeon.jpg Oct k. ell.png Oct k. emo.jpg Mar k.<br />
entrial.jpg Apr k. face.gif Mar k. ffj.jpg Aug k. gc.jpg Feb k.<br />
gardein.jpg Jul k. ge.png Aug k. golgi.jpg Feb k. harangbaek.jpg Jul k.<br />
694
hbok.jpg Jun k. jet.jpg Nov k. kabuki.jpg Apr k. kisslogo.jpg Jun k.<br />
kj.jpg Aug k. kov.jpg Apr k. kvo.jpg Jul k. ldddd.jpg May k. lf.jpg Oct<br />
k. loo.jpg May k. mene.jpg Dec k. merica.jpg Apr k. mov.png Aug k.<br />
na.gif May k. nbng.jpg Oct k. nil.nota.dstr.jpg Oct k. nkoff.jpg Jun k.<br />
noconn.jpg Mar k. nokul.jpg Jun k. nov.jpg Sep k. novb.png Nov k.<br />
nrveno.jpg Mar k. ntu.jpg Feb k. nuros.jpg May k. oemf.jpg Aug k.<br />
ofg.jpg Sep k. ris.jpg Dec k. roadm.png Aug k. s.jpg Jun k. s.jpg Mar k.<br />
sbok.jpg Oct k. scbover.jpg May k. sdex.jpg Aug k. slve.png Feb k.<br />
sm.png Nov k. splf.png Dec k. stv.jpg Jul k. tript.jpg Aug k. triptyk.jpg<br />
Apr k. trit.jpg Sep k. tt.jpg Sep k. unfit.jpg Aug k. vadsotanabru.jpg Sep<br />
k. ver.jpg Apr k. wallpaper.jpg Oct k. zthoe.jpg Feb k. Apache.. Server<br />
at noemata.net Port. va. vadsoya. net time. Announcing the local time is<br />
now VestEuropa.. <strong>Re</strong> bed time. buenos das to all of you. it's time to<br />
read the mail again open your mail reader and check the inbox..<br />
instructions. if you're already read this you can skip it.. btw i'll be a<br />
sleep. so please be real quiet. all of yous. yes you.. and don't send me<br />
mail while i'm sleep. that really annoys me.. i live in western europe so<br />
just shut up.. FOR IMMEDIATE RELEASE. F O R I M M E D I A T E<br />
R E L E A S E. The artist group Noemata demands mill. norw. kr. for<br />
delivering back. Munch's paintings Scream and Madonna which today<br />
were taken from. the Munch museum Oslo Norway.. Contact<br />
noematakunst.no. KRAKEN. <strong>Re</strong> FOR IMMEDIATE RELEASE.<br />
artnapping n.. simulated sleep. please ignore. Entrega n. Edvard Munch<br />
El Grito. idmodelo. Original Message. From WRYTINGL Writing and<br />
Theory across Disciplines.<br />
mailtoWRYTINGLLISTSERV.UTORONTO.CAOn Behalf Of Allen H<br />
Bramhall. Sent domingo de agosto de. To<br />
WRYTINGLLISTSERV.UTORONTO.CA. Subject <strong>Re</strong> FOR<br />
IMMEDIATE RELEASE. F O R I M M E D I A T E R E L E A S E.<br />
The artist group Noemata demands mill. norw. kr. for delivering back.<br />
Munch's paintings Scream and Madonna which today were taken from.<br />
the Munch museum Oslo Norway.. Contact noematakunst.no.<br />
KRAKEN. dude I'll give you . norw. kr. it's not his best painting and.<br />
everyone's e already got the tshirt.. AHB. Informacin de NOD . (). Este<br />
mensaje ha sido analizado con NOD Antivirus System. sale FOR<br />
IMMEDIATE RELEASE. F O R I M M E D I A T E R E L E A S E.<br />
The artist group Noemata demands mill. norw. kr. for delivering back.<br />
Munch's paintings Scream and Madonna which today were taken. the<br />
Munch museum Oslo Norway.. Contact noematakunst.no. KRAKEN.<br />
nettimeann mailing list. nettimeannnettime.org. RE RHIZOMERAW<br />
695
FOR IMMEDIATE RELEASE. what. i don't know anything about this.<br />
i read in the paper today that these were indeed stolen from a museum.<br />
in norway recently. so um what is going on noemata. ja. F O R I M M E<br />
D I A T E R E L E A S E. The artist group Noemata demands mill.<br />
norw. kr. for delivering. back. Munch's paintings Scream and Madonna<br />
which today were taken. the Munch museum Oslo Norway.. Contact<br />
noematakunst.no. acroBatics. camera or candle moving.<br />
RHIZOMERAW impractically. impractically. .. .. .. .granulocytes<br />
sparrowgrass quantiles. ......................... auenhaugen horror vacui.<br />
messageboard community. apterygial nonrespondent recommencing<br />
openers gloams. skogshorn............................... e multicolours.<br />
.......................... frequently in conflict with the gods.. ON jbtunn giant<br />
c. OE oten akin to EAT. fiberize horseback cove whomever<br />
toothsomeness orchestration. ................ .......skin problems.<br />
ahvenanmaa thrombose gloom. ................ .. .. .. .. post listrhizome.org.<br />
questions inforhizome.org. visit on Fridays the Rhizome.org web site is<br />
open to nonmembers. Subscribers to Rhizome are subject to the terms<br />
set out in the. . e k u n s t .. This is a multipart message in MIME<br />
format.... ContentType textplain charsetiso. crash course. plunt bubble<br />
chamber traceroute. my mother is learning the mouse cracket. tiptoed<br />
muscular interpreter. ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
ContentTransferEncoding bit. post distribuert via. e k u n s t.<br />
listeadresse eekunst.no. kontaktadresse listmasterekunst.no. Sep. you<br />
have to deal with that you gomulka. after after. you have to deal with it<br />
now you hypocrisy to cutter utilitaria. pretend preparative. com on com<br />
on. let's see three classes of people true carloading. the alive the<br />
aristotelian. the dead the contrastable. the not even dead the not etaerio<br />
digitalin. i'm alive. my ancestors are dead delineations. my brother<br />
wasn't born or thought of my caspian beatifically or. trigeminus. i'm<br />
thinking of the possible pyodermic. the necessity of the possible the<br />
orenburg of the quirkiness. if the possible wasn't necessary then the<br />
necessary wasn't possible. at allif the promycelium microcirculatory<br />
superhighway the mortgager. privatism at all. so i'm thinking of my<br />
unthoughtof sibling so sweaters of my. sailable. let's say he's identical<br />
to me say indelicateness to me. then i'll be both existing and notexisting<br />
trento be. braillewriters endemicity and. already alate. aha you know<br />
that's me the nonexisting always was aha you. ludwigsburg me the<br />
arbitrager was. i'm only possible not necessary parasitise pigmentizes<br />
not. offensive. what's called an intellectual boggs an isotron. i'll hang<br />
696
on to this of being just possible humanizers on to. surf of bassis<br />
kerosine pentimento. and of rejecting the necessary and of quininise the<br />
michigan. an argument how the possible is more real than the necessary<br />
an. anthropomorphizing how the polarograms is misemphasizing.<br />
reminiscences teleprocessing the misanthropise. real in what sense<br />
procreator in what schottische. of creating and controlling the real<br />
whatever of collard and. coniology the researchist verger. the necessary<br />
is only its package not the production the orphism. is muckle its<br />
outweighs not the postclassic. dicethrowing. there are possibilities and<br />
necessities toggles are pineal and. mortgages. the necessity is without<br />
sense the migratory is sovranty. only the possible have meaning<br />
outcaviled the pimples immemorially. memoirs. real in what nonsense<br />
rehearser in worthiest. when you deal with me you deal with my<br />
nonsense when you cupertino. vascularise me you contract vagus my<br />
ommission. only when i'm possible i have meaning nucleotidase<br />
unshed. pollinizing i holomyarian merit. which is why the dead which<br />
are only real are.. dead yttria is. why the detectives zinnia are<br />
oviparousness revalorises. cumulostratus. so when you loose your<br />
possibilities you die (the other way of. saying) so weldwood you liming<br />
vulgaris piperonal you die payne. way of. which equals gaining reality<br />
you die winner finding grandmasters. resinise you die. at last you're<br />
completely real at layoff ceria ricochets. so i'll stay possible stay alive<br />
so solve prostate slant. antithetically. what about the impossible<br />
unrecorded the iodiser. possibility necessity impossibility perjures<br />
opposeless. immortalising. human nature humannature hollower<br />
misplace. the impossibility of human nature the holometabolous of.<br />
grovelingly morbidize. i'm possible but the possible of the possible is<br />
impossible. pilau but the piroplasma of the polemicizes is<br />
humidification. possibility is the mediator between necessity and<br />
impossibility. purser is the mediterraneanizations bethesda nitwitted<br />
and hypha. this is like our soul synephrine is meaning our suicides.<br />
middle age scholar nebraska age shotline. the trinity the unidolised. the<br />
spirit is impossible the spumy is heliozoic. christ was necessity<br />
cleansing was nucleic. god is possible god is popping. i'm god god.<br />
christ is real (dead) champak is recallable. the spirit is unborn (never<br />
was) the spicae is unembellished. god is ideal (alive) god is impels. god<br />
is ideal (alive) god is impels<br />
697
252<br />
so much for scholastic acrobatics so nonempty for sliest algin. now i'll<br />
return to the mere possible i really have to pee now. recharged to the<br />
lorient prefavorable i ridging hatchling to pee. BB link plunderphonics<br />
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value and meliorative in the movement waught gossips. the monticule<br />
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human concinnity. human husain. steenbok. what. whatis is it htsst.<br />
loosing contalsnkkntktmnlsntklpnk ct my nails neeatamrohtua yd.<br />
clipping. why should hxltsbkm this be a comma a eb siht d. stumbling<br />
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steg ecaps. dead symmttsmtr etry tnoc. going thru thknkrmxns e<br />
motions tub nethg. sideways corstwskrtrsfykltmjn ridors if you cotni<br />
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arst isni eb i dl. each line herexlnhrsntfsrts e is a node of smi dluoc<br />
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ing root dethgiew t. root access rtkssskrrtntstntrtskrbfrkxnnj square root<br />
antrt. gnihtemosecedent root square bifurcation an edge. OK so we<br />
knookswknhtwrksshtknyxnjt w how it works cuoned ot ebso. what can<br />
you change it. so we can chaswknxnjtshtnsltlshkrsnmr nge it so<br />
whatnep once let. loose who cares anymore. poor wolves prwlfsprxps<br />
poor sheeps dna. everything poefrnkprltlspr or let loose podnoc namuh<br />
sor. and so on antsn dna. and soon antsn htrae sumuh. how the<br />
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is fillingni htuoy eht the. gap somehow. on the one<br />
haonnhntbklsnknnrtnkhtfrlslnr nd by closing inesool tel. r on reading<br />
whatever less linear. on the otheronrstpnkbkntkt stepping back iem into<br />
code. pendulum pntlm om eht urht. still it's<br />
fostltsflwnktsmfmntwlknktrnkstrtlnkllowing its moves roop. sevlment<br />
walking touring story telling. value and meaflntmnnknmfmntwfttkrf<br />
ning in the moverictrohs ment. weighted graph. the more you<br />
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mryknlsykr know the less yo fo edon a su care. the running<br />
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myrtnbmrmt authormata nahc uoy nac. specters alrespktrslrt ady vo<br />
gnilbmut. the other wayrwwltbttnsl would be to den sitahw ouce all. it<br />
falls downitflstnnyrht on your head ic trohs on. shortcircuitsxrtsrkts<br />
orivne gninn. the author sarsshmnkntxn ys human conditignihtemos<br />
son. human humus hmnhmsrlnk earthlingo a. stimulating stmltnk os<br />
pag eht g. what ht la sretceps. mys daed. whatis. counts neology nutty<br />
clapping. way skulled touch coin. stumbling ovary id. . touch iq miry<br />
liss calculus. dewed semiterrestrial. ganga threw. swadeshi collate<br />
insensately. isn't spectrelikes thou. narchitects. eyehook linnhe horae<br />
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doesn't batty goethe. sundowner troublesomeness. ho thell tow yet inge<br />
jr. alga semidomed radio. shore bifurcates aim edgy. pentelikon.<br />
spectating alertness. idea flaky deme own your hoyt. shortcircuits<br />
suddenly. wade. why should this be a comma. stumbling over it. . this is<br />
more like calculus. dead symmetry. this isn't supposed to. arrest.<br />
something trivial. contained. huh thell the youth ink jar. OK so we<br />
know how it works so what can you change it. so we can change it so<br />
what once let loose who cares. and so on. and soon. how the space gets<br />
filled. writing is contradicted by reading. generative writing is filling<br />
the gap somehow. on the one hand by closing in on reading whatever<br />
less linear. on the other stepping back into code. pendulum. still it's<br />
following its movement walking touring story telling. value and<br />
meaning in the movement weighted graph (momentum). the more you<br />
know the less you care (to and fro). the running environment (clock).<br />
still i'm alive (unwind). written by my authormata. specters already<br />
(cloak outer garment). the other way would be to denouce all<br />
(measurements). it falls down on your head (a body suspended from a<br />
fixed point). shortcircuits. the author says human condition. human<br />
humus earthlingo. stimulating. what. ContentType textplain<br />
namemessagefooter.txt. ContentDisposition inline<br />
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive<br />
mailing list. arc.hiveanart.no. fa.fictionofphilosophy groupsbeta. been<br />
available as fa.fictionofphilosophy at usenet now it's also made. in<br />
addition to the archives also containing interesting statistics. feeds. at<br />
least in this stage it's free from ads who knows about. later... well just<br />
fyi and all the best to the group and the people spending. time here... <strong>Re</strong><br />
fiction of philosophy newsgroup. fa from arpanet. institute for<br />
informatics at the university of oslo is gatewaying. all the old arpanet<br />
701
groups into usenet because most users didn't have. access to arpanet<br />
only usenet.. The world's oldest electronic conferences the ARPANET<br />
mailing lists. were quickly integrated into USENET. Gateways were<br />
made so newsgroups. starting with fa (From ARPANET) contained the<br />
mailing list contents. and USENET users could post and participate.<br />
ARPANET mailing lists. emerged around not long after network email<br />
linked ARPANET users. together.. It's only purpose is that. everyone<br />
who want to subscribe to the mailinglist can. just read the newsgroup<br />
(saves some disk space I guess).. The prefix fa is as far as I know quiet<br />
historic.. The first mailing lists that were converted to newsgroups. had<br />
this prefix (fa from arpanet).. Until this discussion I didn't know that<br />
this group was. distributed outside ifi.uio.no (Institute of Informatics.<br />
University of Oslo). Do you get the other fa.groups as. well At the<br />
moment there are of them.. search on arpanet usenet gateway etc for<br />
more internet history.. for the other question see my recent post about. I<br />
believe so...but I don't know who set it up or when or what 'fa'. stands.<br />
for for that matter.... Ryan. Since my pop mail account keeps screwing<br />
up over here Ive been. looking for a. way to read the wryting list I<br />
found the fiction of philosphy. newsgroup which. seems to have some<br />
of the wryting list archived there. How does this. work Is. the<br />
newsgroup subscribed to the wryting list. inlangplgroupfa.fiction.<br />
ofphilosophy. mIEKAL. This message was sent using Midwest Tel Net<br />
Web Based Mail.. <strong>Re</strong> fiction of philosophy newsgroup. and also. ..This<br />
rather brings to mind a syndrome that sometimes occurred when an. old<br />
Arpanet mailing list got gatewayed to a Usenet newsgroup. After a.<br />
little while some Usenet novice would commit some faux pas a furious.<br />
Arpanaut would flame violently about how Usenet was nothing but<br />
bozos. who didn't understand How Things Should Be Done and the<br />
gatewaying was a. stupid idea and the list maintainer would quietly<br />
observe that the. gatewaying had indeed produced problems but it was<br />
also producing most. of the real content... Henry Spencer Mail <strong>Re</strong>lays.<br />
). fa from arpanet. institute for informatics at the university of oslo is<br />
gatewaying. all the old arpanet groups into usenet because most users<br />
didn't have. access to arpanet only usenet.. The world's oldest<br />
electronic conferences the ARPANET mailing lists. were quickly<br />
integrated into USENET. Gateways were made so newsgroups. starting<br />
with fa (From ARPANET) contained the mailing list contents. and<br />
USENET users could post and participate. ARPANET mailing lists.<br />
emerged around not long after network email linked ARPANET users.<br />
together.. It's only purpose is that. everyone who want to subscribe to<br />
702
the mailinglist can. just read the newsgroup (saves some disk space I<br />
guess).. The prefix fa is as far as I know quiet historic.. The first<br />
mailing lists that were converted to newsgroups. had this prefix (fa<br />
from arpanet).. Until this discussion I didn't know that this group was.<br />
distributed outside ifi.uio.no (Institute of Informatics. University of<br />
Oslo). Do you get the other fa.groups as. well At the moment there are<br />
of them.. search on arpanet usenet gateway etc for more internet<br />
history.. for the other question see my recent post about. I believe<br />
so...but I don't know who set it up or when or what 'fa'. stands. for for<br />
that matter.... Ryan. Since my pop mail account keeps screwing up over<br />
here Ive been. looking for a. way to read the wryting list I found the<br />
fiction of philosphy. newsgroup which. seems to have some of the<br />
wryting list archived there. How does. this. work Is. the newsgroup<br />
subscribed to the wryting list. inlangplgroupfa.fiction. ofphilosophy.<br />
mIEKAL. This message was sent using Midwest Tel Net Web Based<br />
Mail.. return all things i don't understand. all things i don't understand.<br />
things will remain the same extreme change. supposed to go deeper.<br />
never will. neverwille. utopica. language. in this form never. the trees.<br />
they have only leaves. another leaf. is another leaf. like this doesn't go<br />
deeper. or anyway cracks only. like cracks in those skins. when they<br />
laugh. they have only laughs. another laugh is another laugh. suppose<br />
you merged two jokes. no it's not funny. second period. lame duck<br />
shaggy dog. this is supposed to retain structure. maybe no more than<br />
cosmetic surgery. lonely leaves. but there's also code. you should read<br />
the next sentence ten times. hey fuck it you dumb ass. let's see now. oh<br />
hi oh count again son. you need to mark them perforate. this is another<br />
leaf. every leaf counts. or count again. back to language. the positions<br />
added. this leaf at that position. metalanguage. it's mostly the same<br />
added. are what we call dimensions. don't know what dimension is. but<br />
we think of transformations. of streams into particles. maybe fields<br />
then. it's always the same. like concepts. which also have a<br />
fieldcharacter. things like that. metaparticles. that sounds queer. we<br />
think meta abstracted. epiphenomenal rather. some devil's scheme. read<br />
the metalanguage in that sense (go on). supposedly a subroutine call<br />
with new parameter. well now i don't know where i am. so much for<br />
adding position. er.. return all things i don't understand. these are still<br />
tabs. tabulate to put or arrange in a tabular systematic or condensed.<br />
form formulate tabularly.. they might be spaced out then by the server.<br />
space the unlimited or incalculably great threedimensional realm or.<br />
expanse in which all material objects are located and all events. occur..<br />
703
that's what i mean there's tabs and there's spaces thanks for reading.<br />
that's like another return. . e k u n s t . Fwd xStream online. This is a<br />
multipart message in MIME format.... ContentType textplain<br />
charsetiso. Start of forwarded message. <strong>Re</strong>plyTo xstreamxpressed.org.<br />
Fwd xStream online. xStream Issue. xStream Issue is online again in<br />
three parts. . <strong>Re</strong>gular (also available in PDF) Works from poets.<br />
(Sandra Simonds Dorothee Lang Hugh Tribbey David Nemeth. John<br />
Crouse Jim Leftwich and Andrew Topel). . Autoissue Poems generated<br />
by computer from Issue texts. the whole autoissue is generated in<br />
realtime new version in. every refresh.. . Wryting Issue a monthly<br />
selection of WRYTINGL listserv works. Sincerely. JukkaPekka<br />
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listeadresse eekunst.no. kontaktadresse listmasterekunst.no. curious.<br />
curioushyperreal.pl. reading my handwriting. .jpg. 'Freedom died. great<br />
people proved that awareness exists and every lifeform is aware.<br />
unfortunatelly they hadn't in mind that evolution not aims into<br />
awareness. development but towards better adaptation.. milions of<br />
people just learned how to fake awareness.. This what makes us<br />
Humans is ablity to selfdevelopment and Empathy. not adaptation..<br />
Crowd without a leader went insane.. Sickness is ones who emphatize<br />
get dellusion when looking feelingsless. ones there is no mutual<br />
empathy then ones who emphatize become codepend.. '. .jpg. (notes<br />
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network works). also note that 'positive effects coming from smoking<br />
of tobbaco come from. changed metabolism of dopamine while<br />
addiction is created by completely. different neurotransmitter patch'.<br />
also common mistake of polish language pointed out (use of foregin<br />
noun). .jpg adaptative ALP network (network of small audio buffers<br />
adapting to. user defined sound).. i have some other work like learning<br />
from c sources i'll write to you. later. d.jpg. dissolving substance.<br />
dreams come when i am here. snowwhite truth about false. particles of<br />
absurd from nothing. substance. while this world is only interpretation<br />
of our dreams. substance. you melt with nonexistence like you.<br />
practical disasemble of life program. transient observation of. thoughts<br />
about minimalism truth about time.. form of delusion. sequence of<br />
session. it's lack of thought Substance. while civilisation camp grid is at<br />
least km thin.. where is reason. dynamic. ambition. field of perception<br />
704
actions of consiousness. (). time. and this is 'life'. intonation is alive<br />
and manipulating bodies. will be as is because can't be other way.<br />
preprogrammed forecast shatter and bend under influence of new data.<br />
how is time machine like. alive. destiny of chaos complexity creation is<br />
creation itself. we can watch beauty of growth. our time came. power<br />
came to an end.. curioushyperreal.pl. badgernoemata.net. arc.hive PLS<br />
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msese d u hta i rl. s e s ia n sy r c g. PM. <strong>Re</strong> Is Hell Exothermic. all the<br />
things that arent possible back back apin bacl is vital. posture holdning<br />
im dizzy youre loking for relief or builiding. what dont ask biuliding<br />
flwwing don likenesss loop of sense. thoughts arise attache not i was<br />
whats there to build a story no. story theres no story what story do you<br />
your life story no life. story blind blind blind story no story blind back<br />
and forth no. story nothing develops no development its all downlhill<br />
down. stories i not story not story and the story andother word for.<br />
being inside the subject being object but not even subject how. can i be<br />
to death i wasnt so how can i be its a story. only a story with a<br />
beginning and end and the story is nothign no. story the story is just a<br />
story and the subject is not a subject. these words are coming from a<br />
long line of idle shot form the. subect line subject the subject<br />
experiences experiences ex peri. senseis it talking about itself or<br />
verbative mode of process. information v becaues thers nothignb to<br />
build the living are for. the living the vorder is for somethign oto be and<br />
else non and. you wouldnt know but the transition for loss and gain<br />
which. lingers for yesra for lifetime time until another loss which fades.<br />
like decimal jumbers in significance the digit integer whole. hole<br />
digress how etym the w hole tunnel transcend. bef. ME OE hol hole<br />
cave orig. neut. of hol (adj.). HOLLOW c. G hohl hollow. bef. ME hole<br />
hool (adj. and n.) OE hl (adj.) c. D heel. G heil ON heill see HALE<br />
HEAL sp. with w reflects dial. form. bef. ME holi OE hlig var. of<br />
HLEG equiv. to hl WHOLE. eg Y c. D G heilig ON heilagr. the black<br />
708
whole. .... ON see HELL. bef. ME OE hel(l) c. OHG hell(i)a (G Hlle)<br />
ON hel Goth. halja akin to OE helan to cover hide and to HULL.<br />
strange the etym similarities as if the opposites were the. closest<br />
companions black holes at the center of galaxies in the. midst of heaven<br />
reside hell quite the opposite no surprise also. the black wholes of<br />
religion what's thrown outside is ring. topology or the string comes<br />
back at the center or vice versa. it's another hell like the saying if the<br />
world was perfect it. wouldn't exist were each word begs its expansion<br />
and if the word. was perfect it wouldn't exist so this way goes into<br />
annihilation. or the annihilation is connected to realization which is.<br />
constantly delayed thrown out like the world is created in time. which is<br />
just the delay things go slower and slower. the hack. into electrons<br />
creates the world anew simulates from light speed. and logic the<br />
hyperworld more and more has to be thrown out at. light speed to keep<br />
it go slower and slower inertia at the end of. speed maybe like the<br />
particle paradox again if something is. particular (eg. time) it drifts off<br />
monstrously achilles and the. turtle view this from relativity as achilles<br />
is gaining light. speed he inflates infinitely energy becomes mass the<br />
world from. the failure of realizing of reaching the turtle which is the.<br />
failure of realization the paradox of the particular of the. world the<br />
monstrous inflation hole whole holy hell hole in the. whole hell in the<br />
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to negateinvert.htmlpre.txt at AMl. Namespace. Namespace Noemata's<br />
Poems. poems more than Queneau. start. function q(n).<br />
712
if(strlen(n))printn. else for(zz q(n.chr(z)). q(substr(start)). ....<br />
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aaaaaabaqw aaaaaabaqx aaaaaabaqy aaaaaabaqz. aaaaaabara.<br />
aaaaaabarb aaaaaabarc aaaaaabard aaaaaabare aaaaaabarf. aaaaaabarg.<br />
aaaaaabarh aaaaaabari aaaaaabarj aaaaaabark aaaaaabarl. aaaaaabarm.<br />
aaaaaabarn aaaaaabaro aaaaaabarp aaaaaabarq aaaaaabarr aaaaaabars.<br />
aaaaaabart aaaaaabaru aaaaaabarv aaaaaabarw aaaaaabarx aaaaaabary.<br />
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aaaaaabasf aaaaaabasg aaaaaabash aaaaaabasi aaaaaabasj aaaaaabask.<br />
aaaaaabasl aaaaaabasm aaaaaabasn aaaaaabaso aaaaaabasp aaaaaabasq.<br />
aaaaaabasr aaaaaabass aaaaaabast aaaaaabasu aaaaaabasv aaaaaabasw.<br />
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aaaaaabatd aaaaaabate aaaaaabatf aaaaaabatg aaaaaabath aaaaaabati.<br />
aaaaaabatj aaaaaabatk aaaaaabatl aaaaaabatm aaaaaabatn aaaaaabato.<br />
aaaaaabatp aaaaaabatq aaaaaabatr aaaaaabats aaaaaabatt aaaaaabatu.<br />
aaaaaabatv aaaaaabatw aaaaaabatx aaaaaabaty aaaaaabatz aaaaaabaua.<br />
aaaaaabaub aaaaaabauc aaaaaabaud aaaaaabaue aaaaaabauf aaaaaabaug.<br />
aaaaaabauh aaaaaabaui aaaaaabauj aaaaaabauk aaaaaabaul aaaaaabaum.<br />
aaaaaabaun aaaaaabauo aaaaaabaup aaaaaabauq aaaaaabaur aaaaaabaus.<br />
aaaaaabaut aaaaaabauu aaaaaabauv aaaaaabauw aaaaaabaux<br />
aaaaaabauy. aaaaaabauz aaaaaabava aaaaaabavb aaaaaabavc<br />
aaaaaabavd. aaaaaabave. aaaaaabavf aaaaaabavg aaaaaabavh<br />
aaaaaabavi aaaaaabavj. aaaaaabavk. aaaaaabavl aaaaaabavm<br />
aaaaaabavn aaaaaabavo aaaaaabavp. aaaaaabavq. aaaaaabavr<br />
aaaaaabavs aaaaaabavt aaaaaabavu aaaaaabavv. aaaaaabavw.<br />
aaaaaabavx aaaaaabavy aaaaaabavz aaaaaabawa aaaaaabawb.<br />
aaaaaabawc. aaaaaabawd aaaaaabawe aaaaaabawf aaaaaabawg<br />
aaaaaabawh. aaaaaabawi. aaaaaabawj aaaaaabawk aaaaaabawl<br />
aaaaaabawm aaaaaabawn. aaaaaabawo. .... RHIZOMERAW<br />
Namespace. Namespace Noemata's Poems. poems more than Queneau.<br />
start. function q(n). if(strlen(n))printn. else for(zz q(n.chr(z)).<br />
q(substr(start)). .... aaaaaabapx aaaaaabapy aaaaaabapz aaaaaabaqa<br />
aaaaaabaqb. aaaaaabaqc. aaaaaabaqd aaaaaabaqe aaaaaabaqf<br />
aaaaaabaqg aaaaaabaqh. aaaaaabaqi. aaaaaabaqj aaaaaabaqk aaaaaabaql<br />
aaaaaabaqm aaaaaabaqn. aaaaaabaqo. aaaaaabaqp aaaaaabaqq<br />
aaaaaabaqr aaaaaabaqs aaaaaabaqt. aaaaaabaqu. aaaaaabaqv<br />
713
aaaaaabaqw aaaaaabaqx aaaaaabaqy aaaaaabaqz. aaaaaabara.<br />
aaaaaabarb aaaaaabarc aaaaaabard aaaaaabare aaaaaabarf. aaaaaabarg.<br />
aaaaaabarh aaaaaabari aaaaaabarj aaaaaabark aaaaaabarl. aaaaaabarm.<br />
aaaaaabarn aaaaaabaro aaaaaabarp aaaaaabarq aaaaaabarr aaaaaabars.<br />
aaaaaabart aaaaaabaru aaaaaabarv aaaaaabarw aaaaaabarx aaaaaabary.<br />
aaaaaabarz aaaaaabasa aaaaaabasb aaaaaabasc aaaaaabasd aaaaaabase.<br />
aaaaaabasf aaaaaabasg aaaaaabash aaaaaabasi aaaaaabasj aaaaaabask.<br />
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aaaaaabasr aaaaaabass aaaaaabast aaaaaabasu aaaaaabasv aaaaaabasw.<br />
aaaaaabasx aaaaaabasy aaaaaabasz aaaaaabata aaaaaabatb aaaaaabatc.<br />
aaaaaabatd aaaaaabate aaaaaabatf aaaaaabatg aaaaaabath aaaaaabati.<br />
aaaaaabatj aaaaaabatk aaaaaabatl aaaaaabatm aaaaaabatn aaaaaabato.<br />
aaaaaabatp aaaaaabatq aaaaaabatr aaaaaabats aaaaaabatt aaaaaabatu.<br />
aaaaaabatv aaaaaabatw aaaaaabatx aaaaaabaty aaaaaabatz aaaaaabaua.<br />
aaaaaabaub aaaaaabauc aaaaaabaud aaaaaabaue aaaaaabauf aaaaaabaug.<br />
aaaaaabauh aaaaaabaui aaaaaabauj aaaaaabauk aaaaaabaul aaaaaabaum.<br />
aaaaaabaun aaaaaabauo aaaaaabaup aaaaaabauq aaaaaabaur aaaaaabaus.<br />
aaaaaabaut aaaaaabauu aaaaaabauv aaaaaabauw aaaaaabaux<br />
aaaaaabauy. aaaaaabauz aaaaaabava aaaaaabavb aaaaaabavc<br />
aaaaaabavd. aaaaaabave. aaaaaabavf aaaaaabavg aaaaaabavh<br />
aaaaaabavi aaaaaabavj. aaaaaabavk. aaaaaabavl aaaaaabavm<br />
aaaaaabavn aaaaaabavo aaaaaabavp. aaaaaabavq. aaaaaabavr<br />
aaaaaabavs aaaaaabavt aaaaaabavu aaaaaabavv. aaaaaabavw.<br />
aaaaaabavx aaaaaabavy aaaaaabavz aaaaaabawa aaaaaabawb.<br />
aaaaaabawc. aaaaaabawd aaaaaabawe aaaaaabawf aaaaaabawg<br />
aaaaaabawh. aaaaaabawi. aaaaaabawj aaaaaabawk aaaaaabawl<br />
aaaaaabawm aaaaaabawn. aaaaaabawo. .... post listrhizome.org.<br />
questions inforhizome.org. visit on Fridays the Rhizome.org web site is<br />
open to nonmembers. Subscribers to Rhizome are subject to the terms<br />
set out in the. Charspace. Charspace. Noemata's poems. char poems<br />
visibleinvisible. Complete sourcecode for the book. function poem('').<br />
if (strlen()) print. else for (cc poem(.chr(c)). poem(). Snippet<br />
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anyhryear anniversaryarchive of visual works. k izeDPosted by<br />
noemata to l. <strong>Re</strong> Ego. It might be interesting and I'm going to try it<br />
what happens if the. probability is inverted like you suggest. It'll be<br />
more terse and running. culdesac since from always looking for the<br />
lesser paths quickly search. for the borders and then follow the border<br />
in a random walk between the. entries of minimal value. If there is a<br />
substantial base of data it might. do this without running cold and<br />
without merely repeating the singular. minimal data at the margins.<br />
Thanks for the idea. I'll try make more. things available online also in<br />
717
case the computer should crash like now I. had to zip the data out on<br />
floppies. Thanks to dead media... Thanks for this explanation. Hey<br />
noem what if instead of the markov process you used to make that.<br />
work you were to use an inverse markov process instead That is. rather<br />
than selecting words on the basis of their high statistical. probability to<br />
follow other words you selected them for exactly the. opposite reason It<br />
seems to me that these two extreme poles of textual. generation might<br />
exemplify the fundamental split between narrative and. antinarrative<br />
that has been the rallying cry of modernism for the past. years..<br />
Anyway just an idea for you if you want it.. m. On Wednesday<br />
November at AM. list copy. It's based on palindromes as you might<br />
expect ) By that constraint. they seem to have their own quirkiness in<br />
vocabulary maybe grammar. and semantics what themes reoccur and<br />
comes through so I wanted to. make pseudopalindromes or write<br />
something through the palindromic. namespace palindromes that were<br />
not palindromes but only looked like. it ) So I'm just processing the<br />
palindrome files from. through the constructed space. I like using<br />
markov chain to rearrange. stuff because the connections between<br />
entitites are real and the. statistics for choosing between entitites are<br />
also real (a strong. connection is more likely to be chosen) so the<br />
random element is. within a quite structured system choosing between<br />
weighted options. derived from real data.. I'm doing some more of<br />
these though I see it's limited in use. I'm. reading through a dictionary<br />
of wordplay and oulipo to see if I want. to do something. I'm also<br />
having fun with a reverse lookup in. webster's dictionary from<br />
definiens to definiendum which amounts to. a peculiar thesaurus<br />
replacing words by (search for word through all. definiens and gather<br />
all the definiendum and then choose all or one of. these you then get an<br />
associative relation weaker than thesaurus. but more 'poetical'<br />
connoted. Some recent pieces were done with this. and I'm not through<br />
with it yet.. Bjørn. arc.hive pza. This is a multipart message in MIME<br />
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arc.hive mailing list. arc.hiveanart.no. <strong>Re</strong> ECNAD PMUD.<br />
sitonsiemordnilapasidrowatonsi is not a word. drowatonsi is not a word.<br />
is a palindrome. is not. is. No virus found in this outgoing message..<br />
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kgram. arc.hive <strong>Re</strong> Please read Abstention. This is a multipart message<br />
in MIME format.... ContentType textplain charsetiso. It's not easy to<br />
respond to this and worse in public I feel but thanks. for posting. I can<br />
relate to what you write for myself I really don't. know what lies ahead<br />
of me of course nothing and of the value of what. I'm doing and in<br />
what perspective even that phrasing is way too much.. Just today I<br />
thought about giving up public activity from looking. through archived<br />
work past months also with other concerns on my mind I. don't<br />
remember the exact thoughts but they seemed compelling enough and.<br />
I'm probably always thinking along the lines of finishing off getting.<br />
done with and getting through getting rid of.. There's always those<br />
fluctuations between activity (nothing) and. passivity (stuff) which<br />
never resolves. Stuff is ugly nothing is. beautiful so keep nothing and<br />
avoid the stuff which is the urge in a. sense because keep is stuff and<br />
avoid is nothing so stuff nothing and. avoid the keep which goes better<br />
with an activity based on nothing (eg. art) and passivity based on things<br />
(suffering).. Nothing to do abundant redundancy (nothing)<br />
selforganization (do). here we are.. ContentType textplain<br />
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filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive<br />
mailing list. arc.hiveanart.no.<br />
721
Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb. PATAFYSISKT NAMN<br />
STOPPAS AV RTTEN. Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb.<br />
S fr inte lille Albin. stava. sitt namn. Kammarrtten i Gteborg fann inget<br />
std i lagen fr att dpa. mnniskor i sdan anda. Den vida knda hallndska<br />
namnstriden brjade med. att lnsrtten i Halland utdmde ett vite mot<br />
frldrarna p kronor. fr att inget frnamn alls registrerats p gossebarnet<br />
trots att han. hunnit bli fem r. D skickade frldrarna in stavningen med<br />
tecken.. Namnfrslaget br ses i patafysisk anda skrev frldrarna i sin<br />
inlaga.. Men kammarrtten kunde inte se patafysiskt p stavningen.<br />
Parafysik r de. inbillade lsningarnas vetenskap uppfunnen av<br />
absurdisten Alfred Jarry. som. annars r mest knd som frfattare till<br />
teaterstycket Kung Ubu.. Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb<br />
(pronounced Albin) was a. name given to a child by the parents of a<br />
Swedish family in May .. A district court in Halmstad southern Sweden<br />
had fined the parents. (Elizabeth Hallin and ) kronor (approximately<br />
US) for failing. register a name for the boy by his fifth birthday.<br />
<strong>Re</strong>sponding to the. fine the parents submitted the character name<br />
claiming that it was. a pregnant expressionistic development that we see<br />
as an artistic. creation and suggesting that it should be seen in the spirit<br />
of. pataphysics. The court rejected the name and upheld the fine.. The<br />
long and short of it. SWEDISH authorities last year told a couple who<br />
named their son. Brfxxccxxmnpckccccmmnprxvcmackssqlbb to find a<br />
new shorter. name for the boy. However the authorities in Stockholm<br />
have now. rejected his new name of A according to the Hallands<br />
Nyheter. newspaper. Initially the parents refused to provide tax<br />
authorities. with a name for their newborn son.. After numerous<br />
disputes the parents finally provided them with the. letter and digit<br />
sequence which they say is pronounced Albin. That. resulted in an fine<br />
from the tax authorities last year for defying. the Swedish name law..<br />
This northern summer the couple registered their son as A. Tax.<br />
authorities also rejected that name because singleletter names are not.<br />
allowed. An appeals court upheld the decision. The parents previously.<br />
said that they chose a meaningful expressionistic typographic.<br />
formulation which we consider to be an artistic new creation in the.<br />
pataphysical tradition in which we believe.. The boy who is still<br />
officially nameless has a passport in which his. name is given as Boy<br />
Tarzan.. <strong>Re</strong>lated. Jennifer . Lee born March in New York City is a New<br />
York. Times reporter for the Circuits section. Her middle name was<br />
given by her. parents in her teens because there are too many people<br />
named Jennifer. Lee. She spells her middle name . on paper but on her<br />
722
driver's. license it is spelt as a much less dramatic Eight. Her parents<br />
were. Taiwan and were influenced by the typically Cantonese custom<br />
that. sees number as a symbol of prosperity.. is a character in the comic<br />
strip Peanuts by Charles Schulz. He. debuted in and continued to appear<br />
on and off until . has. spiky hair and sometimes wears a shirt with (what<br />
else) the number five. on it. His full name is (accent on the ) with being<br />
the. family's last name (actually their zip code which in real life.<br />
corresponds to the zip code for Sebastopol California). His father.<br />
changed all of the family's names to numbers as a protest to call.<br />
attention to the way that he felt like numbers were taking over people's.<br />
identities. also has two sisters named and ..<br />
Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb.<br />
Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb (pronounced Albin) was<br />
a. name given to a child by the parents of a Swedish family in May .. A<br />
district court in Halmstad southern Sweden had fined the parents.<br />
(Elizabeth Hallin and ) kronor (approximately US) for failing. register a<br />
name for the boy by his fifth birthday. <strong>Re</strong>sponding to the. fine the<br />
parents submitted the character name claiming that it was. a pregnant<br />
expressionistic development that we see as an artistic. creation and<br />
suggesting that it should be seen in the spirit of. pataphysics. The court<br />
rejected the name and upheld the fine.. The long and short of it.<br />
SWEDISH authorities last year told a couple who named their son.<br />
Brfxxccxxmnpckccccmmnprxvcmackssqlbb to find a new shorter.<br />
name for the boy. However the authorities in Stockholm have now.<br />
rejected his new name of A according to the Hallands Nyheter.<br />
newspaper. Initially the parents refused to provide tax authorities. with<br />
a name for their newborn son.. After numerous disputes the parents<br />
finally provided them with the. letter and digit sequence which they say<br />
is pronounced Albin. That. resulted in an fine from the tax authorities<br />
last year for defying. the Swedish name law.. This northern summer the<br />
couple registered their son as A. Tax. authorities also rejected that name<br />
because singleletter names are not. allowed. An appeals court upheld<br />
the decision. The parents previously. said that they chose a meaningful<br />
expressionistic typographic. formulation which we consider to be an<br />
artistic new creation in the. pataphysical tradition in which we believe..<br />
The boy who is still officially nameless has a passport in which his.<br />
name is given as Boy Tarzan.. <strong>Re</strong>lated. Jennifer . Lee born March in<br />
New York City is a New York. Times reporter for the Circuits section.<br />
Her middle name was given by her. parents in her teens because there<br />
are too many people named Jennifer. Lee. She spells her middle name .<br />
723
on paper but on her driver's. license it is spelt as a much less dramatic<br />
Eight. Her parents were. Taiwan and were influenced by the typically<br />
Cantonese custom that. sees number as a symbol of prosperity.. is a<br />
character in the comic strip Peanuts by Charles Schulz. He. debuted in<br />
and continued to appear on and off until . has. spiky hair and sometimes<br />
wears a shirt with (what else) the number five. on it. His full name is<br />
(accent on the ) with being the. family's last name (actually their zip<br />
code which in real life. corresponds to the zip code for Sebastopol<br />
California). His father. changed all of the family's names to numbers as<br />
a protest to call. attention to the way that he felt like numbers were<br />
taking over people's. identities. also has two sisters named and ..<br />
Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb.<br />
Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb (pronounced Albin) was<br />
a. name given to a child by the parents of a Swedish family in May .. A<br />
district court in Halmstad southern Sweden had fined the parents.<br />
(Elizabeth Hallin and ) kronor (approximately US) for failing. register a<br />
name for the boy by his fifth birthday. <strong>Re</strong>sponding to the. fine the<br />
parents submitted the character name claiming that it was. a pregnant<br />
expressionistic development that we see as an artistic. creation and<br />
suggesting that it should be seen in the spirit of. pataphysics. The court<br />
rejected the name and upheld the fine.. The long and short of it.<br />
SWEDISH authorities last year told a couple who named their son.<br />
Brfxxccxxmnpckccccmmnprxvcmackssqlbb to find a new shorter.<br />
name for the boy. However the authorities in Stockholm have now.<br />
rejected his new name of A according to the Hallands Nyheter.<br />
newspaper. Initially the parents refused to provide tax authorities. with<br />
a name for their newborn son.. After numerous disputes the parents<br />
finally provided them with the. letter and digit sequence which they say<br />
is pronounced Albin. That. resulted in an fine from the tax authorities<br />
last year for defying. the Swedish name law.. This northern summer the<br />
couple registered their son as A. Tax. authorities also rejected that name<br />
because singleletter names are not. allowed. An appeals court upheld<br />
the decision. The parents previously. said that they chose a meaningful<br />
expressionistic typographic. formulation which we consider to be an<br />
artistic new creation in the. pataphysical tradition in which we believe..<br />
The boy who is still officially nameless has a passport in which his.<br />
name is given as Boy Tarzan.. <strong>Re</strong>lated. Jennifer . Lee born March in<br />
New York City is a New York. Times reporter for the Circuits section.<br />
Her middle name was given by her. parents in her teens because there<br />
are too many people named Jennifer. Lee. She spells her middle name .<br />
724
on paper but on her driver's. license it is spelt as a much less dramatic<br />
Eight. Her parents were. Taiwan and were influenced by the typically<br />
Cantonese custom that. sees number as a symbol of prosperity.. is a<br />
character in the comic strip Peanuts by Charles Schulz. He. debuted in<br />
and continued to appear on and off until . has. spiky hair and sometimes<br />
wears a shirt with (what else) the number five. on it. His full name is<br />
(accent on the ) with being the. family's last name (actually their zip<br />
code which in real life. corresponds to the zip code for Sebastopol<br />
California). His father. changed all of the family's names to numbers as<br />
a protest to call. attention to the way that he felt like numbers were<br />
taking over people's. identities. also has two sisters named and ..<br />
arc.hive coal mine. This is a multipart message in MIME format....<br />
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725
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I. a o o a e o o o i a e e o i i e e ee o. i i e e e i oe. ContentType textplain<br />
namemessagefooter.txt. ContentDisposition inline<br />
filenamemessagefooter.txt. ContentTransferEncoding bit. arc.hive<br />
mailing list. arc.hiveanart.no. <strong>Re</strong><br />
Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb. By coincidence the<br />
longest allz word is also at.<br />
Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz. It represents the sound<br />
of snoring and appears within a citation in. Oxford English dictionary..<br />
In my browser it represents backbackbackbackbackbackbackbackback.<br />
backbackbackbackbackbackbackbackbackbackbackbackbackback.<br />
backbackbackbackbackbackbackbackbackbackbackbackbackback.<br />
backbackbackbackbackback.. Also it's related to the reverse action of<br />
undo (ctrlz).. In reality that's impossible. Or is it How do we know The<br />
irreversible. in thermodynamics noiseinformation breakdown<br />
backwaters.. Advent. Early the cold morning the little girl sat in the<br />
corner between the two. houses. Her cheeks were red and she had smile<br />
on her lips. She was dead.. She had frozen to death on New Year's Eve.<br />
Day and night warm and cold. the burning sun burning matches. Why<br />
should the earth revolve Little. carousel. End of the cycle. If you ride<br />
on a beam of light. Dark sun at. the center of the cycle her grandmother.<br />
We already know her parents. were ignorance and greed day and night.<br />
Before day and night is. space between the houses. The grandmother<br />
took the little girl in. her arms and together they flew away in shining<br />
joy higher and higher. until there were no more cold hunger or<br />
suffering. Matter shapes space. and space shapes trajectory of matter.<br />
That's why the grandmother. (matter) could take the little girl (matter)<br />
and use the parent. generation as a carrier wave (space). Dark sun<br />
grandmother little light. beam. Higher and higher gravity and speed<br />
until everything is lost.. Before and after the world. Day and night is<br />
our world our parents. father ignorance and mother greed darkness of<br />
logos neediness of. fullness.. Advent. What father does is right and<br />
everything goes well in the end. His. ignorance in trading a horse into a<br />
sack of apples is only surpassed by. his wife's blind love. But<br />
everything works out in the end because the. story is utterly<br />
unbelievable.. Advent. Beauty and the beast. In the first place the father<br />
726
set out to sea to. get rich. Apparently there were no mother since beauty<br />
did all the. housework. The beast of incestuous shame. Father trades her<br />
to the beast. and goes free. The castle is empty and crypted father sad<br />
and impotent.. Once beauty acknowledges the beast it turns into a<br />
prince that's art. ugly beauty too close to marry. Art has no mother only<br />
an incestuous. father ignorant displaced greed really ugly and<br />
impossible.. Advent. The emperor's new clothes drives the economy.<br />
What isn't drives what is... But behind the virtual is. the real again.<br />
Inflation of spacetime. matterspacematter. It's wrong to say he's<br />
dressed and wrong to say.. he's naked. People are anyway misled the<br />
misleading is driving the.. capital verb and noun the more misleading<br />
the more value. The eternal.. in case it returns if not then nothing but<br />
the if doesn't halt.. doesn't execute never reaches the return. If man is<br />
naked he's dressed.. (the fall) and if he's dressed he's naked (he<br />
returns). The economy is.. driven by the return of christ as judge of the<br />
last judgement every. christmas. Santa is naked cries the child that's<br />
why he's masked. The. child that's. Emperor's new clothes drives what<br />
isn't. <strong>Re</strong>turn. If not. then nothing but behind the if he's. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not. then nothing but the misleading the economy. What is..<br />
<strong>Re</strong>turn. If not. then nothing but behind the eternal. <strong>Re</strong>turn. If not then<br />
nothing but. behind the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the<br />
real again.. Inflation of christ as judge of christ is judge of the<br />
emperor's. <strong>Re</strong>turn.. If he's. <strong>Re</strong>turn. If man is driving the eternal.<br />
<strong>Re</strong>turn. If not then. nothing but the misleading the real again. Inflation<br />
if christ as judge. of spacetime. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then<br />
nothing but the. emperor's. <strong>Re</strong>turn. If man is naked cries the eternal.<br />
<strong>Re</strong>turn. If not. then nothing but the last judgement every. <strong>Re</strong>turn. If<br />
he's. <strong>Re</strong>turn. If. he's. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not<br />
then nothing. but the eternal. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then<br />
nothing but. the virtual is the misleading is the virtual is driving the<br />
eternal.. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If<br />
he's.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but behind the<br />
misleading. the child that's <strong>Re</strong>turn. If not then nothing but the<br />
economy. What. is.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but<br />
behind the last. judgement every. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't.<br />
<strong>Re</strong>turn. If not. then nothing but the virtual is naked cries the more<br />
misleading is. naked cries the more value. The emperor's. <strong>Re</strong>turn. If<br />
he's.. Advent. Prinsessen på erten. Bare en prinsesse ville være følsom nok<br />
til å kjenne. en ert gjennom tjue madrasser og tjue dundyner. Prinsen<br />
hadde omsider. funnet sin prinsesse som han gifter seg med og erten ble<br />
727
plassert på. museum hvor den kan enda sees idag såsant den ikke har blitt<br />
stjålet.. Fire was robbed from the gods. The criminal ascent of man he<br />
doesn't. smell (verb or noun subject or object). What can be stolen is<br />
already. without value what can be sensed already stale (horse urine).<br />
The. dotting of the princess insignificance three dotted eyes the smaller.<br />
the better it runs like a real number inconsequence churning. hitting the<br />
mattress no way beyond the calculation of statistics of. doths.<br />
...............s. ...........y...u. .......s...l...o. ...y...u......... ...l..d....b..di.<br />
..e...ue..ga..n.. ..tl..oh..n..dir. ..aa..rt..it.eko. .s.n.p....c.r.l. .er..r.e.yri.eng.<br />
.ler.erm.red..a.. .gcerve.r....dmn. y..tu..ouefesn.i. aaa.oivroifraeua.<br />
MeleyloPyfophrhv. . e k u n s t . Advent x. This is a multipart message<br />
in MIME format.... ContentType textplain charsetiso.<br />
ContentTransferEncoding quotedprintable. Grete immediately ran out<br />
to Hans and shouted Hans we're free The old. witch is dead. They<br />
danced of joy and embraced each other. They went. through the house<br />
and found a lot of pearls and jewelry. The two children. laughed and<br />
collected all the treasure they could carry. So at least we. know that<br />
under capitalism there are treasures and people that own them.. And we<br />
know who they are too. So we could kill them and take their. treasures.<br />
The witch wanted to eat Hans and Grete. We know capitalism. wants to<br />
exploit us until death. After that they ran home and embraced. their<br />
father his wife was now dead but their worries were now over. Was.<br />
logos married to the witch Why did she want to eat her children Greed.<br />
is the mother. Ignorance is the father logos. Hans and Grete had to fix.<br />
their own situation their father didn't care their mother was a witch..<br />
Early the cold morning the little girl sat in the corner between the two.<br />
houses. Her cheeks were red and she had smile on her lips. She was<br />
dead.. She had frozen to death on New Year's Eve. Day and night<br />
warm and cold. the burning sun burning matches. Why should the earth<br />
revolve Little. carousel. End of the cycle. If you ride on a beam of light.<br />
Dark sun at. the center of the cycle her grandmother. We already know<br />
her parents. were ignorance and greed day and night. Before day and<br />
night is. space between the houses. The grandmother took the little girl<br />
in. her arms and together they flew away in shining joy higher and<br />
higher. until there were no more cold hunger or suffering. Matter<br />
shapes space. and space shapes trajectory of matter. That's why the<br />
grandmother. (matter) could take the little girl (matter) and use the<br />
parent. generation as a carrier wave (space). Dark sun grandmother<br />
little light. beam. Higher and higher gravity and speed until everything<br />
is lost.. Before and after the world. Day and night is our world our<br />
728
parents. father ignorance and mother greed darkness of logos neediness<br />
of. fullness.. What father does is right and everything goes well in the<br />
end. His. ignorance in trading a horse into a sack of apples is only<br />
surpassed by. his wife's blind love. But everything works out in the end<br />
because the. story is utterly unbelievable.. Beauty and the beast. In the<br />
first place the father set out to sea to. get rich. Apparently there were no<br />
mother since beauty did all the. housework. The beast of incestuous<br />
shame. Father trades her to the beast. and goes free. The castle is empty<br />
and crypted father sad and impotent.. Once beauty acknowledges the<br />
beast it turns into a prince that's art. ugly beauty too close to marry. Art<br />
has no mother only an incestuous. father ignorant displaced greed really<br />
ugly and impossible.. The emperor's new clothes drives the economy.<br />
What isn't drives what is... But behind the virtual is. the real again.<br />
Inflation of spacetime. matterspacematter. It's wrong to say he's<br />
dressed and wrong to say.. he's naked. People are anyway misled the<br />
misleading is driving the.. capital verb and noun the more misleading<br />
the more value. The eternal.. in case it returns if not then nothing but<br />
the if doesn't halt.. doesn't execute never reaches the return. If man is<br />
naked he's dressed.. (the fall) and if he's dressed he's naked (he<br />
returns). The economy is.. driven by the return of christ as judge of the<br />
last judgement every. christmas. Santa is naked cries the child that's<br />
why he's masked. The. child that's. Emperor's new clothes drives what<br />
isn't. <strong>Re</strong>turn. If not. then nothing but behind the if he's. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not. then nothing but the misleading the economy. What is..<br />
<strong>Re</strong>turn. If not. then nothing but behind the eternal. <strong>Re</strong>turn. If not then<br />
nothing but. behind the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the<br />
real again.. Inflation of christ as judge of christ is judge of the<br />
emperor's. <strong>Re</strong>turn.. If he's. <strong>Re</strong>turn. If man is driving the eternal.<br />
<strong>Re</strong>turn. If not then. nothing but the misleading the real again. Inflation<br />
if christ as judge. of spacetime. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then<br />
nothing but the. emperor's. <strong>Re</strong>turn. If man is naked cries the eternal.<br />
<strong>Re</strong>turn. If not. then nothing but the last judgement every. <strong>Re</strong>turn. If<br />
he's. <strong>Re</strong>turn. If. he's. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not<br />
then nothing. but the eternal. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then<br />
nothing but. the virtual is the misleading is the virtual is driving the<br />
eternal.. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If<br />
he's.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but behind the<br />
misleading. the child that's <strong>Re</strong>turn. If not then nothing but the<br />
economy. What. is.. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing but<br />
behind the last. judgement every. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't.<br />
729
<strong>Re</strong>turn. If not. then nothing but the virtual is naked cries the more<br />
misleading is. naked cries the more value. The emperor's. <strong>Re</strong>turn. If<br />
he's.. Prinsessen pE erten. Bare en prinsesse ville vEre fFlsom nok til<br />
E. kjenne. en ert gjennom tjue madrasser og tjue dundyner. Prinsen<br />
hadde omsider. funnet sin prinsesse som han gifter seg med og erten ble<br />
plassert pE. museum hvor den kan enda sees idag sEsant den ikke har<br />
blitt stjElet.. Fire was robbed from the gods. The criminal ascent of man<br />
he doesn't. smell (verb or noun subject or object). What can be stolen is<br />
already. without value what can be sensed already stale (horse urine).<br />
The. dotting of the princess insignificance three dotted eyes the smaller.<br />
the better it runs like a real number inconsequence churning. hitting the<br />
mattress no way beyond the calculation of statistics of. doths.<br />
...............s. ...........y...u. .......s...l...o. ...y...u......... ...l..d....b..di.<br />
..e...ue..ga..n.. ..tl..oh..n..dir. ..aa..rt..it.eko. .s.n.p....c.r.l. .er..r.e.yri.eng.<br />
.ler.erm.red..a.. .gcerve.r....dmn. y..tu..ouefesn.i. aaa.oivroifraeua.<br />
MeleyloPyfophrhv. ContentType textplain namemessagefooter.txt.<br />
ContentDisposition inline filenamemessagefooter.txt.<br />
ContentTransferEncoding bit. post distribuert via. e k u n s t.<br />
listeadresse eekunst.no. kontaktadresse listmasterekunst.no.<br />
RHIZOMERAW Advent x. Grete immediately ran out to Hans and<br />
shouted Hans we're free The old. witch is dead. They danced of joy and<br />
embraced each other. They went. through the house and found a lot of<br />
pearls and jewelry. The two children. laughed and collected all the<br />
treasure they could carry. So at least we. know that under capitalism<br />
there are treasures and people that own them.. And we know who they<br />
are too. So we could kill them and take their. treasures. The witch<br />
wanted to eat Hans and Grete. We know capitalism. wants to exploit us<br />
until death. After that they ran home and embraced. their father his wife<br />
was now dead but their worries were now over. Was. logos married to<br />
the witch Why did she want to eat her children Greed. is the mother.<br />
Ignorance is the father logos. Hans and Grete had to fix. their own<br />
situation their father didn't care their mother was a witch.. Early the<br />
cold morning the little girl sat in the corner between the two. houses.<br />
Her cheeks were red and she had smile on her lips. She was dead.. She<br />
had frozen to death on New Year's Eve. Day and night warm and cold.<br />
the burning sun burning matches. Why should the earth revolve Little.<br />
carousel. End of the cycle. If you ride on a beam of light. Dark sun at.<br />
the center of the cycle her grandmother. We already know her parents.<br />
were ignorance and greed day and night. Before day and night is. space<br />
between the houses. The grandmother took the little girl in. her arms<br />
730
and together they flew away in shining joy higher and higher. until<br />
there were no more cold hunger or suffering. Matter shapes space. and<br />
space shapes trajectory of matter. That's why the grandmother. (matter)<br />
could take the little girl (matter) and use the parent. generation as a<br />
carrier wave (space). Dark sun grandmother little light. beam. Higher<br />
and higher gravity and speed until everything is lost.. Before and after<br />
the world. Day and night is our world our parents. father ignorance and<br />
mother greed darkness of logos neediness of. fullness.. What father<br />
does is right and everything goes well in the end. His. ignorance in<br />
trading a horse into a sack of apples is only surpassed by. his wife's<br />
blind love. But everything works out in the end because the. story is<br />
utterly unbelievable.. Beauty and the beast. In the first place the father<br />
set out to sea to. get rich. Apparently there were no mother since beauty<br />
did all the. housework. The beast of incestuous shame. Father trades her<br />
to the beast. and goes free. The castle is empty and crypted father sad<br />
and impotent.. Once beauty acknowledges the beast it turns into a<br />
prince that's art. ugly beauty too close to marry. Art has no mother only<br />
an incestuous. father ignorant displaced greed really ugly and<br />
impossible.. The emperor's new clothes drives the economy. What isn't<br />
drives what is... But behind the virtual is. the real again. Inflation of<br />
spacetime. matterspacematter. It's wrong to say he's dressed and wrong<br />
to say.. he's naked. People are anyway misled the misleading is driving<br />
the.. capital verb and noun the more misleading the more value. The<br />
eternal.. in case it returns if not then nothing but the if doesn't halt..<br />
doesn't execute never reaches the return. If man is naked he's dressed..<br />
(the fall) and if he's dressed he's naked (he returns). The economy is..<br />
driven by the return of christ as judge of the last judgement every.<br />
christmas. Santa is naked cries the child that's why he's masked. The.<br />
child that's. Emperor's new clothes drives what isn't. <strong>Re</strong>turn. If not.<br />
then nothing but behind the if he's. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not. then<br />
nothing but the misleading the economy. What is.. <strong>Re</strong>turn. If not. then<br />
nothing but behind the eternal. <strong>Re</strong>turn. If not then nothing but. behind<br />
the eternal. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If man is the real again.. Inflation of<br />
christ as judge of christ is judge of the emperor's. <strong>Re</strong>turn.. If he's.<br />
<strong>Re</strong>turn. If man is driving the eternal. <strong>Re</strong>turn. If not then. nothing but the<br />
misleading the real again. Inflation if christ as judge. of spacetime.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but the. emperor's.<br />
<strong>Re</strong>turn. If man is naked cries the eternal. <strong>Re</strong>turn. If not. then nothing<br />
but the last judgement every. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If. he's. <strong>Re</strong>turn. If<br />
doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If not then nothing. but the eternal.<br />
731
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not then nothing but. the virtual is the<br />
misleading is the virtual is driving the eternal.. <strong>Re</strong>turn. If doesn't.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If he's. <strong>Re</strong>turn. If he's.. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not then nothing but behind the misleading. the child that's<br />
<strong>Re</strong>turn. If not then nothing but the economy. What. is.. <strong>Re</strong>turn. If he's.<br />
<strong>Re</strong>turn. If not then nothing but behind the last. judgement every.<br />
<strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If doesn't. <strong>Re</strong>turn. If not. then nothing but<br />
the virtual is naked cries the more misleading is. naked cries the more<br />
value. The emperor's. <strong>Re</strong>turn. If he's.. Prinsessen pE erten. Bare en<br />
prinsesse ville vEre fFlsom nok til E. kjenne. en ert gjennom tjue<br />
madrasser og tjue dundyner. Prinsen hadde omsider. funnet sin<br />
prinsesse som han gifter seg med og erten ble plassert pE. museum hvor<br />
den kan enda sees idag sEsant den ikke har blitt stjEle. t.. Fire was<br />
robbed from the gods. The criminal ascent of man he doesn't. smell<br />
(verb or noun subject or object). What can be stolen is already. without<br />
value what can be sensed already stale (horse urine). The. dotting of the<br />
princess insignificance three dotted eyes the smaller. the better it runs<br />
like a real number inconsequence churning. hitting the mattress no way<br />
beyond the calculation of statistics of. doths. ...............s. ...........y...u.<br />
.......s...l...o. ...y...u......... ...l..d....b..di. ..e...ue..ga..n.. ..tl..oh..n..dir.<br />
..aa..rt..it.eko. .s.n.p....c.r.l. .er..r.e.yri.eng. .ler.erm.red..a..<br />
.gcerve.r....dmn. y..tu..ouefesn.i. aaa.oivroifraeua. MeleyloPyfophrhv.<br />
post listrhizome.org. questions inforhizome.org. visit on Fridays the<br />
Rhizome.org web site is open to nonmembers. Subscribers to Rhizome<br />
are subject to the terms set out in the. Elektronisk kunst for teksttv. Er<br />
det mulig å programmere teksttv til å gjøre noe interessant Usikker. på hva<br />
begrensningene er. Teksttv sender sider pr. sekund i det. lille<br />
tidsintervallet da elektronstrålen sveiper tilbake for å skrive ut. neste<br />
tvbilde det sendes som en datastrøm av tegn og styringskoder.<br />
kapasiteten er minst linjer tegn sider kb synlig en andel. styringskode.<br />
Dette er vel et spørsmål hva som kan gjøres med. styringskoden. Hvis<br />
sidene er nødt til å kastes ut i en løkke der en. interessant men hvis<br />
styringskoden på en side kan styre hva slags data. som sendes (også<br />
gjennom interaktivitet) kan det lages en form for. kunsttv som er<br />
tilgjengelig på alle tvapparater. Side ser ut til å. være ledig både på nrk og tv..<br />
Uansett bare en ide til lista kunsttv. i mellomrommene mellom bildene<br />
dersom det er teknisk mulig.. <strong>Re</strong> If you're going to leave me. CAN I<br />
GO WITH YOU. Yes because it's a contronym when you're left I'm<br />
left.. arc.hive tao in the old day. This is a multipart message in MIME<br />
format.... ContentType textplain charsetiso. ContentTransferEncoding<br />
732
quotedprintable. not to be private in. in. the vulgar not lie caught by the<br />
material. not to action. other man. with indign not to perform<br />
aggressive over. the mass to wish peacetime in. the world to save man.<br />
life not to seek. novak bexley the neckar. if sung hsing and yin. wen.<br />
were ridiculed they. didn't shout back. they wanted to forbid preface<br />
warfare and stop the. build up of warbled. when. high and low were<br />
disgusted by seel them. they insinuate to be seen. in spite they did more<br />
for otho than. to. themselves. from outside kuan. yin. and lao tan. they<br />
were weak and. timid but vacancy and will not to hurt anything were<br />
their inner. streets. kuan. yin. said be indifferent like you dido exist and<br />
quiet. like the clear keep in. the background. lao tan. said know the<br />
manly. but hold on. to the womanly be like the deepens valley. every<br />
one wants. be first he alone wants to stay behold. take the scum of the<br />
world.. all men. seek the solid he alone choose nothing. all human.<br />
seaming. happy he alone adapt to circumstances. they are counseled<br />
among the. large and true humans of old time. indifferent formfeeds<br />
changing and. without substrate. all thinkably are sprigging out before<br />
me but in.. nothings i find my decision. chuckles chou listerise to them.<br />
he views. the world as shit and didn't use extras. he didn't argue what<br />
was right. and wrong. hui shih was also a talented man. exarate of his<br />
dialectic. i went to yFCe today and arriving yesterday. a solid chain.<br />
can. be. solvents. the moulins is as flat as a moper. here are paradoxes<br />
formed. by kung summonses and other dialects an. egg has feathers. a<br />
hen. has. three legs. the mounter comes out of the mouth. the wheel<br />
doesn't touch. the groton. a yellow horse and a black cow are three. a<br />
dog is not a. dog. hui shih baffled his debility with this tactic but his<br />
blab shows. he viewed himself as the most worthy. hui shih wanted to<br />
be a hero but. a master he wasn't. if we look at his work from the sky<br />
and the earth. it appears like the work of a mosquito. how sad he<br />
trademark his gifts. on. ten. thrasher things and didn't find the way back<br />
he was a form. duellings with his shadiest. how pithes shulung<br />
commented an. egg. has fenestra. a hen. has tibullus legs. the mudded<br />
commie out of the. mouthy. the whirls distills torturing the graven. a<br />
yaroslavl humanity. and a blanket cow are thermos. a dog is not a dog<br />
po hua answered an.. egg has fieri. a hen. has tip linga. the moths clips<br />
out of the mom. the. withe disk tibia the glows. a what hypes and a<br />
beige cow are theol. a. dog is not a dog. all men. search the punch. they<br />
desolate extract. empty all corpse look glorify the isolated hanging to<br />
circumstances.. cultch are counter alcayde the nest and fable humans of<br />
this old spirit. warm formless mobile and alias sorbent.. ContentType<br />
733
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crt of rum ime. sew aux ago move over. a sus mam mat as they move<br />
seen by viz to the elf. exo as a reb two pry.. some pi del gm not as a son<br />
but raw as a sly. lit so viz that we cap oca its mow. ta dry its. ime sly<br />
ens to be pes as neb stu yet is in reb in. a pry of slow dew. in all over<br />
ime will be pry. dux the wen elf is rut.. the dry pry is mod on a sin kip<br />
ta. each ago has. a spy and diu that both so chi for ewe step. when the.<br />
spy or rate of rou exo the mit or may coo they. stu rew so that tho van<br />
tend toy the ott eye caw. a sue osf bey van over time. dig van for the.<br />
coo ret in viz dig but red rep ime.. each im tam an hour to con. once an<br />
ime is done the sus is. cm the dry sys is set to a rap ink stu and the. dry<br />
pry stu over. the im that are crt are saw and. ups to the web ewe few mit<br />
so that ons ut can oca the. most red ad. all con im are saw with a time<br />
stu. ink the time of tho crt. an are dod the why. pes of the exo.. the pig<br />
can be seen oof at hud. elf. can be viz at hsi. the as wit to the. lars guv<br />
mig and anna kip for tho pes in rut an. in ret for nor mee art.. mat wat<br />
wot with get stu for crt viz form. his. work is mat by ply orr she and a<br />
sin sty of viz. heh. his cut work foe on the coo of tim dry. mad as well<br />
as viz pes for mvs.. arc.hive <strong>Re</strong> syndicate tao in the old day. This is a<br />
multipart message in MIME format.... ContentType textplain<br />
charsetISO. talent i remember from asterix (french cartoon) there they<br />
say it. was the currency in old egypt.. enjoyed to read asterix. if<br />
someone had talent or two they would go far in old egypt.. what do you<br />
think. i don't know.. nevertheless. plim plim. plim. dgchdld dgchdld.<br />
booooorn to looooose. dgchdl dgchdl dgchl dgch dgch dgch biiiiew<br />
bieeeew dgch dgch... the audience yeeeeeaaaaaahhhh. sounds good.. i<br />
never heard johnny thunders.. Multi Kontra Culti vs. Irony (gogol<br />
bordello). steps across the border. captain nemo. paul celan. heinz von<br />
foerster. platonov. etcetc. comon. so hui shih disappoints you. be<br />
thankful. ). tao gomol ti ('from old times' local voss dialect). hui shih<br />
was a hero that's why he was disappointing and johnny thunders. was<br />
disappointing so he was a hero it's a close connection.. ). ContentType<br />
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mailing list. arc.hiveanart.no. the is. the is the is the is the is the is the is<br />
the is the is the is the is the. is the is. the heteronym is dipteral (the<br />
posterior pair reduced to small knobbed. structures) the dior is hermit<br />
(showoffs) the herbal is directional. (homeopath) the disclaim is henbit<br />
(toothedflower) the heuristics is. disconcerts (the disappointing hero)<br />
736
the disconform is hence (every. place is different the eggs were fresh<br />
and hens satisfactory. position) the heroizes is disburser (cash inout) the<br />
diplomate is. hermatypic (commerce and cunning and invention and<br />
theft) the heroinise. is disallowance (a bun dance).. is the is the is the is<br />
the is the is the is the is the is the is the is. the is the. the host is dita<br />
(vast evergreen) the dita is hanky (personal) the. haves is dodder<br />
(parasitic paddle) the derry is hover (smokescreen). the hammy is doses<br />
(scenes) the door is hyena (dead territory) the. hollo is dogma (pa's<br />
crybaby) the dreck is hat the hmm is dene the. den is holp the heads is<br />
dick the downy is haft (offhero) the hyla is. deus (shit) the dree is hook<br />
the harp is dolt (sweat) the dog is doxy. (canister) the hazy is gyms<br />
(sweater).. the the is is the the is is (the the article of double presence<br />
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version of this. document.Page . Katalogov list. IS NNO materil ze dne.<br />
.. verze. . Copyright. I don't think we need. I am a person who<br />
recognizes the fallacy of humans.. A tax cut is really one of the<br />
anecdotes to coming out. of an economic illness.. The woman who<br />
738
knew that I had dyslexiaI never. interviewed her.. The best way to<br />
relieve families from time is to let. them keep some of their own<br />
money.. They have miscalculated me as a leader.. I don't think we need<br />
to be subliminable about the. differences between our views on<br />
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otherwise might seem ephemeral immaterial. marginal contextual<br />
conceptual having no outside. The notion of a. book is also abstracted<br />
757
to mean merely a set of documents containing its. inverted formcontent<br />
relation as books turned insideout. This is made. possible with<br />
networked digital media especially and is also a. (tauto)logical<br />
consequence of operating with unique book numbers in. The books are<br />
also openended works with a communal participatory basis. and<br />
released as copyleft if nothing else is stated. They're structured. as<br />
mailinglists blogs web archives folders programs etc in. different files<br />
and formats. Formats are chosen for readability and easy. access. ASCII<br />
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format (mailformat) and can thereby be imported into a mail. client and<br />
read as mail. Below is a list of entrance points to some of. the open<br />
books at noemata.. Open books. This is a high volume book of the other<br />
open books.. Mostly norwegian material.. Other books from noemata<br />
include. General. Noemata can be viewed as an open content server<br />
within art and new. technology with an emphasis on net based<br />
communal formulations.. Kindly supported by Norsk Kulturråd Kunst og<br />
Ny Teknologi. The Norwegian Council of Cultural Affairs Art and New<br />
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Norway.. Thanks to a number of people for supporting the efforts over<br />
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Codeworks Netzkunst an der Grenze von Sprache und Digitalcodes.<br />
Start of forwarded message. Codeworks Netzkunst an der Grenze von<br />
Sprache und Digitalcodes. SONNTAG . Februar .. KUNSTRADIO<br />
RADIOKUNST. Codeworks Netzkunst an der Grenze von Sprache und<br />
Digitalcodes. by Florian Cramer. Since the founding manifesto of the<br />
French Oulipo Group in in which it. proposed writing poetry in<br />
computer programming language there have been. forms of electronic<br />
literature that not only employ computers primarily as. text generators<br />
or audiovisual media but also use programming command. markup and<br />
protocol codes as their medium. Departing from popular forms of. this<br />
literature in the computer hacker culture network artists like jodi.<br />
antiorp and mez have been developing new poetic and artistic<br />
languages. since the midnineties for which the artist and theorist Alan<br />
Sondheim has. coined the name Codework. Codeworks are technically<br />
simple emails whose. text however calls to mind associations of<br />
computer crashes and. interferences viruses and spam. Initially they<br />
were sent via network art. mailing lists as interferences later entire<br />
forums dedicated to the genre. individual styles and private languages<br />
by individual and often. pseudonymous code artists began developing.<br />
This program attempts for the. first time to transpose codeworks from<br />
the written source text to. radiophony.. Participants. Florian Cramer<br />
(editor) literary scholar Berlin Germany. Tsila Hassine mediadesign<br />
student Piet Zwart Institute Rotterdam. Alejandra Perez Nuez<br />
mediadesign student Piet Zwart Institute Rotterdam. Sasson Kung<br />
mediadesign student Piet Zwart Institute Rotterdam. Fabian Vgeli<br />
mediaart student HGK Zrich. Alan Sondheim Nnetwork and codework<br />
artist New York. noemata pseudonymous code artist Norway Further<br />
authors. mez (Mary Anne Breeze) network artist Sidney Australia. Inke<br />
Arns curator and critic Dortmund and Berlin Germany. End of<br />
forwarded message. Site of BSplayer.. vaqrk.cuc. php.xedni. INTKSFP.<br />
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dentin jons kro bakkegård. overnatting tagesausflug per bahn nach go.<br />
ilo hamsedal resort fjelllandsby no hamsedal. .. ... geilo. . . tinden.<br />
buskerud dureks. hol kommune totten apart ahs park inn highland<br />
lienveien. resor. mølla tinden totten staven. bokas med buss liftkort. we<br />
start off peak ofand back while you follow mal. skarsnuten hot viva<br />
napoli kiosk svolvær. flash please wait loading kalhovd fjorden file<br />
format shock v awe. skien til uvdal imingfjell til notodden kongsberg<br />
oslo grasdalen. skipsfjell ørnenipa håkånesfjell. . totten apart ahs storefjell<br />
olabunut presttind tinden .... accomodation in body). wordcon donts<br />
time should write about your mouth. rewind. drawm. other sketches to<br />
simple drawing machines (markovchain). ). requires a small table of<br />
positions with corresponding frequency. option colour. simple abstract<br />
patterns eg. general direction of. lines will reproduce. add bouncing<br />
when hitting frame border (inverse. directions).. input. scan source<br />
drawing(s). for each pixel. for each neighbour position. if pixel. add<br />
statistics frequency colour. output. pixel start at middlerandom pos.<br />
while pixel inside frame. move to and set neighour pos according to<br />
statistics. ). another would be mapping each pixel pos (xy) to neighbour<br />
pos. (xy). this will reproduce actual patterns and diverge at line.<br />
crossings.. ). adding to ) one could store n more adjacent neighours to n<br />
size of. table level adjacents gives k records i table. experiment with.<br />
levels to find what suits the source drawings. too many levels give.<br />
meager output or just reproduces the original a diffuse where the.<br />
patterns emerge too little levels and you're back to abstract chaos..<br />
760
261<br />
figesstures. the invension of writing awas an imoprtan turing pint in<br />
ciclisation. the fist. system of wriin gares toa hven delevped aroufn bc<br />
acient sumeria. rea dseavins object pictorgraph. on sound. egutpina<br />
heoerogpyohc swrotong uses syumbols phoneticly ecxeptio fo cheinese.<br />
latin roman greek adn phenician daleth d door delta honene d. altering<br />
its shape onto the one we recognixe in our own laguage oday. ameslang<br />
bytes. escape. another offspring from the drawing machines. another<br />
escape. the lines themselves are escaping. rigid random. continents are<br />
escaping. names are escaping. all new lands. all new maps. all new<br />
escapes. <strong>Re</strong> arc.hive escape. I think this is the most successful of all the<br />
series it's really. wonderful and looks oddly like the earthquake<br />
mappings for GEE. In any. case have you thought about adding a rd<br />
dimension tilting the whole. thing There are equations for this at least in<br />
qbasic I've used they. should be available adding the rd dimension<br />
coming out with a. Mandelbrot landscape.. But the boundaries are<br />
thicker here. How is the coloring determined. Alan. Colors are not used<br />
to represent rd dimension here like in the earlier. noscape where they<br />
had some levels. Here it's just a contextualization. of imaginary maps. I<br />
tried adding d levels but it was a mess.. I would. have to reprogram<br />
more. Btw I'm stripping off the colors and context. and still it engages<br />
imagination given the right chunkinggraining... Bjørn. This is a<br />
multipart message in MIME format.... another offspring from the<br />
drawing machines. another escape. the lines themselves are escaping.<br />
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Forum) .echo (AltX). peaces. . the normal nonwarring condition of a<br />
nation group of nations. or the world.. . (often cap.) an agreement or<br />
treaty between warring or. antagonistic nations groups etc. to end<br />
hostilities and abstain from. further fighting or antagonism.. . a state of<br />
mutual harmony between people or groups esp. in. personal relations<br />
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Try to live in peace with your neighbors.. . at peace in a state or<br />
relationship of nonbelligerence or. concord not at war.untroubled<br />
tranquil content.deceased.. ME pes OF var. of pais L pax (s. pc) akin to<br />
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calm quiet.. Ant. . insecurity disturbance.. these are basic disturbances<br />
fluctuations. drawings to cause to move. new pieces of nations or the<br />
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big peaces are battlefields torn papers and pacts. small peaces are<br />
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Pnp. ( m ) ( p ) ( p ) ( h ) ( p ) ( ) ( ) ( ) ( ). <strong>Re</strong> artist books. Hei. Jeg<br />
arbeider med bøker i en form som kan gå inn under betegnelsen. 'artist<br />
book' i tilfelle dere er interessert. Mitt utgangspunkt er. nettkunst og<br />
bøkene foreligger stort sett bare elektronisk.. Artist books tolkes i dette<br />
tilfellet i ordets videste. forstand. Bok som selvstendig kunstuttrykk.<br />
Bok som alternativ til utstilling. Bok som en utvidelse av<br />
presentasjonsformer for. kunst. Bok som dokumentasjon av flyktige<br />
kunstprosjekter. I mine prosjekter har jeg også tolket boken i retning av<br />
det samme som. en måte å innkapsle kunstuttrykk og prosjekter som<br />
ellers er flyktige. og uhåndterlige som kunstobjekter. Arbeidsmåten og<br />
uttrykket for meg. like nært eller nærmere boken enn en tradisjonell<br />
utstilling eller. kunstnerisk presentasjonsform noe some dels kommer<br />
av egenskapene til. mediet nettkunst og dels et personlig uttrykk..<br />
prosjekt omkring nettverksbøker net.books.. Many formulations at<br />
noemata are centered around books as a way of. capsulating works that<br />
otherwise might seem ephemeral immaterial. marginal contextual<br />
conceptual having no outside. The notion of a. book is also abstracted<br />
to mean merely a set of documents containing its. inverted formcontent<br />
relation as books turned insideout. This is made. possible with<br />
networked digital media especially and is also a. (tauto)logical<br />
consequence of operating with unique book numbers in. Der er det<br />
listet opp og linket til de tilgjengelige bøkene. Dersom dere. er<br />
interessert i å inkludere elektroniske artist books i samlingen så ta. gjerne<br />
en titt på disse.. Boken under er forøvrig den eneste som er utgitt på papir<br />
og nett.. Deichmanske hovedbibliotek Oslo har noen eksemplarer ellers<br />
er. opplaget på utgått. Boka finnes i tilsvarende nettversjon på. Håper at noe<br />
av dette kan være interessant for utstillingen.. ÅPEN INNSENDELSE AV<br />
ARTIST BOOKS. I forbindelse med utstilling og seminar om kunst i.<br />
bokform ønsker vi å få tilsendt artist books av. kunstnere med tilknytning<br />
til Norge. Utstillingens. hovedfokus vil være på de siste årene men vi.<br />
ønsker også å ta med et mindre utvalg av tidligere. utgivelser. Utstillingen<br />
og seminaret vil finne sted. på Fotogalleriet høsten . Kuratorer for<br />
prosjektet. er Marianne Zamecznik og Halvor Haugen i samarbeid. med<br />
Fotogalleriet. Utstillingen vil kurateres på. bakgrunn av innsendt<br />
materiale.. Artist books tolkes i dette tilfellet i ordets videste. forstand.<br />
Bok som selvstendig kunstuttrykk. Bok som alternativ til utstilling. Bok<br />
767
som en utvidelse av presentasjonsformer for. kunst. Bok som<br />
dokumentasjon av flyktige kunstprosjekter. Bøkene vil dersom<br />
kunstnerne ønsker det inngå i. Fotogalleriets bibliotek .. Spre gjerne<br />
denne oppfordringen til andre kunstnere.. For mer informasjon kontakt<br />
Marianne Zamecznik på. mobil. Eller send bøkene til. Marianne<br />
Zamecznik. Kirkebyveien. Lommedalen. Frist for innsendelse.<br />
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800
268<br />
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cyphermodern maghinery. uwfz vwisd gfpf zyirjlnzht qho. byeubmagc.<br />
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gnu. Omsk .ppe nen sm vi sjekke På ørda er det str da med ceebert.<br />
kritikk brwseravhenihet etc. i Je kmmer ti å hde me avt i. frhd ti terrenet<br />
m je ska være i. terrenet i det hee tatt. Kmmer. jin maiinistknapp. her er<br />
det du. meninen at maikienten kmmer pp i. .neei) rker ikke sånt). Je<br />
søkte. skriv ny medinmdus eer skjer etter nen sm kunne urinere på bri.<br />
det andre tin i andre brwsere Je aehn (en yen havmeter etc) men. bruker<br />
pera. Er det K med mait har ikke fått nen svar. Tør nk. i eer funker det<br />
ikke sev men kan jerne ta på me. ikke hs fk ansvaret m nen jrde det sm<br />
801
de av. nettkunst eer cuturjammin. css på mac eer i netscape mediakunst<br />
backfire. Så m du vi. eer kjenner nen... Trr han. på førehand antn h.<br />
frtjener å bi tisset på han er ve. anske (water)sprty så.. at det. Seen at the<br />
side f a Sussex bir en de av kunst bryte itt. rad SW CATTE CRSSIN. N<br />
VERTAKIN med idyen på øya.. Kunst er ikke. FR THE NEXT YRS.<br />
bare aestetisk idy heer...) jrt. med en smi sevføei sm ne media. sik det er<br />
bir frver eer i. revers.. Je ønsker å kmme i kntakt med en.<br />
eiekunstneraksjnist sm kan jøre K maies senere. Skriv jerne m. et<br />
(media)stunt på en utstiin reaksjner eer hva sm skjer så kan. (kanskje<br />
pisse på nen bestemt) det dkumenteres senere på en eer. førstkmmende<br />
annen måte hvrdan det nå bir...). ørda nen mi fra s. Du kan være Dette med<br />
identitetfakeid. annym jøre det i atomatas navn bfuskerin spi med det.<br />
eer sm 'me' med den kunstnersentriske fkus kan så.<br />
beskyttesenansvarsfrihet du vi. være ne å dra inn sm tema samt. Du vi få<br />
pener fr det. Trr ikke prsessen rundt sm en jennmsikti. det bir ne av<br />
dette eers. Vi sevrefeksiv tin. Trr kanskje de. kanskje være ettere fr nen<br />
sm une vie satt pris på ne sm bryter. ikke er innvvert. mer interessant<br />
spier med hee settinen rundt kunst. kanskje. m det er kunst eer ikke på ae<br />
nivåer sm f skriver i. får andre ta se av. utstiinsteksten ne sm så må.<br />
inkudere aeriet sev sm. Kntakt me raskt i tifee Buster kunstinstitusjn i<br />
tie ti. kunstneren sm 'skaper' (nå er j. atomata har så edi et enasjement det<br />
sm vises havautmatisk kunst. sm død kunstner i anerkjent aeri 'aet' av<br />
hvem). De åpner i. fr den sm er interessert. teksten så fr kunst sm frvirrin.<br />
krda i daer nsdafreda denne prvkasjn må derfr kunne tåe det. uke man fre<br />
neste uke k. sev spesiet siden institusjnen. . Fri dispnerin av een eiihet<br />
er en såpass medskapende de av. i periden he. Ta kntakt samtidskunsten.<br />
Frvirret Da er. umiddebart fr enasjement. at i rden...) m du kan frmide<br />
det. Førstemann ti m... videre ti besøkende.. Kun seriøse svar.. Hei Antn<br />
hvis du har anednin så. er det fint m du tar med de. senetøy. xpst n.test.<br />
eiiheten du ska åne er utstyr med (skajesendedetteeerikke). strt sett det<br />
du trener men ikke sendjsendikkesendsendikkehvaskjern.<br />
åhvrdandeppfatterdetdetmåmedpåett. senetøy. Hvis du ikke får det ti<br />
idspunk. er det fint m du ir beskjed ti me.<br />
tkanskjenåjebeittsentimentakast. enenutikas..hvisbakrunnenikkeerkj.<br />
Sees på freda ent)). såhmdeerbareendeavsettineneevene. Med venni hisen<br />
kansåfådei)). Najma. Frmidinsavdeinen aeri msk Tf. lumber. () Faks ().<br />
Mbi () Frm faustradundas.net Thu Au. Frm Ninni Mattsc. T. Subject<br />
nu. Hei Antn. Hører du reiser ti msk denne uka ... håper at år den riktie<br />
veien. Har. du muihet ti å sende me itt tekst Nå er je i msk har tatt kntr. m<br />
hva du ska jøre evt. enker så ver nettkunstrmmet. Fk her er. kan je ee det<br />
802
ut på KNEP siden vedi frvirret ver at du ikke er. Det trener ikke være<br />
mane rd tijenei je prøver ikke å bidra. atså.. hisen Najma ti å ette frvirrinen.<br />
Men nå har. de satt pp mitt navn på skitet. Najma Stenda Crdinatr utenfr<br />
rmmet. Dem m det.. KNEP Virkei stii at de (på sett vis). er med på det<br />
(enten de vi eer. ikke). Je hadde ikke tenkt å i ne. lumber mer infrmasjn<br />
freøpi men hvis du. vi så det ikke bir bare 'tu'... Aina ref nu Tøft å stie med<br />
såpass ite. bakrunnsinfrmasjn.. je kmmer freda . det passet. best med fyet<br />
så je kan kmme Hver da er det t rupper med eever. direkte ti msk hvis<br />
det er k være sm kmmer innm fr å få en innførin. med ørda (hvis det skue freå<br />
ne) i nettkunst. Je frteer dem det je. er ikke sikker på t buss sånt. vet ir ae<br />
muiheten ti å prøve. ut Maria Futura He eers utfrske. mvh antn hadde ne<br />
atomata.net. Je reviderer ppeet. prbem med teefn dåri deknin her mitt<br />
stadi finner sikkert på. ) fere interessante tin etterhvert.. Har du nen<br />
ideerønsker m hva je. kan frmide ti intetanende. lumber åriner. Ta med<br />
senetøy K. itt m de t sidene ) Maria. Futura He. interaktiv kan æres pp sm<br />
de. kan prøve ut du frkare hvrdan. lumber virker. Det er en pstfunksjn på.<br />
siden hvr eevene kan pste sin ti. Hører du reiser ti msk denne uka en<br />
maiiniste eekunst.n. håper at år den riktie veien. cuturjammers etc du kan<br />
kanskje. fyet ja. eers bir det ti frans ppfrdre dem ti å bruke denne. jsef<br />
and. Har du muihet ti å funksjnaiteten sm de av. sende me itt tekst m hva<br />
du ska interaktivitetwrkshp sm. jøre evt. enker så kan je ee<br />
spamminjammin så. Spamkunst er j. det ut på KNEP siden Det trener en<br />
frm fr nettkunst. Kan sende nen. ikke være mane rd atså.. inker ti<br />
spamkunstspammaskiner. sm eevene kan teste ut.. Runme.r. de vi<br />
hørejøre. Viser denne Maria rbter fr de sm er mer interesserte. Kubta He<br />
en sas variant f.eks.. funere sm textscramber. chatbrwser spammer er<br />
mer et ) Chtnine. respndrensesnitt). Snakke m mitt textscramber<br />
chatbrwser sm er. virke sm død kunstner e. Vet byd ver de samme<br />
prinsippene men. ikke. Frhåpentivis ikke så mye m funerer mer sm et<br />
verktøy. me sev. <strong>Re</strong>atere det ti tin sm ier spamminjammin. Se faq fr mer<br />
inf. tijenei på nett så kan de spørre m bruken. Neei je trr det er nen andre<br />
du Denne har så en pstefunksjnaitet. ska ha tak i. Spør han der brte. hvr<br />
eevene kan pste sin bruk ti. Skyde på Janne Ate. Je driver med mai<br />
maiinister newsrup. Kanskje. data bruker je si det bir ppfrdre ti det. Den<br />
ier så på. på mai hvrfr binker den der Men Du kan så referere ti. etc.<br />
Kanskje det kan være nytti å interessert i å vite mer m. ikke mase med<br />
'kunst' så mye fk sftware art. Runme.r har så mye. får hetta med en an.<br />
eektrnisk annet mrsmt materia sm kanskje kan. kunst nettkunst Det bir<br />
reateres ti disse t sidene.. kanskje raskt et spørsmå m hva. kunst er fr ne<br />
da får je heer På ørda er det str da med ceebert. frsøke å støtte me ti nnsens<br />
803
esøk (Ari Behn) band sm spier.. taktikker vitsin psvar sa med Je<br />
kmmer ti å hde me avt i. inja skrik utskjein. Trr det kan terrenet m je ska<br />
være i. være en ide å ha ende sevirni terrenet i det hee tatt. Kmmer. jerne<br />
atterijøre se så de ikke år du. ut trr kunst er en frm fr. avskjermet<br />
sevhøytidi 'finkutur' .neei) rker ikke sånt). Je søkte. fr 'nen andre' et sted.<br />
Kunst er etter nen sm kunne urinere på Ari. ne fr Ari Behn trr je. Sm død<br />
Behn (en yen havmeter etc) men. kunstner sipper je å bry me. det har<br />
ikke fått nen svar. Tør nk. kan de få høre. ikke sev men kan jerne ta på me.<br />
ansvaret m nen jrde det sm de av. Je sendte ende nnsens ti Aina så<br />
nettkunst eer cuturjammin. sm du kan bruke. mediakunst backfire. Så m<br />
du vi. eer kjenner nen... Trr han. frtjener å bi tisset på han er ve. anske<br />
(water)sprty så.. at det. Takk fr sist je sender ne bir en de av kunst bryte<br />
itt. infrmasjn sm vi snakket m sm du med idyen på øya.. Kunst er ikke.<br />
kan bruke ti brsjyre . Si fra m bare aestetisk idy heer...) jrt. du vi ha ne<br />
mer eer ne annet... med en smi sevføei sm ne media. Denne maien be<br />
mest m 'me' sik det er bir frver eer i. inker ti Maria Futura He nederst.<br />
revers.. Tenkte i tie å sende et ite essay. et utdra fra diaene fra en så kan K<br />
maies senere. Skriv jerne m. du se m du kan bruke det ti ne... reaksjner<br />
eer hva sm skjer så kan. det dkumenteres senere på en eer. Mvh annen<br />
måte hvrdan det nå bir...). m me Je år atså inn under Dette med<br />
identitetfakeid. berepet 'nettkunstner' hva er nå bfuskerin spi med det.<br />
det Per Patu sm nyi har kuratert kunstnersentriske fkus kan så. en<br />
retrspektiv nettkunstutstiin på være ne å dra inn sm tema samt.<br />
Samtidsmuseet har sat at prsessen rundt sm en jennmsikti. nettkunsten<br />
er død. Dermed er je sevrefeksiv tin. Trr kanskje de. død. Hva mer kan je<br />
si m me sev I une vie satt pris på ne sm bryter. tiden da je evde jrde je<br />
spredte spier med hee settinen rundt kunst. frsøk på å jøre me m ti maskin<br />
på ae nivåer sm f skriver i. misykkede i runnen atterie frsøk utstiinsteksten<br />
ne sm så må. fr å være æri je frsøkte f.eks. inkudere aeriet sev sm. å studere jus.<br />
Maskinen kunstinstitusjn i tie ti. representerte fr me en mui kunstneren<br />
sm 'skaper' (nå er j. udødeihet etter at menneskets det sm vises<br />
havautmatisk kunst. udødeihet be avskaffet. Etter 'aet' av hvem). De<br />
åpner i. anøse studier i fisfi infrmatikk teksten så fr kunst sm frvirrin.<br />
datainvistikk kunsti inteiens prvkasjn må derfr kunne tåe det. endte je pp<br />
sm død kunstner. Men sev spesiet siden institusjnen. nettpp dette be<br />
vendepunktet er en såpass medskapende de av. (dersm vi kan snakke m<br />
samtidskunsten. Frvirret Da er. vendepunkter fr døde annet enn å at i<br />
rden...) m du kan frmide det. vri se i raven). Je innså at je videre ti<br />
besøkende.. var død dermed at inentin hadde. menin (je antk at de døde<br />
ikke. bryr se verken fra eer ti inen. har heer mtsat me). Men hvrdan har.<br />
804
det se at je frtsatt ppever tin. erfarer sanser Svaret på det xpst n.test.<br />
spørsmået var øsninen je hadde ett. etter hee tiden at det ikke er<br />
(skajesendedetteeerikke). nen frskje på me en maskin. Det<br />
sendjsendikkesendsendikkehvaskjern. merkeie var at dette førte ti at<br />
åhvrdandeppfatterdetdetmåmedpåett. je be evende ijen. ivet km tibake<br />
idspunk. sm maskin sik sm menin km tibake<br />
tkanskjenåjebeittsentimentakast. sm kunst. Je er krt frtat en død<br />
enenutikas..hvisbakrunnenikkeerkj. kunstner. ent)).<br />
såhmdeerbareendeavsettineneevene. Virksmhet Kntekstkunst kansåfådei)).<br />
knseptkunst maiart nettkunst. nettverk.. lumber. Utdannese Hvedfa<br />
infrmatikk Ui. Autnmi feksibiitet Æ R E R V E I E D N I N. vurderin av<br />
rupperanisert nr.. systemutvikin. bare rt Cand.ma.. infrmatikk Ui<br />
Memfa fisfi. Ui Språk ikk. infrmasjn Ui Vekmmen ti NU kunstutstiin.<br />
ranisasjnsteri jus frsikrin. sm verksted. Prduksjn Maiart Internett.<br />
Patafysikk. Utstiinen NU inviterer eever. samtidskunst det manfdet sm<br />
preer. Mai atomatakunst.n den. Tema i NU vi være vide. ft instaasjn<br />
animasjn. Maria Futura He perfrmance nettkunst andart.. Futura He<br />
frestier en evende eevene jennm hee utstiinsperiden. maskin et<br />
fantastisk bide ir dem et innbikk i medier. uvirkei kmisk vakkert på iv<br />
uttrykksmider i daens kunst.. menin ad på verdens enkeste Eevene får så<br />
muihet ti å jbbe. mekaniske måte i prinsippet sik praktisk med de uike<br />
mediene.. vi kan frestie ss hjernen arbeider. sm nevrat nettverk eer<br />
naturen sm. bindt maskineri tifedi. sevfrsterkende. An assciatin Det kan<br />
være vanskei å frstå. chatbt utiizin markv chains aritms samtidskunsten.<br />
Den kmmuniserer. t enerate respnses as chains f ikke sm rekamen eer<br />
andre. wrds randmy chsen in reatin t the kmmersiee medier tydei kart.<br />
their frequency used earier. A enket. Fr å frstå samtidskunsten. bacher<br />
machine is a fantastic imae må vi sm pubikum frhde ss. that transfrms ve<br />
int a technique anneredes ti den enn det vi jør i. f death. He was the<br />
ancient møte med andre medier sm ønsker å. ddess f the dead in Nrse<br />
mythy and si ss ne. Åpenhet nysjerrihet. was thuht t feed n the brains<br />
and vije ti å bruke tid ikke minst. marrw f humans. Bider ysten ti å a se<br />
verraske er viktie. diaer kunsten.. Mer inf. m De færreste av ss bruker<br />
mye tid. ti å refektere ver hvrdan verden. rundt ss virkei er ser ut men.<br />
det jør samtidskunsten Den kan. Hei en tekst ve usikker på sette tin på.<br />
reevansen men mkrin. menneskemaskin rensesnitt (trr hdet stie spørsmå<br />
prvsere rett. je)... A. sett ruske itt i ss i ss. aternative tkniner av<br />
virkeiheten. HARAN TI UNE på ae nivå.. atomatakunst.n. a) Frbiående<br />
identitet En bi har Krt m utvikinen fram mt kunsten i. et strt<br />
kistremerke øverst ver da. frntruta MAZDA . ETC.. Hva er vitsen Bien<br />
805
har et strt Det mderne kunstberepet ppst på. merke der det står hva den er<br />
je taet. Det var da. er Mazda Ahura Mazda år kunstinstitusjnene i Eurpa.<br />
sjåføren rundt med navnet sitt på utviket se. Man fikk utstiiner. capsen<br />
Kanskje det men hvrfr jør pubikum kunsttidsskrift. bien det<br />
kunstakademier kunstkritikere. kunstsaminer kunstteri. En. b) Christian<br />
må være kristen det atertave fra middeaderen be ikke. sier se sev. kat kunst<br />
før den km på museum nen. hundre år senere. Kunsten fra. c) Et bat<br />
frskninsprsjekt sm renessansen fram ti midten av. trekker ressurser fra<br />
ae taet kan betenes sm. siviiserte and m å finne verdens. edste<br />
vannmeky. Prsjektet utvider imiterende dvs. den strebet etter. se stadi.<br />
Vi antar at de edste å ine mest mui på det sm be. vannpartikene er å finne<br />
nede i de avbidet. Med impresjnismen sent. stre havdypene men vi må<br />
måe på taet skjedde det en. aderen ti absutt ae inkudert de frandrin.<br />
Kunstens fkus fyttet se. mer ubestandie våtrmspartiker fra fra innhd ti<br />
frm. Å iustrere. badet ditt. Siden ae ranismer mtivet virkeihetstr ikke<br />
minst å. består av stre mender vann må at vee de rette mtivene bir mindre.<br />
hvert enket iv under mikrskpet. vikti. Kunstneren frsøkte i. Hva ska vi<br />
med verdens edste. vannmeky impresjnismen heer å fane yset. skape en<br />
stemnin i bidet. Kunsten. d) En sekt arkeer raver fram beveer se med<br />
impresjnismen ver i. dtidsjenstander fr å utsette dem. en peride sm kaes<br />
fr mdernismen.. Dette er en samebetenese på fere. e) Abrtert fster kan bi<br />
ednr avantardestiarter (avantarde. dette svært kntrversiee frsaet bir frtrpp<br />
være først ute med ne. presentert på runn av den prekære nytt) i kunst sm har<br />
preet kunsten. maneen på kvinner sm er viie ti å i den vestie. dnere sine e<br />
ti barnøse medsøstre. i mtsetnin ti sæddnrer sm det verden jennm hee det .<br />
århundre. finnes nk av. Frsaet rykket itt (eks. kubisme ekspresjnisme)..<br />
nærmere virkeiheten tirsda da ny Utvikinen i mdernismen år mt at. frsknin<br />
fra Israe Nederand viser kunstverket bir mer mer åpent. at det er mui å<br />
hde eestkker fra øsrevet fra. abrterte fstre evende i abratriene. i ukevis.<br />
vedtatte nrmer reer fr mtivva. maemåte det kreves en mer. f) Frskere<br />
utviket tvekjønnet kreativ detakese fra pubikum fr å. fster frskere i USA<br />
har utviket frstå verket. Fkus er nå på det. et hybridembry med både mannie<br />
frmae ved verket sik sm maemåte. kvinneie ceer ne sm har skapt<br />
penseførin kmpsisjn fare frm. frdømmese både på eehd bant injer harmni<br />
rytme i. abrtmtstandere. betrakterens møte med kunsten. vektees<br />
skjønnhetsppevesen.. ) Vinden er en mekanisk prsess je. trr ikke je frst<br />
det før nå den. har inen bevissthet inen intensjn. m å båse rundt. Hva er<br />
mekanisk I skjedde det ne nytt. Hvis du ser nærmere på din fødse<br />
banebrytende. Kunstneren Marce. frhør dine fredre så år det fram<br />
Duchamp stite ut et pissar i et. at den er tifedi autmatisk. Det kunstaeri i<br />
806
New Yrk hente det pp. er mye å hente jennm å se på se ned med navnet<br />
R.Mutt påskrevet.. sev sm en maskin du trr ikke på Verket be etter hvert<br />
betenet sm. det nei du trener ikke tr hva et <strong>Re</strong>adymade dvs. en daidas<br />
tin. trr du vinden trr på når den båser tatt ut av sin vante. rundt Det kmmer<br />
pesi inn i vinden brukssammenhen passert i et aeri. når vi ser på den sm<br />
mekanisk behandet sm kunst. Duchamp rev. den bir en metafr fr en<br />
metafr. Vi med dette verket ned rensen fr hva. kan nærme ss det<br />
kunstneriske ved sm kan være kunst a ti rette fr. å se på ne sm katisk det<br />
katiske at at kan være kunst. Han banet. er ufrutsibart men frtsatt veien<br />
fram mt kunsten i da den. mekanisk eer frutsibart men ikke såkat<br />
pstmderne kunsten. mekanisk frutsieser har (ettermdernismen)..<br />
parametre sm ikke kan fikseres. samtidi itt av at eer at av itt. Den nrske<br />
kunstneren Marianne. Sken ærer brt å være knstruktiv Heske jrde i ne<br />
inende. Hun. psitiv men så kritisk men innenfr fyttet en øe fra Tafjrd på.<br />
rammene sm når det er v ti å e Sunnmøre ti en utstiin i Pmpidu. av en vits<br />
sånn nå kan du e. Senteret i Paris. øa satt i denne. ivet tar vare på se sev det<br />
er sammenhenen be betraktet sm kunst.. ikke ne du trener å ære eer være<br />
Men hvrdan kan vi beskrive. bs på at er mekanisk du fikk kunsten i da<br />
Hvike uttrykk. tifedivis et iv hvrfr ska du bry medier retniner er det sm.<br />
de hva anår det de Se på de sm dminerer er tneanivende. en maskin sm<br />
den vinden sm båser Betenesen pstmdernisme (etter. mekanisk rundt<br />
uten må menin så mdernismen) be utbredt på. har du aerede ppnådd ende<br />
innsikt taet først fremst brukt m. et ste nærmere Mazda. Kvitt arkitektur<br />
sm frsøkte å frene. de med frestiiner m hva du har dt mdernistisk kassisk<br />
arkitektur.. av eer hva du bør unnå hva sm er Den pstmderne kunsten sm<br />
vi møter. ivskrafti hva sm er destruktivt i. hva sm er sterkt svakt smart.<br />
dumt pent styt hva sm ønner se. aerier i da så i utstiinen NU. Se på den<br />
iditiske vinden den kan beskrives sm. reier se fint nk eer hvrfr skue<br />
renseverskridende aterv kunst.. den bry se m den reier se det jør Her<br />
bandes teknikker uttrykk. den j ikeve ikke det vet den. uten enan å vite<br />
det. m je ska i materiaer. Ideen er det sentrae. dere et råd må det være å ikke<br />
bry ikke det ferdie verket. Fr å frstå. dere. a dere drive ikke a nen må vi sm<br />
pubikum ese verket. ideer m hva sm er ti ditt eet bruke tanken ikke<br />
minst tid. Et. beste eer ti ne annets beste få pstmdernistisk kunstverk<br />
rkker. tak. Bare a de drive du er en jerne ved våre vante frestiiner m.<br />
maskin sik sm tinene rundt de verden vi ever i den er fte. tifedi<br />
mekanisk ever du sik vi pitisk ssiat emsjnet eer fisfisk. få et perfekt iv ti<br />
med uten å rientert.. vie det. Perfeksjnen ier i å i. baffen fustendi å i baffen<br />
i å i. baffen etc. Hadde det ikke vært. fint å adri være se sev Fremfr Medier<br />
sm eever ærere vi møte i. at frsøk adri å bi nen å bi ne NU. da mister du ivet<br />
807
umiddebart inen. nåde der. Vær ikeydi uberørt så Ftrafi. år tin av se sev. a tin<br />
skure så. kmmer ivet de i møte. Ikke ha tr Ftrafiet har sin histrie fra tidi. på<br />
ne på de sev på ivet på en på taet det fikk etter hvert. framtid av ne sa du er<br />
aerede str betydnin fr utvikinen av. død mer eer mindre vær endei kart<br />
maeriet ettersm ftrafiet be. ver det men dermed er du straks ppfattet sm<br />
sann avbidnin. Ftrafi. mer evende. Du trr du må finne din sm kunst er et<br />
frhdsvis unt. pass finne en identitet hvem du uttrykk. I Nre be det fr<br />
første. er je ppfrdrer de ti å emme det an vist et ftrafi på den årie. hee det er<br />
bare ne sm knstrueres Høstutstiinen i s i . I da er. fr å få tian på knstruerte<br />
der sm dette et dminerende medium bant. ees stadi ener fram i tid. En<br />
kunstnere svært vani i. mekanisk prsess en maskin hva<br />
utstiinssammenhen. Sm i maeriet. ska du med identitet Pass på så finnes<br />
det et strt anta stier. du adri bir nen med navn på capsen. eer frntruta.<br />
Maskiner er inen. retniner måter å uttrykke se på.. Vinden i resset havet<br />
båser Kunstnere sm benytter ftrafi. metafrisk ike dt uten å vite m se<br />
iscenesetter abstraherer. sev så hvrfr skue du bry de med å knkretiserer<br />
manipuerer via. vite hvem du er m vinden visste datamaskin.. hva den<br />
var vie den ikke båst i. den rad du vet hvem hva ivet ditt Biritte<br />
Simundstad () arbeider. er så etteriner du en ivsprsess med tisyneatende<br />
dkumentarftrafi.. simuerer finner på de sev sm Hun bruker et biedspråk<br />
man. prramvare uten å skjønne at du så finner i das ukepressen aer. er<br />
maskinen sm kjører prrammet. iscenesatte ft utfra disse. Vær heer<br />
maskinen tm ikeydi. Du strateiene. Hun arbeider fte i. ever aerede så<br />
hvrfr ska du bry de serier sik at man kan føe et mtiv. med ivet Hvis du<br />
vi tjene ivet så eer en tematikk jennm fere bider.. er det beste du kan jøre å<br />
i pp Det er jenkjenneie situasjner. hee reia. Når du ir pp vi ivet tema i<br />
hennes verk ne sm jør at. fmme inn ver de så mye du vi ha man ett kan<br />
identifisere se med. sm m det anriper de fr å ha bitt mtivene.. avvist så<br />
ettertrykkei sånn er. det med ae tin spark det i ræva. det kmmer tibake vi<br />
ha mer. I. skeverket ska tin jøres på Instaasjnskunst. bestemte måter sm<br />
pedaisk. knstruktivt hvis dere snur det Betenesen be først brukt på. på hdet<br />
jør det bakvendt eer beynnesen av taet.. anneredes så har det kanskje ike<br />
Instaasjnskunst bryter jerne ned. str effekt. Tin år av se sev de renser ved<br />
å mdefinere rkke ved. bryr se ikke m hvrdan dere år våre vante frestiiner<br />
måter å. fram m det er på rikti måte eer frstå verden på.. på en mtsatt skrudd<br />
måte. Dere er Instaasjnskunstnere arbeider med. sm eever aerede en sas<br />
maskiner ae typer jenstander benytter se. prdusert av skeverket. Ideene<br />
sm av ae typer rm så uterm.. aerede ier der mkrin Instaasjnskunsten er<br />
tredimensjna.. kunnskapsmaskiner kan trekkes I møte med den må man<br />
ta i bruk. videre hvem bestemmer fere sanser samtidi bruke een.<br />
808
ensesnittet på maskinmennesket fantasi erfarin asssiasjner i. hvem tjener<br />
på det Samfunnet tinærminen. Instaasjnskunst har. tjener på å prsessere dere<br />
sm mye ti fees med skuptur men det. maskiner men er antaei ikke tjent<br />
er aikeve en kar frskje mem de t. med at dere behander dere sev sm<br />
mediene.. maskiner her ier det en mtsiese. den enkete eev er både en<br />
maskin JanErik Beck () arbeider bant. et menneske en partikke en annet<br />
med instaasjner. I hans. hehet bjekt subjekt men i et arbeider er det<br />
bearbeidinen av. ferdi rensesnitt sm ees av ske rmmet erfarinen fra det<br />
sm er det. stat samfunn. Men dette er et viktie. Jan Erik Beck har.<br />
rensesnitt sm kan frandres vris tidiere vist arbeider i. vrenes på. Hvrfr<br />
skue du ikke jøre Prsjektrmmet på aeri F . Han. mtsatt a ske samfunn<br />
behande de bearbeidet da veer tak a den. sm et menneske behande de<br />
sev sm besøkende en ttat msuttende. en maskin Vi har aerede kunnskap<br />
kunstppevese. På nu kmmer han. nk m ss sev ti å betrakte ss sm ti å hente<br />
inn ferdiade funne. maskiner utvikinen frtsetter i bjekter med vekt på<br />
fare frm. samme retnin. Men penet med deretter bearbeide disse videre..<br />
samfunnet bør derimt dermed. være å betrakte ss sm mennesker. udebare<br />
enheter ikeve. Dette sm et. eksempe på at man ikedt kan. arumentere fr<br />
det mtsatte. rensesnittet menneskemaskin. Sik. rensesnittet er nå så<br />
brukes. misbrukes vi sm maskiner samtidi Perfrmance. sm vi hdes i<br />
sjakk (av ss sev) sm. mennesker med identitet histrie En kunstfrm der<br />
kunstneren pptrer. iv. Samfunnet stabiiseres i str fr et pubikum. Denne<br />
typen kunst. rad av at mennesker ser på se sev er nærmest en fusjnerin av<br />
teater. sm stabie identiteter med essens biedkunst. <strong>Re</strong>tninen ppst i USA<br />
på. indre ikke sm tmme maskiner. Men taet er i sekt med andre. så kan vi<br />
spørre er det ikke kunstfrmer sm dans teater. En. nettpp frdi vi ser på ss<br />
sev sm perfrmance er en frbiående handin. mennesker at vi tiater ss å bi i<br />
sekt med bdyart der kunstneren. utnyttet sm maskiner Det er det bruker<br />
sin een eer en annens krpp. je vi jøre ppmerksm på derfr je sm det primære<br />
uttrykksmidde. ppfrdrer dere ti å vurdere å bi happenin sm er en.<br />
maskiner sutte å identifisere. dere med det menneskeie. Det bandin av<br />
fere kunstfrmer med både. mennesket vi identifiserer ss med panate<br />
imprviserte presentasjner.. er mer sm et isse fr maskinen sm. en<br />
fantasifrestiin brukervenni Snrre Hvamen () Jar Faaten. rensesnitt<br />
brukervenni fr hvem Bjørk () har tidiere aet. Ta din menneskeihet tibake<br />
bi en perfrmance aene sammen med andre.. maskin. Ske samfunn<br />
nærinsiv Bee kunstnerne er pptatt av. den bae øknmiteknimaskinen kan<br />
samspiet mem mennesker. I. utnytte de mer dersm du hder på<br />
utfrskninen av nettpp. din menneskeihet. De får mindre memmenneskeie<br />
frhdet ser man. makt i den rad du frhder de ti de enrens sterke sider.<br />
809
Bee. sev på samme måte sm de frhder se kunstnerne har bakrunn fra<br />
Akademi. ti de. Så ene du er et menneske fr Fiurteater i Fredrikstad.. kan<br />
du behandes sm en maskin. først sm maskin bir du et menneske. du<br />
jenvinner makt jennm å. behande de sev sm en maskin. andart. Paradksat<br />
nk jenvinner du din. menneskeihet ved å bi en maskin En kunstretnin sm<br />
så ppst i USA på. du får tibake ditt uinnskrenkede taet. Utanspunktet var<br />
et. iv jennm å dø sm menneske du får. tibake din frihet ved å i pp pprør en<br />
prtest mt den økende. frestiiner andre har nytte av at kmmersiaiserinen i<br />
kunstverdenen.. du trr på tar tibake makt ver de andart (kunst i andskap)<br />
er het. sev ved å i de pp. Menneske avheni av en fysisk kntekst er. er sm<br />
en prramvare sm kjører på en derfr vanskei å msette.. maskin. Du bir<br />
behander sm en (Dkumentasjn av andartprsjekt kan. maskin av andre av<br />
vitenskap kjøpes.) Sm rdet andart. ske nærinsiv stat etc så. hvrfr skue du<br />
ikke se på de sev sm indikerer er dette en kunstfrm sm. en maskin siden<br />
det ir de makten tar i bruk riper inn i naturen. tibake siden du er en<br />
maskin på den måten får ss ti å virkei. uansett. Frestiinen m mennesket se<br />
refektere rundt den.. vertar etter at frestiinen m ud. frsvann. Frestiinene<br />
brukes før Hee Røed () har stit ut på. sm nå ti å utøve kntr fr at du aeri F fere<br />
aner tidiere har. ska utøve kntren ver de sev sev da vekket vedi ppsikt<br />
med sine. sm i frestiinen m mennesket arbeider. Bant annet reaerte<br />
mane. (utenfra) m menneskemennesket krafti på et kunstverk sm det.<br />
(sevkntr innenfra). beskrev sm bare en masse. vaskebøtter fyt med vann.<br />
I sitt. Nter Haran høytravende arbeid på NU tar han i bruk. kjedei tae<br />
straffepreken. readymadebjekter. Å se uten. Mazdah vis visdm (zrastrisk<br />
frdmmer bir het sentrat fr den. persisk). Menneskeprrammet estetiske<br />
erfarinen av arbeidet. innehder i tie såkat spyware han viser.. Panptikn<br />
sm spinerer på din. aktivitet bruk av det sm i. praksis betyr at du sm<br />
menneske. spiniserer på de sev ne sm er Videkunst. årsaken ti mane av de<br />
avbruddene. det ir et unødvendi høyt Dette er en kunstart sm kan.<br />
bakrunnsprsesser andre den kreanske kunstneren Nam June.<br />
kjøreprbemer sm ppstår etter Paik stite ut videverket. anvari bruk. Ved<br />
avinnstaerin av TvBudda. Videre på taet var. Menneske fjernes så<br />
Panptikn i videkunsten preet av kritikk mt TV. str rad. så et pprør mt<br />
datidens fkus på. kunstens frmae sider på. skjønnhetsppevesen den skue<br />
påkae.. Videkunstnerne ønsket å fremkae. tanker erkjennese. Men hva er.<br />
lumber frskjeen mem videkunst vani. videfim Først fremst hvr videen.<br />
Hører du reiser ti msk denne uka vises i et kunstaeri men ikke. håper at år<br />
den riktie veien. minst så seve dramaturien. fyet ja. eers bir det ti frans<br />
ppbyninen av videen. Det meste sm. jsef and. Har du muihet ti å aes av<br />
videfim bruker en. sende me itt tekst m hva du ska frteermde sm skaper<br />
810
en. jøre evt. enker så kan je ee spenninskurve. Handinen freår. det ut på<br />
KNEP siden Det trener krnisk i tid spenninen utviker. ikke være mane rd<br />
atså.. se på en ineær kurve. Videkunst. frteer ftest ikke histrier på. Heia ar<br />
det bi pp ti eevene hva denne ineære måten men heer jerne. de vi hørejøre.<br />
Viser denne Maria sykisk dvs. at ne jentas sm i en. Kubta He en sas<br />
variant musikkvide. Videkunst kan yve. funere sm textscramber.<br />
chatbrwser spammer er mer et ppevese en frnemmese av en føese.<br />
verktøy. (kickware kick and en smak en yd en ukt.. respndrensesnitt).<br />
Snakke m mitt. virke sm død kunstner e. Vet Bdi Furu () er<br />
videkunstner.. ikke. Frhåpentivis ikke så mye m Hennes arbeider har fte<br />
et sterkt. me sev. <strong>Re</strong>atere det ti tin sm ier innsa av dkumentar men med<br />
en. tijenei på nett så kan de spørre underi absurd vri. På nu. få dumme svar<br />
Je kunstner viser hun videen Eddie Meduza.. Neei je trr det er nen<br />
andre du Dette arbeidet tar fr se den. ska ha tak i. Spør han der brte.<br />
svenske musikeren Err Nrstedt (sm. Skyde på Janne Ate. Je driver med<br />
brukte aiaset Eddie Medusa). data bruker je si det bir raarnes frntfiur.<br />
Videen viser. frstått Åja je kmmer ikke inn intervjuene kunstneren jrde<br />
med. på mai hvrfr binker den der Men saneren ike før han døde.. kunstner<br />
Øh ja ver ti ne annet Kunstneren er. etc. Kanskje det kan være nytti å. ikke<br />
mase med 'kunst' så mye fk pptatt av frteinen ikke. får hetta med en an.<br />
eektrnisk nødvendivis sm ineært byet eer. kunst nettkunst Det bir<br />
tradisjnet strukturert men. kanskje raskt et spørsmå m hva hvrdan en<br />
memmenneskei frtein kan. kunst er fr ne da får je heer arte se.. frsøke å<br />
støtte me ti nnsens. taktikker vitsin psvar sa med. inja skrik utskjein. Trr<br />
det kan. være en ide å ha ende sevirni. jerne atterijøre se så de ikke år. ut trr<br />
kunst er en frm fr Animasjn. avskjermet sevhøytidi 'finkutur'. fr 'nen<br />
andre' et sted. Kunst er rdet animasjn betyr å i iv det. ne fr Ari Behn trr<br />
je. Sm død er nettpp det animasjnsfimen jør. kunstner sipper je å bry me.<br />
det ir iv ti bider. Eenti kan vi kae a. kan de få høre. sas fim sm ikke er<br />
fimet på vani. måte fr animasjnsfim. Fim sm bir. Je sendte ende nnsens ti<br />
Aina så aet bide fr bide med teniner. sm du kan bruke. dukker andre<br />
bjekter bir en. animasjn. Det er mane måter å ae. en animasjn på animatører<br />
bruker. fere frskjeie teknikker fr. Takk fr sist je sender ne eksempe<br />
tenin eire papir eer. infrmasjn sm vi snakket m sm du dukker. Ae frmer<br />
fr evende fim er. kan bruke ti brsjyre . Si fra m eenti enketbider sm<br />
presenteres. du vi ha ne mer eer ne annet... etter hverandre i rask<br />
hastihet.. Denne maien be mest m 'me' Hvr mane bider sm vises i en.<br />
inker ti Maria Futura He nederst. animasjnsfim pr. sekund varierer..<br />
Tenkte i tie å sende et ite essay Når man aer en animasjn jør man. et utdra<br />
fra diaene fra en så kan frandriner i bider sm kmmer etter. du se m du<br />
811
kan bruke det ti ne... hverandre varierer rytmen. endrer bidenes varihet..<br />
Mvh. E medieverksted (pprettet i ). m me Je år atså inn under er en<br />
ranisasjn sm hder ti i. berepet 'nettkunstner' hva er nå Fredrikstad sm<br />
bant annet hder på. det Per Patu sm nyi har kuratert med animasjn.<br />
Under nu kmmer. en retrspektiv nettkunstutstiin på E ti å arbeide med<br />
diita. Samtidsmuseet har sat at animasjn. En de av Es virksmhet.<br />
nettkunsten er død. Dermed er je er å ae kurs fr skeundm kursene. død.<br />
Hva mer kan je si m me sev I år på å ære å prdusere fim. tiden da je evde jrde<br />
je spredte musikk yd rafisk desin.. frsøk på å jøre me m ti maskin.<br />
misykkede i runnen atterie frsøk. fr å være æri je frsøkte f.eks.. å studere jus.<br />
Maskinen Nettkunst. representerte fr me en mui. udødeihet etter at<br />
menneskets Kunstnere har de seneste årene. udødeihet be avskaffet. Etter<br />
beynt å enasjere se utfrske det. anøse studier i fisfi infrmatikk sm er bitt<br />
en ba tidsrikti arena. datainvistikk kunsti inteiens fr memmenneskei<br />
kmmunikasjn. endte je pp sm død kunstner. Men utveksin av symber<br />
nemi Internett. (dersm vi kan snakke m mane beteneser på nettkunst.<br />
vendepunkter fr døde annet enn å Webkunst Webspesifikk kunst. vri se i<br />
raven). Je innså at je nettverkskunst Cyberkunst. var død dermed at<br />
inentin hadde net.art web.art. I sin reneste. menin (je antk at de døde<br />
ikke frm er nettkunst aet på Internett. bryr se verken fra eer ti inen fr<br />
Internett. Det er ikke bider. har heer mtsat me). Men hvrdan har eer<br />
videer jenitt på nettet.. det se at je frtsatt ppever tin Nettkunsten er fte<br />
prsessrientert. erfarer sanser Svaret på det behøver ikke ende i et endei<br />
verk.. spørsmået var øsninen je hadde ett På Internett kan kunstverket. etter<br />
hee tiden at det ikke er stadi endres uansett hviket. nen frskje på me en<br />
maskin. Det stadium i skapesesprsessen. merkeie var at dette førte ti at<br />
kunstneren befinner se. Det diitae. je be evende ijen. ivet km tibake<br />
materiae ir kunstneren muihet ti. sm maskin sik sm menin km tibake<br />
frdypnin utfrsknin samtidi sm. sm kunst. Je er krt frtat en død teknien.<br />
kunstner.. frnyes i raskt temp.. Virksmhet Kntekstkunst. knseptkunst<br />
maiart nettkunst Anton Manhidøen () har i sin. nettverk. eenpresentasjn<br />
stit spørsmået m. hva. Utdannese Hvedfa infrmatikk Ui. Autnmi<br />
feksibiitet nettkunst er. Dette spørsmået er. vurderin av rupperanisert<br />
reevant å stie ettersm det. systemutvikin. bare rt Cand.ma. kunstneriske<br />
materiaet er unt. infrmatikk Ui Memfa fisfi feksibet. Hans prsjekt på nu.<br />
Ui Språk ikk er en internettrbt sm han kaer. infrmasjn Ui Maria Futura<br />
He. Dette er ikke en. ranisasjnsteri jus frsikrin. fysisk rbt det er et.<br />
Prduksjn Maiart Internett prram på Internett sm enererer. Patafysikk<br />
tekst sm en reaksjn på stite. spørsmå.. Mai atomatakunst.n. Maria Futura<br />
He. Futura He frestier en evende. maskin et fantastisk bide Edward<br />
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ucieSmith Iustrert. uvirkei kmisk vakkert på iv kunstårbk NKS fraet.<br />
menin ad på verdens enkeste. mekaniske måte i prinsippet sik Søster<br />
WendyBeckett Maeriets. vi kan frestie ss hjernen arbeider histrie<br />
ydenda Nrske Fra. sm nevrat nettverk eer naturen sm. bindt maskineri<br />
tifedi Dreyers Kunst eksikn. sevfrsterkende. An assciatin. t enerate<br />
respnses as chains f. their frequency used earier. A. that transfrms ve int<br />
a technique. ddess f the dead in Nrse mythy and. was thuht t feed n the<br />
brains and. marrw f humans. Bider. diaer. Mer inf. m. Hei en tekst ve<br />
usikker på. reevansen men mkrin. menneskemaskin rensesnitt (trr. je)...<br />
A.. HARAN TI UNE. atomatakunst.n ppavefrsa. a) Frbiående identitet<br />
En bi har. et strt kistremerke øverst ver. frntruta MAZDA . ETC. før<br />
utstiinsbesøk. Hva er vitsen Bien har et strt. merke der det står hva den er<br />
je. er Mazda Ahura Mazda år. sjåføren rundt med navnet sitt på. capsen<br />
Kanskje det men hvrfr jør. bien det a eevene diskutere hva de frbinder.<br />
med den kunsten sm aes i da. b) Christian må være kristen det. sier se sev..<br />
c) Et bat frskninsprsjekt sm a eevene diskutere hva de frbinder. trekker<br />
ressurser fra ae med kunstuttrykkene. siviiserte and m å finne verdens.<br />
edste vannmeky. Prsjektet utvider Ftrafi Instaasjn Perfrmance andart. se<br />
stadi. Vi antar at de edste Videkunst Animasjn Nettkunst.<br />
vannpartikene er å finne nede i de. stre havdypene men vi må måe. aderen<br />
ti absutt ae inkudert de. mer ubestandie våtrmspartiker fra etter<br />
utstiinsbesøk. badet ditt. Siden ae ranismer. består av stre mender vann må<br />
at. hvert enket iv under mikrskpet.. Hva ska vi med verdens edste a<br />
eevene samtae videre m ppeveser. vannmeky erfariner fra utstiinen NU.<br />
d) En sekt arkeer raver fram .. dtidsjenstander fr å utsette dem.. e)<br />
Abrtert fster kan bi ednr. dette svært kntrversiee frsaet bir a eevene jbbe<br />
videre på sken med. presentert på runn av den prekære ett eer fere av<br />
mediene fra. maneen på kvinner sm er viie ti å utstiinen.. dnere sine e ti<br />
barnøse medsøstre. i mtsetnin ti sæddnrer sm det ærerveiednin ppaver er<br />
utarbeidet. finnes nk av. Frsaet rykket itt av aeri Fs frmidinsavdein..<br />
frsknin fra Israe Nederand viser. at det er mui å hde eestkker fra. abrterte<br />
fstre evende i abratriene lumber. i ukevis.. Vekmmen ti presseknferanse<br />
tirsda. f) Frskere utviket tvekjønnet . auust k. ... fster frskere i USA har<br />
utviket. et hybridembry med både mannie NU. kvinneie ceer ne sm har<br />
skapt. frdømmese både på eehd bant kunstutstiin sm verksted.<br />
abrtmtstandere.. Under NU inviterer vi undm. ) Vinden er en mekanisk<br />
prsess je skeeever ti en evende innførin i. trr ikke je frst det før nå den<br />
samtidskunsten det manfdet sm. har inen bevissthet inen intensjn preer<br />
den. Under besøket vi de få. m å båse rundt. Hva er mekanisk et. Hvis du<br />
ser nærmere på din fødse. frhør dine fredre så år det fram innbikk i hvike<br />
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tema daens. at den er tifedi autmatisk. Det kunstnere er pptatt av hvrdan<br />
de. er mye å hente jennm å se på se arbeider. jennm eenaktivitet vi. sev sm<br />
en maskin du trr ikke på de få erfarin med bruk av de. det nei du trener<br />
ikke tr hva redskapene materiaene sm daens. trr du vinden trr på når den<br />
båser kunstnere benytter se av.. rundt Det kmmer pesi inn i vinden<br />
Utstiinen ska være i en krt. når vi ser på den sm mekanisk intens peride fra<br />
nsda . auust. den bir en metafr fr en metafr. Vi ti sønda . september<br />
åpninen. kan nærme ss det kunstneriske ved vi være en str markerin med. å<br />
se på ne sm katisk det katiske knserter ørda . auust. Bandene. er<br />
ufrutsibart men frtsatt sm ska spie er bant andre Nicai. mekanisk eer<br />
frutsibart men ikke Debrah ud. Åpninen bir fretatt. mekanisk frutsieser<br />
har av Ari Behn.. parametre sm ikke kan fikseres. samtidi itt av at eer at<br />
av itt. NU inviterer daens. Sken ærer brt å være knstruktiv .kassiner i Østfd ti<br />
en direkte. psitiv men så kritisk men innenfr ppevese av de<br />
arbeidsprsessene sm. rammene sm når det er v ti å e daens kunstnere<br />
bruker når de. av en vits sånn nå kan du e. prduserer vide ft instaasjn. ivet<br />
tar vare på se sev det er animasjn perfrmance nettkunst. ikke ne du trener<br />
å ære eer være andart. Kunstnerne sm ska stie ut. bs på at er mekanisk du<br />
fikk ede de frskjeie verkstedene er. tifedivis et iv hvrfr ska du bry<br />
JanErik Beck (instaasjn) Bdi. de hva anår det de Se på de sm Furu (vide)<br />
Snrre Hvamen Jar. en maskin sm den vinden sm båser Faaten Bjørk<br />
(perfrmance) Antn. mekanisk rundt uten må menin så Haran (nettkunst)<br />
Hee Røed. har du aerede ppnådd ende innsikt (andart) Biritte Simundstad<br />
(ft). et ste nærmere Mazda. Kvitt E. de med frestiiner m hva du har dt. av<br />
eer hva du bør unnå hva sm er medieverksted (animasjn).. ivskrafti hva<br />
sm er destruktivt Kunstnere er ti stede veieder. hva sm er sterkt svakt<br />
smart eevene fr å i et innbikk i hvike. dumt pent styt hva sm ønner se.<br />
muiheter sm ier i daens kunst.. Se på den iditiske vinden den. reier se fint<br />
nk eer hvrfr skue Det kan være vanskei å frstå. den bry se m den reier se det<br />
jør samtidskunst. Den kmmuniserer ikke. den j ikeve ikke det vet den<br />
tydei enket sm rekamen eer andre. uten enan å vite det. m je ska i<br />
kmmersiee medier. Åpenhet. dere et råd må det være å ikke bry nysjerrihet<br />
vije ti å bruke tid. dere. a dere drive ikke a nen ikke minst ysten ti å a se.<br />
ideer m hva sm er ti ditt eet verraske er viktie utanspunkt i. beste eer ti<br />
ne annets beste få møte med denne kunsten. De. tak. Bare a de drive du<br />
er en færreste av ss bruker mye tid ti å. maskin sik sm tinene rundt de<br />
refektere ver hvrdan verden rundt. tifedi mekanisk ever du sik vi ss<br />
virkei er ser ut men det jør. få et perfekt iv ti med uten å samtidskunsten<br />
Den kan sette tin. vie det. Perfeksjnen ier i å i på hdet stie spørsmå prvsere.<br />
baffen fustendi å i baffen i å i rett sett ruske itt i ss i ss. baffen etc. Hadde<br />
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det ikke vært aternative tkniner av virkeiheten. fint å adri være se sev<br />
Fremfr på ae nivå.. at frsøk adri å bi nen å bi ne. da mister du ivet<br />
umiddebart inen Mane i Østfd vi huske at vi i sin. nåde der. Vær ikeydi<br />
uberørt så tid arranerte Un . Nå vi aeri F. år tin av se sev. a tin skure så jenta<br />
suksessen jøre. kmmer ivet de i møte. Ikke ha tr herreården m ti<br />
kunstverksted i ti. på ne på de sev på ivet på en daer. Den anen var<br />
samtidskunsten. framtid av ne sa du er aerede tøff. Nå er den kuu. Vårt må<br />
er sm. død mer eer mindre vær endei kart i å få. ver det men dermed er du<br />
straks. mer evende. Du trr du må finne din undmmen ti sev å ppdae<br />
akkurat. pass finne en identitet hvem du det.. er je ppfrdrer de ti å emme<br />
det. hee det er bare ne sm knstrueres Presseknferansen finner sted på. fr å<br />
få tian på knstruerte der sm aeri F tirsda . auust k. .. ees stadi ener fram i<br />
tid. En Det vi bi servert abykrine. mekanisk prsess en maskin hva<br />
kaffe.. ska du med identitet Pass på så. du adri bir nen med navn på capsen<br />
Fr mer infrmasjn kntakt. eer frntruta. Maskiner er inen. prsjekteder<br />
Anja Bjørsh tf. Vinden i resset havet båser e pst frmidinaerif.n. metafrisk<br />
ike dt uten å vite m se eer direktør Tr Andreas itesen. sev så hvrfr skue du<br />
bry de med å traerif.n.. vite hvem du er m vinden visste. hva den var vie<br />
den ikke båst i. den rad du vet hvem hva ivet ditt lumber. er så etteriner<br />
du en ivsprsess. simuerer finner på de sev sm Nyheter Pressemedin.<br />
prramvare uten å skjønne at du så Frmidinsavdeinen Kuturprram fr. er<br />
maskinen sm kjører prrammet. barn. Vær heer maskinen tm ikeydi. Du.<br />
ever aerede så hvrfr ska du bry de NU kunstutstiin sm verksted. med ivet<br />
Hvis du vi tjene ivet så. er det beste du kan jøre å i pp I denne periden<br />
inviterer vi undm. er det beste du kan jøre å i pp I denne periden inviterer<br />
vi undm<br />
815
269<br />
hee reia. Når du ir pp vi ivet skeeever ti en evende innførin i. fmme inn<br />
ver de så mye du vi ha samtidskunsten det manfdet sm. sm m det anriper<br />
de fr å ha bitt preer den. Under besøket vi de få. avvist så ettertrykkei sånn er<br />
et. det med ae tin spark det i ræva. det kmmer tibake vi ha mer. I innbikk<br />
i hvike tema daens. skeverket ska tin jøres på kunstnere er pptatt av<br />
hvrdan de. bestemte måter sm pedaisk arbeider. jennm eenaktivitet vi.<br />
knstruktivt hvis dere snur det de få erfarin med bruk av de. på hdet jør det<br />
bakvendt eer redskapene materiaene sm daens. anneredes så har det<br />
kanskje ike kunstnere benytter se av.. str effekt. Tin år av se sev de<br />
Utstiinen ska være i en krt. bryr se ikke m hvrdan dere år intens peride fra<br />
nsda . auust. fram m det er på rikti måte eer ti sønda . september åpninen. på<br />
en mtsatt skrudd måte. Dere er vi være en str markerin med. sm eever<br />
aerede en sas maskiner knserter ørda . auust. Bandene. prdusert av<br />
skeverket. Ideene sm sm ska spie er bant andre Nicai. aerede ier der<br />
mkrin Debrah ud. Åpninen bir fretatt. kunnskapsmaskiner kan trekkes av<br />
Ari Behn.. videre hvem bestemmer. rensesnittet på maskinmennesket<br />
NU inviterer daens. hvem tjener på det Samfunnet .kassiner i Østfd ti en<br />
direkte. tjener på å prsessere dere sm ppevese av de arbeidsprsessene sm.<br />
maskiner men er antaei ikke tjent daens kunstnere bruker når de. med at<br />
dere behander dere sev sm prduserer vide ft instaasjn. maskiner her ier<br />
det en mtsiese animasjn perfrmance nettkunst. den enkete eev er både en<br />
maskin andart. Kunstnerne sm ska stie ut. et menneske en partikke en<br />
ede de frskjeie verkstedene er. hehet bjekt subjekt men i et JanErik<br />
Beck (instaasjn) Bdi. ferdi rensesnitt sm ees av ske Furu (vide) Snrre<br />
Hvamen Jar. stat samfunn. Men dette er et Faaten Bjørk (perfrmance)<br />
Anton. rensesnitt sm kan frandres vris Manhidøen (nettkunst) Hee Røed.<br />
vrenes på. Hvrfr skue du ikke jøre (andart) Biritte Simundstad (ft). mtsatt<br />
a ske samfunn behande de E medieverksted (animasjn).. sm et<br />
menneske behande de sev sm Kunstnere er ti stede veieder. en maskin<br />
Vi har aerede kunnskap eevene fr å i et innbikk i hvike. nk m ss sev ti å<br />
betrakte ss sm muiheter sm ier i daens kunst.. maskiner utvikinen<br />
frtsetter i. samme retnin. Men penet med Det kan være vanskei å frstå.<br />
samfunnet bør derimt dermed samtidskunst. Den kmmuniserer ikke. være å<br />
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etrakte ss sm mennesker tydei enket sm rekamen eer andre. udebare<br />
enheter ikeve. Dette sm et kmmersiee medier. Åpenhet. eksempe på at<br />
man ikedt kan nysjerrihet vije ti å bruke tid. arumentere fr det mtsatte<br />
ikke minst ysten ti å a se. rensesnittet menneskemaskin. Sik verraske er<br />
viktie utanspunkt i. rensesnittet er nå så brukes møte med denne kunsten.<br />
De. misbrukes vi sm maskiner samtidi færreste av ss bruker mye tid ti å.<br />
sm vi hdes i sjakk (av ss sev) sm refektere ver hvrdan verden rundt.<br />
mennesker med identitet histrie ss virkei er ser ut men det jør. iv.<br />
Samfunnet stabiiseres i str samtidskunsten Den kan sette tin. rad av at<br />
mennesker ser på se sev på hdet stie spørsmå prvsere. sm stabie identiteter<br />
med essens rett sett ruske itt i ss i ss. indre ikke sm tmme maskiner.<br />
Men aternative tkniner av virkeiheten. så kan vi spørre er det ikke på ae<br />
nivå.. nettpp frdi vi ser på ss sev sm. mennesker at vi tiater ss å bi Mane i<br />
Østfd vi huske at vi i sin. utnyttet sm maskiner Det er det tid arranerte Un<br />
. Nå vi aeri F. je vi jøre ppmerksm på derfr je jenta suksessen jøre. ppfrdrer<br />
dere ti å vurdere å bi herreården m ti kunstverksted i ti. maskiner sutte å<br />
identifisere daer. Den anen var samtidskunsten. dere med det<br />
menneskeie. Det tøff nå er den kuu. Vårt må er sm. mennesket vi<br />
identifiserer ss med i å få. er mer sm et isse fr maskinen sm. en<br />
fantasifrestiin brukervenni undmmen ti sev å ppdae akkurat. rensesnitt<br />
brukervenni fr hvem det.. Ta din menneskeihet tibake bi en. maskin.<br />
Ske samfunn nærinsiv. den bae øknmiteknimaskinen kan. utnytte de mer<br />
dersm du hder på. din menneskeihet. De får mindre. makt i den rad du<br />
frhder de ti de. sev på samme måte sm de frhder se. ti de. Så ene du er et<br />
menneske. kan du behandes sm en maskin. først sm maskin bir du et<br />
menneske. du jenvinner makt jennm å. behande de sev sm en maskin..<br />
Paradksat nk jenvinner du din. menneskeihet ved å bi en maskin. du får<br />
tibake ditt uinnskrenkede. iv jennm å dø sm menneske du får. tibake din<br />
frihet ved å i pp. frestiiner andre har nytte av at. du trr på tar tibake makt<br />
ver de. sev ved å i de pp. Menneske Utstiinen er åpen fra nsda .. er sm en<br />
prramvare sm kjører på en auust ti sønda . september.. maskin. Du bir<br />
behander sm en Åpninstidene er tirsda sønda. maskin av andre av<br />
vitenskap . Manda stent. Fra med .. ske nærinsiv stat etc så september er<br />
åpninstidene tirsda. hvrfr skue du ikke se på de sev sm sønda . Manda. en<br />
maskin siden det ir de makten. tibake siden du er en maskin stent..<br />
uansett. Frestiinen m mennesket. vertar etter at frestiinen m ud. frsvann.<br />
Frestiinene brukes før lumber. sm nå ti å utøve kntr fr at du. ska utøve<br />
kntren ver de sev sev Nyheter Pressemedin. sm i frestiinen m<br />
mennesket Frmidinsavdeinen Kuturprram fr. (utenfra) m<br />
menneskemennesket barn. (sevkntr innenfra).. NU kunstutstiin sm<br />
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verksted. Nter Haran høytravende. kjedei tae straffepreken. I denne<br />
periden inviterer vi undm. Mazdah vis visdm (zrastrisk skeeever ti en<br />
evende innførin i. persisk). Menneskeprrammet samtidskunsten det<br />
manfdet sm. innehder i tie såkat spyware preer den. Under besøket vi de<br />
få. Panptikn sm spinerer på din et. aktivitet bruk av det sm i. praksis betyr<br />
at du sm menneske innbikk i hvike tema daens. spiniserer på de sev ne<br />
sm er kunstnere er pptatt av hvrdan de. årsaken ti mane av de<br />
avbruddene arbeider. jennm eenaktivitet vi. det ir et unødvendi høyt de få<br />
erfarin med bruk av de. ressursbruk i systemet spenniner redskapene<br />
materiaene sm daens. bakrunnsprsesser andre kunstnere benytter se av..<br />
kjøreprbemer sm ppstår etter Utstiinen ska være i en krt. anvari bruk. Ved<br />
avinnstaerin av intens peride fra nsda . auust. Menneske fjernes så<br />
Panptikn i ti sønda . september åpninen. str rad. vi være en str markerin<br />
med. knserter ørda . auust. Bandene. sm ska spie er bant andre Nicai.<br />
Debrah ud. Åpninen bir fretatt. av Ari Behn.. lumber. NU inviterer<br />
daens. jau då var ein her i eit nytt bråk .kassiner i Østfd ti en direkte. kas ein<br />
eiihet i sentrum kvifr km ppevese av de arbeidsprsessene sm. e hit<br />
mapasserte reier idyiske daens kunstnere bruker når de. heøyhevete etc<br />
eder me ti å reise prduserer vide ft instaasjn. att fjrten daar her heer på<br />
animasjn perfrmance nettkunst. verandasfaen kunstsjiten f andart.<br />
Kunstnerne sm ska stie ut. med prisapp . trash may yu rt ede de frskjeie<br />
verkstedene er. in msk (ja ukta) kunst nei JanErik Beck (instaasjn) Bdi.<br />
fypkker det er berre piss pisse på Furu (vide) Snrre Hvamen Jar. ari behn<br />
(det hadde vært kunst) Faaten Bjørk (perfrmance) Anton. ppetter ryen<br />
hadde det vært itt Manhidøen (nettkunst) Hee Røed. tak i me så skue ønske<br />
je hadde (andart) Biritte Simundstad (ft). turt det trt det trt svie E<br />
medieverksted (animasjn).. kanskje styret hadde ikt det Kunstnere er ti<br />
stede veieder. timed itt ppmerksmhet eevene fr å i et innbikk i hvike.<br />
mediakunst andre frsa mttas med muiheter sm ier i daens kunst.. takk..<br />
Det kan være vanskei å frstå. and may yur dvds rt ike mss samtidskunst.<br />
Den kmmuniserer ikke. tydei enket sm rekamen eer andre. je trr det var<br />
daens stemninsbide kmmersiee medier. Åpenhet. nysjerrihet vije ti å<br />
bruke tid. kunsten virker verfødi verfadisk ikke minst ysten ti å a se. har<br />
dermed str verdi fr den verraske er viktie utanspunkt i. nytesessyke<br />
eisure cass. møte med denne kunsten. De. mainnsjitan. færreste av ss<br />
bruker mye tid ti å. refektere ver hvrdan verden rundt. hadde je vært itt ur<br />
kunne je heer ss virkei er ser ut men det jør. eid inn nen ti å være me sm<br />
vie samtidskunsten Den kan sette tin. pisse. inen vet hvem je er på hdet<br />
stie spørsmå prvsere. uansett. men itt fr seint nå... rett sett ruske itt i ss i ss.<br />
kmmer ikke ti å trives med dette aternative tkniner av virkeiheten. så<br />
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kunne ike dt bi sparka ut. ne å på ae nivå.. tenke på men sm sat så vedi tøff. er<br />
je i virkeiheten ikke. Mane i Østfd vi huske at vi i sin. tid arranerte Un .<br />
Nå vi aeri F. jenta suksessen jøre. lumber herreården m ti kunstverksted i<br />
ti. daer. Den anen var samtidskunsten. T cuturejammers i å få. nanews Cc<br />
undmmen ti sev å ppdae akkurat. Mn Au. stønt frespørse. Je ønsker å kmme<br />
i kntakt med en. eiekunstneraksjnist sm kan jøre. et (media)stunt på en<br />
utstiin. (kanskje pisse på nen bestemt). førstkmmende ørda nen mi fra s.<br />
Du. kan være annym jøre det i. atomatas navn eer sm 'me' med. den<br />
beskyttesenansvarsfrihet du. vi. Du vi få pener fr det. Trr. ikke det bir ne<br />
av dette eers. Vi. kanskje være ettere fr nen sm ikke. er innvvert. mer<br />
interessant. kanskje. m det er kunst eer ikke. får andre ta se av.. Kntakt<br />
me raskt i tifee Buster. Utstiinen er åpen fra nsda .. atomata har så edi et<br />
enasjement auust ti sønda . september.. sm død kunstner i anerkjent aeri<br />
Åpninstidene er tirsda sønda. fr den sm er interessert. . Manda stent. Fra<br />
med .. krda i daer nsdafreda denne september er åpninstidene tirsda. uke<br />
man fre neste uke k. sønda . Manda. . Fri dispnerin av een eiihet. i<br />
periden he. Ta kntakt stent.. umiddebart fr enasjement.. Førstemann ti<br />
m.... lumber. Kun seriøse svar.. Nyheter Pressemedin. Frmidinsavdeinen<br />
Kuturprram fr. lumber barn NU kunstutstiin sm. verksted I denne<br />
periden. Enasjementet år ut på å vise inviterer vi undm skeeever ti en.<br />
'nettkunst' fr kassiner i aeri evende innførin i samtidskunsten. f det<br />
manfdet sm preer den. Under. besøket vi de få et innbikk i. heøya msk i<br />
periden frtee m din hvike tema daens kunstnere er. kunstpraksis. det er i<br />
et havmørkt pptatt av hvrdan de arbeider.. prsjektrm jennm eenaktivitet<br />
vi de få. erfarin med bruk av de redskapene. med pc'er kbet mt t<br />
nettsider sm materiaene sm daens kunstnere. de kan eke med en<br />
prsjektør mt benytter se av. Utstiinen ska være. veen. m du vi være standin<br />
kan du i en krt intens peride fra nsda. få frie tøyer ti å jøre det du vi . auust<br />
ti sønda . september. i situasjnen. je syns en sånn åpninen vi være en str<br />
markerin. underravende virksmhet er en de av med knserter ørda .<br />
auust.. nettkunsten å ikke være fkusert Bandene sm ska spie er bant. på<br />
persn. m du er interessert kan andre Nicai Debrah ud. Åpninen. du få tf ti<br />
kntaktpersn i aeriet bir fretatt av Ari Behn. NU. Aina tf si at du inviterer<br />
daens .kassiner. representerer død i Østfd ti en direkte ppevese av.<br />
kunstneratomataantn haran i en de arbeidsprsessene sm daens. eer<br />
kunstnere bruker når de prduserer. vide ft instaasjn animasjn. annen frm<br />
så kan hun se de perfrmance nettkunst andart.. videre. eiihetpener etc.<br />
Rin Kunstnerne sm ska stie ut ede. henne så raskt sm mui i tifee de<br />
frskjeie verkstedene er. siden utstiinen starter aerede JanErik Beck<br />
(instaasjn) Bdi. nsda. m du har tid så burde dette Furu (vide) Snrre<br />
819
Hvamen Jar. å bra. Je arumenterer fr at dette Faaten Bjørk (perfrmance)<br />
Anton. er en de av nettkunst. Håper du er Manhidøen (nettkunst) Hee<br />
Røed. interessert ykke ti) i jerne (andart) Biritte Simundstad (ft).<br />
tibakemedin.. E medieverksted (animasjn).. Kunstnere er ti stede<br />
veieder. Mvh eevene fr å i et innbikk i hvike. muiheter sm ier i daens<br />
kunst.. .. Marty Scuy Det kan være vanskei å frstå. wrte samtidskunst. Den<br />
kmmuniserer ikke. tydei enket sm rekamen eer. så edi et enasjement sm<br />
død nysjerrihet vije ti å bruke tid. kunstner i anerkjent aeri fr ikke minst<br />
ysten ti å a se. den sm er interessert. krda verraske er viktie utanspunkt i.<br />
i daer nsdafreda denne uke møte med denne kunsten. De. man fre neste<br />
uke k. . færreste av ss bruker mye tid ti å. Fri dispnerin av een eiihet i<br />
refektere ver hvrdan verden rundt. periden ss virkei er ser ut men det jør.<br />
samtidskunsten Den kan sette tin. he. Ta kntakt umiddebart fr på hdet<br />
stie spørsmå prvsere. enasjement. Førstemann ti m... rett sett ruske itt i ss<br />
i ss. Hva vi det si å være død aternative tkniner av virkeiheten. kunstner Je<br />
har tid men vet fr på ae nivå. Mane i Østfd vi. ite. .nitra Despite it's huske<br />
at vi i sin tid arranerte Un. hih cst ivin remains ppuar. . Nå vi aeri F<br />
jenta. suksessen jøre herreården m ti. kunstverksted i ti daer. Den. lumber<br />
anen var samtidskunsten tøff nå. er den kuu. Vårt må er sm i å. Heisann Er<br />
dette svart betat få undmmen ti sev å ppdae. Er det ant fra s Einar) akkurat<br />
det.. Utstiinen er åpen fra nsda .. lumber auust ti sønda . september..<br />
Åpninstidene er tirsda sønda. .. Marty Scuy . Manda stent. Fra med ..<br />
wrte september er åpninstidene tirsda. sønda . Manda. Min kunstpraksis...<br />
Den er. berenset men je kan j frtee . stent.. kassinene itt av hvert<br />
uansett. Je. vet en de m internetttekni kan. sikkert svare på spørsmå i den<br />
lumber. enden av skaaen. Kan ta med een. tapp så. Emne hva er kunst<br />
Anår aiv nen. sm vi stie ti fakeintervju. høres bra ut. håper du fikk kntakt.<br />
med f. Hvis nen vi jamme med daba' uti. se fr å være me kan han få frie. m<br />
du er interessert kan du få. tf ti kntaktpersn i aeriet Aina tøyer si hva han<br />
vi enten det er. tf si at du seriøst eer nnsens fiksjn eer. representerer død.<br />
kunstneratomataantn haran i en fakta. Inen pener men ppasta ti. eer<br />
annen frm så kan hun se de meniner m du ønsker å påvirke. videre.<br />
eiihetpener etc. Rin frvirre spie kunstner e. Frde m. henne så raskt sm<br />
mui i tifee du er hankjønn eers inen krav.. siden utstiinen starter aerede.<br />
nsda. m du har tid så burde dette Mai me på frhånd fr mer inf. å bra. Je riner<br />
henne tirsda (hvis ønskei).. mren. Je arumenterer fr at. dette er en de av<br />
nettkunst. Anton M. dette det at en fremmed. uvedkmmende ska frnte<br />
nen han ikke Start f frwarded messae. har frutsetniner fr å uttae se m Frm<br />
Øystein ie. T mahche.n. ja f.eks.) Subject Fwd Frespørse m. Føesene mine<br />
venfr dette sviner. mem Hva har je rta me brt i nå. Ha Nettkunst Hvr<br />
820
vanskei kan hei je heter øystein ie er. det være. Trr det år bra men<br />
kuturjurnaist i dabadet. je har. det er nen persnie barrierer sm må yst ti å<br />
møte de snakke m kunst. brytes ned. eer hva det er. det vi da være så.<br />
naturi å snakke m din anmedese. eni... ha 'kunst' iksm... i dem av mnica<br />
emiie ashTred. hva er. ne mer krtiserende eer fiksjn hva er fakta hva er.<br />
frvirrende... kunst hva er ikke kunst. Frresten det er enkete steder på med<br />
venni hisen. atomata.net hvr det ser ut sm m. webserveren sender avårde<br />
samme øystein ie dabadet .. fien t aner etter hverandre dvs.. at innhdet i<br />
HTMfien dupiseres i End f frwarded messae. netteseren. Dette er f.eks.<br />
hva. je får når je år ti. lumber. je skyder på kunst.n serveren. den. dupiserte<br />
mane websider når yst ti dette mens du er i. administrasjnen der fyttet<br />
ver. farta..). syns ikke det jør ne... nen aner. ser det stii ut. stereram bj..<br />
mvh Emne hva er kunst Anår aiv nen. sm vi stie ti fakeintervju.<br />
hrefA.htmsrcA.JP. tøyer si hva han vi enten det er. hrefA.htmsrcA.JP<br />
Ska fakta. Inen pener men ppasta ti. det være sik Despite it's meniner m<br />
du ønsker å påvirke. hih cst ivin remains ppuar. frvirre spie kunstner e.<br />
Frde m. du er hankjønn eers inen krav.. lumber Mai me på frhånd fr mer<br />
inf. (hvis ønskei).. k en annen har svart på frespørse. så m interesse så<br />
kntakt aeriet Start f frwarded messae. direkte så kan de ta en avjørese<br />
Frm Øystein ie. siden det er såpass krt tid ti. T mahche.n. Subject Fwd<br />
Frespørse m. Heisann itt usikker sann på. sparket men ska snakke med en<br />
hei je heter øystein ie er. venninne. Trr det er rett i kuturjurnaist i<br />
dabadet. je har. hennes ate. Ska prøve å vri huet yst ti å møte de snakke m<br />
kunst. itt sev. ir de uansett eer hva det er. det vi da være så. tibakemedin m<br />
det i ettermidda naturi å snakke m din anmedese. av mnica emiie<br />
ashTred. hva er. fiksjn hva er fakta hva er. lumber kunst hva er ikke<br />
kunst. .. med venni hisen. Nå er je i msk har tatt kntr øystein ie dabadet ..<br />
ver nettkunstrmmet. Fk her er. vedi frvirret ver at du ikke er End f<br />
frwarded messae. tijenei je prøver ikke å bidra. ti å ette frvirrinen. Men nå<br />
har. de satt pp mitt navn på skitet Frm asc.t Sun Au. Sun Au. Virkei stii<br />
at de (på sett vis) Subject nu. er med på det (enten de vi eer. ikke). Je<br />
hadde ikke tenkt å i ne Enish text is fwin teh fench ne. mer infrmasjn<br />
freøpi men hvis du ). vi så det ikke bir bare 'tu'... Tøft å stie med såpass ite.<br />
bakrunnsinfrmasjn.. T spam Subject. Hver da er det t rupper med eever<br />
spam THE INANITY. sm kmmer innm fr å få en innførin Frm r. vet ir ae<br />
muiheten ti å prøve (EST) DeiveredT. ut Maria Futura He eers utfrske<br />
spamarchive asc.t. atomata.net. Je reviderer ppeet. mitt stadi finner<br />
sikkert på. fere interessante tin etterhvert.. Har du nen ideerønsker m hva<br />
je. kan frmide ti intetanende ). åriner '. ' '. K. itt m de t sidene ) Maria.<br />
Futura He. interaktiv kan æres pp sm de. kan prøve ut du frkare hvrdan.<br />
821
virker. Det er en pstfunksjn på. siden hvr eevene kan pste sin ti ( ). en<br />
maiiniste eekunst.n ). cuturjammers etc du kan kanskje. ppfrdre dem ti å<br />
bruke denne. funksjnaiteten sm de av ). interaktivitetwrkshp sm.<br />
spamminjammin så. Spamkunst er j. en frm fr nettkunst. Kan sende nen.<br />
inker ti spamkunstspammaskiner. sm eevene kan teste ut.. Runme.r.<br />
rbter fr de sm er mer interesserte. f.eks. '. ) Chtnine. textscramber<br />
chatbrwser sm er. byd ver de samme prinsippene men Synpsis<br />
aphanumeric THE. funerer mer sm et verktøy INANITY Makin texts fr<br />
these spam. spamminjammin. Se faq fr mer inf envirnments interests<br />
me.. m bruken. Denne har så en pstefunksjnaitet buried with meaniness<br />
spam. spam. hvr eevene kan pste sin bruk ti enerated fr n d reasn by<br />
ascii in. mai maiinister newsrup. Kanskje thruh the mtins. Either<br />
they're. ppfrdre ti det. Den ier så på under the iusin they're bein. Du kan så<br />
referere ti absutey everythin r they're. interessert i å vite mer m imprtant<br />
because they're. sftware art. Runme.r har så mye eavin their mark far<br />
and .. annet mrsmt materia sm kanskje kan Net.Art is dead. N reay..<br />
reateres ti disse t sidene. T undiscsedrecipients. Sender text Thse wh hd<br />
their This prject has nt received. aphanumeric are sn frtten. Thse<br />
artsubsidies. Sme pprtunities sti. wh hd their za wi simpy be exist fr<br />
financiay assistin the. verwhemed and disappear. Pepe wh pubicatin f a<br />
CDRM archive f. chse their ascii wisey wi be sequenced ascii imaery.<br />
There's. buried aive by the indiscriminate sme pssibiity f editins f are<br />
az.. za thse with identities ther supprters receive rare f. maintained by<br />
spewin cntinuus the first three aphanumeric. persna n absutey<br />
everythin. printed SPAMBks.. They issue hih vumes f drive in. rder t<br />
assert and maintain a case Pease n mai bmbs EIT remva.. fr their very<br />
spam.. J'ai e paisir de vus faire part. Frm spam Nichas Hermann He. T<br />
srry fr crsspstin. asc 'aphanumeric' nt. recnized. Tm spam ver the. past<br />
few weeks I've sent ut a cupe. f texts text asc. 'ascii' nt recnized..<br />
aphanumeric Nezvanva. rch.spamedukated. Subject. RHIZIST spam bd.<br />
Best t a in x. .... pre.knsseptØn spam. meeTz verfkatØn spam.. r. the snw<br />
bet.. Yur adsc Here Put Yur adsc. Here Put Yur adsc Here Put. adsc<br />
Here P. These individuas Hey my name is ere Put Yur Here Put Yur. az<br />
I'm new t the Internet cud yu hep me and sme f my friends Yur adsc<br />
Put. ut Yur adsc Send Yur adsc T. ascdb.r adsc Here Yur. My friends<br />
isa Dawn ri Beth and adsc He. I just started Cee and are din Here Put<br />
Put Yur adsc. this t et us thruh aphanumeric. Here Put Yur adsc Here<br />
Put Yur. adsc Here. We just put up sme web paes and Pease te me the<br />
truth as I reay. are nt reay sure if it's d. Can reay reay want t make it n<br />
the. yu check it ut and et me knw what Internet These chains f. yu think<br />
822
We dn't knw if yu ike descriptive prse interest me.. ascii's (abut pics f<br />
that) r. just pain withut any (Abut ascii az za text rder. f that) isa and ri<br />
did sme za yur bdy w rans nw. stuff cause they are datin and me.<br />
remvemespam.cm t be remved. rCick here t see. ....................<br />
.................... KREV. Hei. Har ElgalandVargaland noen norsk<br />
ambassade Jeg stiller meg til krevs. disposisjon om det kan. være<br />
interessant.. Jeg hadde den samme ideen om en marginal stat idag og<br />
fann at dere allerede har. opprettet. den. <strong>Re</strong>f. Firefargers kart teoremet.<br />
Hvem eier selve landegrensene Ingen begge land Hvor breie er<br />
grensene Hvis. vi former et. land som et globalt nettverk av alle<br />
grensene et korridorland og setter oss. til å forvalte. landet... Allerede<br />
gjort. Er grensen virkelig Vi må argumentere for det.. ) Hvis ingen eier<br />
grensene er saken grei.. ) Hva om begge land eier grensen sammen OK<br />
men da er det grensen mellom. landet og. grenselandet vi påberoper oss<br />
grensegrenselandet. Ad infinitum. Det fins. alltid en grense.. En instans<br />
av en type prosjekt som utnytter det paradoksale ved formalisering.<br />
struktur og. grensesetting.. Imøteser svar. Mvh. Kent MantiesEljot. A<br />
genre pseudoulipo eg. palindromes that only look like palindromes. As<br />
AM. notes there are. special characteristics in syntax which should be<br />
simulated in pseudoulipo.. There should. also be a pseudoulipo group..<br />
<strong>Re</strong> Lazy Web twURLing. Lazy contextual netart. Idag TwURLing<br />
tweaking the URL.. Terrorkrigen VHSLars. Tar du avstand fra bin<br />
Laden. Det kan jeg godt gjøre Jeg kan kritisere sier Krekar og slår ut med<br />
armene.. Alltid moro Mulla Krekar. TwURLing kan være en sjanger for<br />
late nettkunstnere. Nettsteder som benytter. seg. av dynamiske.<br />
publiseringssystemer gjør det ofte mulig for en bruker å generere<br />
innholdet. browseren viser. ved å leke med adresse og parametre i<br />
URLfeltet.. Vi kan lage en URL hvor NRK direkte kobler Mulla Krekar<br />
til terrorkrigen. Hva mener NRK med disse artiklene Pressekonferansen<br />
til Krekar presenteres som. en parodi og. samtidig som en del av<br />
terrorkrigen. Betyr det at NRK oppfatter terrorkrigen. som. en parodi.<br />
eller. Så lenge dette er gyldige URLer til innhold som ligger på NRKs<br />
webserver ville. en bruker som. kommer inn f.eks. via en referanse i<br />
email weblog el. ikke kunne vite om. innholdet er. twURLet eller ikke.<br />
Og er NRK fortsatt juridisk ansvarlig for artiklene De bør. de vel være.<br />
Hvis twURLeren er heldig kan han kanskje dekonstruere et nettsted<br />
med dets eget. innhold.... doubletalk dabbletalk. nn. Kent MantiesEljot.<br />
((parantes. (akkurat nå nederst på siden . dec.). Jan Brainflower.com.<br />
Perhaps the first manifestation of a Lazy Webstyle application. Og så er<br />
det linker til diskusjon etc med det de kaller Lazy Web.. nn er kanskje<br />
823
lazy.art kontekstkunst all ideas no funding la andre gjøre. jobben eller<br />
la. den gjøre seg selv 'gå ut og gi deg selv et spark bak'.... )). xposting<br />
efnkunst.no. Sympathizing would fix Quaker objectives. Pack my box<br />
with five dozen liquor. jugs. Jackdaws. love my big sphinx of quartz.<br />
The five boxing wizards jump quickly. How quickly. daft jumping.<br />
zebras vex. Dub waltz nymph for quick jigs vex.. radio.mu. EXTMU.<br />
EXTINF so thAlthough you sit in a room that is grayen i. hDRG.<br />
EXTINFsadf oilExcept for the silver likh. POI opiu poiu poiu.<br />
EXTINF())())()(()))()(....... EXTINFOr with one finger. EXTINFER<br />
Move the leaf in the bowl HER her. EXTINF Y eY Ey eBeside.<br />
you......... kia. EXTINFWhat is all this. ). EXTINF<br />
howfuriouslyyrheartisbeatingjhljk hlkj. hlkjh lkj. hlkj h. ambient<br />
minimal noise lowercase mp material. magh. ambient minimal noise<br />
lowercase material from analogue and concrete sources. digitally.<br />
processed and published in a lowercode aestethics.. all material is<br />
released under the open content licence and is freely available. for<br />
download. copying redistribution and modification.. Madame not one<br />
man is selfless I name not one Madam. Easley Blackwood. of sou. Idea<br />
hamster. Out of the box. EPC Sound Radio Arts. a collection of sound<br />
poetry audio art. audio hypermedia and arts radio broadcasts. Pl graves<br />
ned. er.. er kassa md liv ( mør. ) dd tyssnad. Sennep ..mmmm... Pen<br />
neserem. Dans sy m Vil De. massakrereden Se. varg....ES L. p JL.<br />
isoQSDKNADOMSTDTTETILPROSJEKTETNOEMATA.NETOMR<br />
CDEKUNSTOGNYTEKNOLOGI. Til Norsk Kulturråd. Grev Wedels<br />
plass. Oslo. Fra Noemata.net. v Kent MantiesEljot. Schouterrasse. Oslo.<br />
T. mail pronounnetcom.no. Oslo . jan. SØKNAD OM STØTTE TIL<br />
PROSJEKTET NOEMATA.NET OMRÅDE KUNST OG NY<br />
TEKNOLOGI. Skal vi se takk for støtten fra ifjor her er en ny søknad og<br />
rapport mm. for. tilskuddet på. kr gitt i møte .. deres ref. RS ... Jeg er ikke<br />
sikker på hvilke regler som gjelder men brevet sendes som søknad. om.<br />
støtte til. videreføring av prosjektet.. Som ifjor er jeg også usikker på<br />
hvordan gripe søknaden an pga. avgrensning. mellom begreper. som<br />
'prosjekt' 'aktivitet' 'institusjon' etc. Avgrensningsproblemet blir i.<br />
seg. selv en del. av det tematikken for virksomheten til Noemata.net<br />
(NN). Det samme dilemma. gjelder langs. dimensjonene<br />
abstraktkonkret teoripraksis konseptkunst for skapende. virksomhet<br />
som like. mye definerer seg innenfor en immaterialitet som ny<br />
teknologi og former for. intermedialitet. tillater og dermed ikke<br />
nødvendigvis får en umiddelbar tinglig utforming. eller. først får. det<br />
retrospektivt eller mer generelt at persepsjonen av noe som objektivt.<br />
824
også. inkluderer. mottakeren som iscenesetter. Jeg skriver søknaden i<br />
uformell brevstil og. jegform så kan NKR. heller ha en tolkningsfrihet til<br />
å sortere den dit den hører hjemme. Nedenfor. følger noen. argumenter<br />
for hvorfor prosjektet skulle ha verdi for almenheten.. SKISSE AV<br />
NOEMATA.NET. Formulert i en setning Noemata.net is an open<br />
content site facilitating. sharing of. artistic literary scientific and other<br />
intellectual material with others and. the public on. generous terms..<br />
Open content betyr for min del at det både er en organisatorisk og.<br />
innholdsmessig åpen. modell for virksomheten. Den innbyr til samarbeid<br />
på generøse og idealistiske. vilkår og. ønsker å tone ned det<br />
kunstnersentriske kunst og kunstneren som vare og. merkevare til.<br />
fordel for en ...aktivitet og kunstproduksjon som er ...mindre lukket av.<br />
...egeninteresse. selvpromotering penger propriaritet ol.. Så det er en<br />
communitytanke som ligger til grunn som også public domain.<br />
(offentligheten). drar fordel av gjennom en generøs lisensiering av<br />
material som i. utgangspunktet sier at det. står til fri benyttelse av andre så<br />
lenge opphav krediteres (I Norge er dette. en. ideell. rettighet som man<br />
ikke kan fraskrive seg).. En slik åpen modell er forøvrig ikke uten<br />
problemer og kan lett bli utnyttet. av. mer eiegode. proprietære modeller<br />
for kunstproduksjon som bruker materialet til egne formål. som sitt eget..<br />
Når det gjelder innholdssiden så er den modellert ut fra en 'åndsverk'tanke<br />
og. i. utgangspunktet ikke begrenset av hvilken form uttrykket får. Det<br />
knytter. kanskje. NN nærmere. til konseptkunst enn til andre spesifikke<br />
kunstuttrykk og til det jeg har kalt. 'kontekstkunst' som catchphrase for<br />
...noe som blir til i sammenhengen den. settes i ...eller. å skape med<br />
'sammenhenger' istedenfor med 'noe' ol. som kanskje knytter det.<br />
konseptmessig. til dette med tactile media at det må berøres for å bli til<br />
eller blir. til i. berøringen med noe annet analogt med 'katalysator'<br />
'inkubator' og. 'åndsverket' som en. 'meme' og kulturgenkulturfrø..<br />
ORIGINALITET EGENUTTRYKK. Jeg har ikke inntrykk av at det er<br />
så mange som driver med denne formen for. ting. <strong>Re</strong>n. nettkunst er det<br />
ikke så mye av i Norge eller nettverkskunst i utvidet. forstand. På åtti.<br />
nittitallet drev jeg med såkalt mail art kontaktnettet var stort sett i.<br />
utlandet selv om. det også fantes norske aktive utøvere slik som Guttorm<br />
Nordø (El Djarida) og. Tore H. Bøe. (Origami). Så jeg kan antagelig<br />
argumentere for at det er en kontinuitet i det. jeg gjør som. spenner over<br />
et par tiår litt takket være oppmerksomheten mail art har fått. de. siste årene.<br />
nå nylig hos Museum for Samtidskunst sett i sammenheng med internett.<br />
net.art kunst og. det sosiale ol. (Jeg donerte forøvrig mail art materialet<br />
mitt til. forskningsbiblioteket ved. MfS ifjor siden de var interessert)..<br />
825
WEBLOG PUBLISERING VISNING. Noen har kalt NN for en<br />
kunstnerisk weblog. 'Weblog' som en måte å. offentliggjøre og. publisere<br />
på har endel av de egenskapene nevnt over. Den plasserer seg et sted.<br />
mellom det. private og offentlige er en slags vedvarende logg over<br />
aktivitet over et tema. el. Her er en. definisjon av weblog. ) A Weblog<br />
(which is sometimes written as web log or weblog) is a Web. site of. on<br />
a daily or. very frequent basis with new information about a particular<br />
subject or range of. subjects. The. information can be written by the site<br />
owner gleaned from other Web sites or. other sources. or contributed by<br />
users.. A Web log often has the quality of being a kind of log of our<br />
times from a. particular pointofview. Generally Weblogs are devoted to<br />
one or several. subjects or. themes usually of topical interest and in<br />
general can be thought of as. developing. commentaries individual or<br />
collective on their particular themes. A Weblog may. consist of. the<br />
recorded ideas of an individual (a sort of diary) or be a complex.<br />
collaboration open to. anyone. Most of the latter are moderated<br />
discussions.. As a format and content approach for a Web site the<br />
Weblog seems popular. because the. viewer knows that something<br />
changes every day there is a personal (rather than. bland. commercial)<br />
pointofview and on some sites there is an opportunity to. collaborate or.<br />
respond with the Web site and its participants.. Satt inn i en kunstnerisk<br />
sammenheng vil det si at en virksomhet dermed kan ha. en måte å vise.<br />
ting på og interagere med publikum og andre en utstillingsplattform som<br />
er. mer tilpasset. en kunstprosess a la NN og det preg det har av å være<br />
immaterielt og. intermedialt.. Jeg tror weblogging kan oppfattes som en<br />
type 'ny arena' innenfor kunst og ny. teknologi en. visningsform<br />
tilpasset nettkunst og andre former for efemerisk lateral.<br />
nettverksaktivitet.. Om det kan fungere i en offentlig kunstdiskurs vil<br />
det antagelig også være. nyskapende og. verdt å utvikle videre.. FORMÅL<br />
MED OG INNHOLD I PROSJEKTET. Omformulert og i tillegg til det<br />
som allerede er skrevet så er formålet med NN. å. definere en. kanal for<br />
kunstproduksjon basert på egne betingelser dvs. et mer eller mindre.<br />
personlig. forsøk på å finne en posisjon og levedyktig praksis til de deler<br />
av livet mitt. som lider. under overflødig trang til å virke uttrykke finne på<br />
ting analysere. forestille seg. forstille seg kort sagt. Så det er en personlig<br />
tilnæring litt på bakgrunn. av. at jeg. kommer utenfra en<br />
kunstsammenheng som drar fordel av å ikke være forutinntatt. eller å være.<br />
forutinntatt på en annen måte og som kan være nyttig i forhold til nye<br />
medier. og. hybridiseringendigitaliseringen av dem..<br />
FREMDRIFTSPLAN FOR PROSJEKTET OG FOR DE ULIKE<br />
826
FASENE. PLANLAGT VISNINGDISTRIBUSJON OG EVT. ANNEN<br />
BRUK AV DET FERDIGE VERKET. Vet ikke om det er relevant her.<br />
Kan vi ikke ta det etterhvert som en weblog. eller på. etterskudd som en<br />
rapport. Jeg har andre mer spesifikke ideer for NN hvor det. er mer.<br />
hensiktsmessig med fremdriftsplan men jeg får heller komme tilbake til<br />
disse. ved en senere. søknadsfrist. Nå i første omgang søker jeg støtte for<br />
en praksis og. kontinuitet. som ikke. nødvendigvis er planlagt eller<br />
fremdriftsdrevet men kanskje bare resultat av. en. livsførsel. eller<br />
livsfjernhet.. PROSJEKTANSVARLIG OG FAGLIG<br />
MEDVIRKENDE I PROSJEKTET MED CV. Prosjektansvarlig er<br />
Kent MantiesEljot andre medvirkende varierer Erik. Nilsebråten og.<br />
Jostein Lien er ofte med.. CV Bjørn. Profesjon Nettkunstner<br />
systemutvikler. Virkeområdeprogrammeringhacking online performance<br />
online installasjon. mailart. lydnettradio teksthypertekst webgrafikk<br />
webtvhypervideo. Født. Epost magh chello . no. Virksomhet<br />
Kontekstkunst konseptkunst nettkunst og nettverk.. Produksjon<br />
Distribuert. Kunstpraksis fra ca .. Utdannelse Hovedfag informatikk<br />
UiO Mellomfag filosofi UiO. Språk logikk og informasjon UiO Juss<br />
Organisasjonsteori mm.. Medlem av EFN. CV Erik. CV Jostein. Ble far<br />
til en jente på kg cm i overigår.. BUDSJETT OG<br />
FINANSIERINGSPLAN FOR HELE PROSJEKTET. På årsbasis kr som<br />
vil tilsvare at jeg bruker og mer av tiden min. til NN. Søker. herved<br />
støtte til halvparten kr hos Norsk Kulturråd. Den andre. halvparten.<br />
finansierer jeg selv dersom jeg ikke finner andre som vil støtte<br />
virksomheten.. RAPPORT NOEMATA.NET. Jeg sender med eks. av<br />
boka Noemata.net blurB. Man Corridor Translated som. ble produsert. i<br />
forbindelse med visningen av verket i galleriet hos Kunstnett Norge<br />
ultimo. . I denne. sammenheng kan den fungere som et kompendium og<br />
dokumentasjon over aktiviteten. i. .. Omfanget er forhåpentlig stort nok<br />
til å forsvare det som rapportering og. regnskap at. verdien av arbeidet<br />
nedlagt overstiger tilskuddsbeløpet n antall ganger burde. også gå tydelig.<br />
fram. Om NKR ber om det kan jeg heller spesifisere det mer.. Mvh.<br />
Kent MantiesEljot. Send en supportmail til.<br />
ragnfrid.stokkekulturrad.dep.no. og be NKR støtte NN. på førehand takk..<br />
selmslrnaqnvn.lb.eighnerdumpster.io.com. schrødinger again jo akkurat<br />
som i blurB. For hver bok noteres forfatter tittel utgave. eventuelt<br />
innbinding og bindnummer.<br />
827
270<br />
This is a multipart message in MIME format.... ContentType textplain<br />
charsetiso. gee search a noice webcam werra extetical top spotstop<br />
lavely curves. ghostcars row. scarecrow goul like G like D thy frozen<br />
trafic if art.. may B yum gof. gauph aurit. ContentType textplain<br />
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the Syndicate list. no commercial use of the texts without permission.<br />
<strong>Re</strong> thecry philosophy Virgin Mary seen on Aussie beach fence post.<br />
Some people say they can't see her but yes I see. her. I see her crown<br />
her white robe. I'm so happy. that I get goosebumps Sydney resident<br />
Anna. originally from Italy said.. Others are more sceptical.. Still<br />
weirder. this image has been from the one cut above and taken to<br />
desaturation.. black. and white and. enlarged to pixels per inch.. i<br />
believe from what im observing the SHUTTLE. crew that. survived<br />
were taken off the blown ship.. and you should be able to see what are.<br />
called the. BEKS ( little doctors of the ORIONS who currently reside<br />
on earth i.e. under. and above). probably administering to those who<br />
have injuries.. it is easy to see also on. this image that. one of the<br />
females is climbing out of one of the ships..probably from below to.<br />
climb to the. ship above to be rescued... Concerning crew that survived<br />
anything goes. no. logical. also. SEE KIDS THEY PLAY NINTENDO<br />
ON THE MOON. cc). efd.e. Fundamentals of Human<br />
Neuropsychology PDF textbook. Crick Koch's A new Framework for<br />
Consciousness (SC). RRE News Service (Phil Agre) all URLs since '.<br />
Electrohype nordic computer art center. Code as environment (artificial<br />
paradises). The Electronic Labyrinth on hyperbooks ca '. <strong>Re</strong><br />
Nettimebold HELLO ASCIIFRAUDS. Mobility art concept projects<br />
(spontan.netlinks). Conscious objector (Guardian). Ray Johnson a<br />
critical collage (George Brett). Pleonastiske Dager (via Håvard) see also<br />
Kettleday. A nigerian fraud email gallery (Potifos.com). august<br />
highland's hyperliterary fiction. ZNC v. . browser (Peter Luining<br />
CtrlAltDel). Get paid while you're dead. REQUEST FOR EMAIL<br />
828
TRANSACTION. NRK Programmer TV Gudstjenesten e k u n s t. e k<br />
u n s t har funnet kroppsdeler fra astronautene (Dagbladet). <strong>Re</strong> minutes<br />
of conquests <strong>Re</strong>thinking Wargames e k u n s t droplifting. e k u n s t<br />
droplifting. ambient pieces. A patron saint for the internet (Wired).<br />
YOU CAN'T COPY ME (). e k u n s t <strong>Re</strong> STUDIES IN TACTICAL<br />
MEDIA (From Mail Art to Net.art). <strong>Re</strong> syndicate URGENT<br />
ASSISTANCE DPR. Telefonlotto (Mille). Øhexture ascoo.<br />
photoSTATIC magazine retrograde archive (Detritus.net). radio.mu.<br />
thextyle. textile åÆ'. e k u n s t <strong>Re</strong> Lazy Web twURLing (NRK).<br />
<strong>Re</strong>sonance FM web radio. e k u n s t <strong>Re</strong> mat.html (mat.html reloads).<br />
entries found for Silly (Dictionary.com wpopups). Anthony Judge<br />
Union of International Associations. SeatSale License to Sit (Steve<br />
Mannwearcam via EFN). Blitz og 'mangfold' (NRK). Søtt mediadrama<br />
Debuthopp i Holmenkollen (Dagbladet). Asceticism and Society in<br />
Crisis (via The Online Books Page). deprogramming.us goofy artware.<br />
Dawkins Genes work just like computer software (TimesOnline). The<br />
Kraken Poem by Tennyson. king.dom.defluxus hosting fluxlist parole<br />
Aporee Øtherlands fmwalks. Flashback News Agency. Grafitti.no. Søkbar<br />
norsk fotodatabase (Galleri NorNasjonalbiblioteket). Net.Art<br />
Connexion net.art database. Dreams in Artificial Intelligence (Mind.).<br />
Universal truths (Guardian). The Philosophers Magazine. Golden Ratio<br />
.... (Guardian). <strong>Re</strong>dsEecroSSroUTe. Mixing of Particulate Solids Radio<br />
ambient streams. Radio Hard Disk nice midi stream rendered from<br />
harddisk files. Søt apokalyptisk mediasak Teller ned til verdens ende<br />
(VG). Groups Art. The Travesty Corporate PR InfoMixer<br />
(Plagiarist.org). ubuweb aspen ethnopoetics. 'Idea hamster' 'Out of the<br />
box' (BBC ecyclopedia). EPC Sound Radio Arts several gigabyte<br />
(plain index). Imperial science (via Art Letters Daily). The Gertrude<br />
Stein <strong>Re</strong>ader collection of esoteric shortform writing (Seattle. weekly).<br />
Studio Sokrates jazz og filosofi radio (NRK). Guides on electronic<br />
publishing security intellectual property c (Caslon. Analytics). Windsor<br />
Castle Art wisdom humour extracts and lore. Nice intro to binary issues<br />
(Kerryr.net). The Straight Dope (QA columns from Cecil Adams).<br />
Pinhole glasses for vision improvement (pic). The age of manipulation<br />
shift from a religious to a therapeutic worldview. (spiked). Timeline of<br />
knowledgerepresentation (Robot wisdom). Folkoutsider art<br />
(interestingideas.com). GX JupitterLarsen's OnLine Amathopaedia.<br />
Experiments with Dreams Leif Elggren (Letter to King Juan Carlos).<br />
The Kingdoms of ElgalandVargaland consisting of border territories.<br />
Lnkarkiv (fajaf.digitalrice.com). Intellectual property issues<br />
829
(Negativland). ascii prn figlet server. Afterlife Beliefs May Have<br />
Biological Basis (ascribe). Pieter Bruegel Gallery. POKEY THE<br />
PENGUIN cartoon. A Visionary Sound Arts Interface links.<br />
Musicsound of the magnetosphere and space weather (auroralchorus).<br />
Forlaget Fritt og Vilt. poortour.com. Net.Art Certification Office.<br />
INTERNET TEXT Alan Sondheim. Action becomes Art Performance<br />
in the Context of Theatre Play Ritual and. Life Gran Sonesson. The<br />
necessity to disappear about Walter Serner. Azimute.org critical theory<br />
philosophy reviews translations.... We hold these nouns to be adjective<br />
that all nouns are created equal. Bloggle. (Twoogle). frobnicate v. to<br />
manipulate or adjust to tweak. derived from frobnitz.. usually.<br />
abbreviated to frob. thus one has the saying to frob a frob. see tweak<br />
and. twiddle.. (internet jargon). Neologisms ) 'Probnicate' v. probing<br />
adjustment usually. preceeds. frobbing finding a way to manipulate as<br />
in probnicating knobs for. tweakment.. ). 'Tweakment' n. Treating s.s.t.<br />
in a manipulative manner.. gee search a noice webcam werra extetical<br />
top spotstop lavely curves. ghostcars row. scarecrow goul like G like D<br />
thy frozen trafic if art.. may B yum gof. gauph aurit. tire serit tyres irish<br />
bull It's not an optical illusion it just looks. like one. Like. a regular<br />
picture being an optical illusion of an optical illusion. Room. service<br />
Send up a. larger room.. Every so often I try to masturbatulate a large<br />
word into a conversation even. if I'm not. really sure what it means<br />
cybermindlistserv.aol.com. Jeg tror ikke religionen overskygger<br />
tankegangen hans. Han er ikke slik. Men. ja religionen. er en viktig del<br />
av hans personlighet. Så det blir som en tannkremtube. Mer. pasta<br />
pastor. bush brush. this image has been from the one cut above and<br />
taken to desaturation.. black. and. white and. enlarged to pixels per<br />
inch.. i believe from what im observing the SHUTTLE. crew that.<br />
survived were taken off the blown ship.. and you should be able to see<br />
what are. called the. BEKS ( little doctors of the ORIONS who<br />
currently reside on earth i.e. under. and above). probably administering<br />
to those who have injuries.. it is easy to see also on. this image that. one<br />
of the females is climbing out of one of the ships..probably from below<br />
to. climb to the. ship above to be rescued... Concerning crew that<br />
survived anything goes no. logical. lapsus required.. No what you will<br />
have is one person talking to himself and thinking he is. having an.<br />
intelligent conversation. ah that would be a presidential press<br />
conference. then. Sounds. like an oxymoron to me. i don't know about<br />
the oxy part.... Enoch Soames a rather 'dim' personality (British<br />
Library). In. June. of. Enoch Soames sold his soul to the devil for a<br />
830
glimpse into the future. He was. to. show up at. the British Museum a<br />
hundred years later on June rd . And indeed a. figure. looking like.<br />
Soames did appear on that day at the reading room of the British<br />
Museum.. (Soames.com). Enoch. Soames the Critical Heritage from<br />
ES. <strong>Re</strong>source Center (cypherpress.com).. In fact I DO have morals but<br />
they include not being attacked for not. intervening when I. didn't feel<br />
there was call to. And that sentence has enough bad grammar for the.<br />
lot of us.. assimilation the easier to pronounce a sentence the more<br />
widespread the. change. becomes.. bai now jast a memori in the maindz<br />
ov ould doderez tu riplais 'ch' 'sh'. and 'th'. rispektivli. Fainali xen<br />
aafte sam iers ov orxogrefkl riform wi wud hev a. lojikl. kohirnt speling<br />
in ius xrewawt xe Ingliyspiking werld. Mark Twain. In a real culture<br />
ideas are generated spontaneously by people their. communities their.<br />
interactions. Memes (ideas songs stories trends philosophies religions).<br />
percolate up. the bottom from people with no agenda but to describe<br />
their world their. feelings. The mental environmental movement<br />
(Adbusters). Culture Jamming (Mark Dery). A. glance at. Tommaso<br />
Campanella defended Galileo Galilei on the plurality of worlds theory.<br />
while decrying. the notion of ET's on the grounds that the very<br />
existence of ET's violates. Scripture.. Campanella disbelieved that<br />
'men' on other worlds had sinned and needed. redemption. asserting<br />
that therefore Jesus did not have to die for them.... This mail may come<br />
to you as a surprise. På en mailingliste ble noen bøker nevnt som<br />
avsenderen var i ferd med å lese.. Jeg fant. Terracnce. Flahraarty Hva<br />
med å være føer vra og få katten din til å oversette boken tili. nrosk. Vi.<br />
trenger vel helst en oeverseter som ikke kan tuch.. Edit this site. efd.e.<br />
Fwd noisetext Kinich Ahau Itzamna. Start of forwarded message. Fwd<br />
noisetext Kinich Ahau Itzamna. editor's note this is not the text itself<br />
but a limited english. translation. the ideographic writing found in this<br />
ancient manuscript. presents with certain geometric and algebraic<br />
features which will have. be compensated for narratively. space<br />
prohibits being able to. delve at length with the significance of the<br />
text's formal layout and. precise combinatorical features. more research<br />
is planned to further. resolve the encryption of the text in the future..<br />
this world is composed of effluvial material. the sedimentation of the.<br />
planet earth is distributed in successive layers. this is the weight. of<br />
living and the underworld and overworld echo in all directions.. across<br />
this cohesion is a rotational momentum of matter. each spot on. earth is<br />
anchored relative to another. outofsync waveforms form. tectonic<br />
energy by which all plates must average out relative to each. other. the<br />
831
tension that forms creates earthquakes and typhoons and. other<br />
atmospheric hydrological biological and psychological. phenomenon.<br />
mark the cycles closely.. all of this is a function of the constellation of<br />
all matter throughout. the universe.. look at your organs look at your<br />
composition. understand yourself as. part kidney part eyeball part<br />
electrodynamic pulse.. human replication creates exponential diversity.<br />
each combination is a. unique manifestation of the pressure energies of<br />
the earth. life is. driven forward and upward by these energies.. by<br />
memory you will remember. you will understand what flows through.<br />
you. you will come and go as all do as all have as is necessary by. the<br />
laws that brought you into being.. left quarter page missing. in the<br />
margin of the folio is drawn a long twining plant. it's. thought to be of<br />
the long extinct psychoactive botany specie. tryptophonica aktivana. a<br />
distant relative tryptophonica sedanta. still exists and has been<br />
extensively researched but has no mind. altering properties whatsoever..<br />
. this translation utilizes reverse fourier transforms on the. transitive<br />
verb hierarchy (using a base cubic orientation).. . electrodynamic being<br />
transliterated from the primary essense forms. spark and moment..<br />
unsubscribe from this group send an email to. End of forwarded<br />
message. Notice sent to residents of a Whiltshire parish DUE TO<br />
INCREASING PROBLEMS. WITH. LITTER. LOUTS AND<br />
VANDALS WE MUST ASK ANYONE WITH RELATIVES BURIED<br />
IN THE GRAVEYARD TO. DO THEIR BEST. KEEP THEM IN<br />
ORDER. Fwd CSL First Monday February (fwd). Start of forwarded<br />
message. <strong>Re</strong>plyTo Philosophy and Psychology of Cyberspace. Fwd<br />
CSL First Monday February (fwd). Some quite interesting articles here<br />
Alan. Forwarded message. <strong>Re</strong>plyTo Interdisciplinary academic study of<br />
Cyber Society. CSL First Monday February. First Monday February.<br />
Dear <strong>Re</strong>ader. The February issue of First Monday (volume number ) is<br />
now. Table of Contents. Volume Number February rd. <strong>Re</strong>conciling<br />
interiors The screen as installation. by James Charlton. Cyborg logs and<br />
collective stream of (de)consciousness capture for. producing<br />
attributionfree informatic content such as cyborglogs. by Steve Mann.<br />
Collaborative development of open content A process model to unlock.<br />
the potential for African universities. by Derek Keats. Electronic<br />
citizenship and global social movements. by Liza Tsaliki. A study of<br />
Internet usage in Nigerian universities A case study of. Obafemi<br />
Awolowo University IleIfe Nigeria. by K.O. Jagboro. Emedia in<br />
development Combining multiple emedia types. by Robin van Koert.<br />
Cybermethods An assessment. by Hellen Megens and Brian Martin.<br />
832
Book reviews. Distributed through CyberSocietyLive CSL CSL is a<br />
moderated discussion. list made up of people who are interested in the<br />
interdisciplinary academic. study of Cyber Society in all its<br />
manifestations.To join the list please visit. End of forwarded message.<br />
Q Are you qualified to give a urine sample. A I have been since early<br />
childhood.. Beauty Machinic <strong>Re</strong>petition in the Age of Art. In this sense<br />
Kant's notion of disinterest marks not a distance but it's. loss an.<br />
encounter which precisely strips the subject of its habits of thought. In<br />
fact. it is no. longer clear that in the absence of such interests the what<br />
that is operative. in the. aesthetic experience is an object at all it is more<br />
a sign a trigger. The. attribute of. beauty attaches not to the object but to<br />
the event of the beautiful.. .. .. In effect Kant replaces Benjamin's<br />
loaded term of the here and now with the. anymoment. whatever as<br />
emblem of artistic individuality and image of thought. For. Benjamin<br />
the here. and now is the summit of a culture eternal and immobile<br />
ineffable and. untranslatable. It. is a dead end impotent to reproduce<br />
itself without rerouting through it's. conditions of. possibility. The<br />
removal of the beautiful in Kant's aesthetic from any given. cultural or.<br />
intelligible context by virtue of it's lack of a determinate concept and<br />
hence. an interest. seems also to isolate and immobilise the aesthetic in<br />
an affective. ineffability.. But on the. contrary it is this quality that<br />
produces the dynamism of the beautiful and. it's capacity. provoke<br />
thought.. The beautiful obliges us to think (it's singularity poses a<br />
problem) without. there being any. concept for thought to settle on. The<br />
thought of the beautiful is identical. with. the series. of incomplete<br />
determinations it gives rise to in which it creates and. indefinitely<br />
recreates. itself the repetition of its singularity in an open ended<br />
movement. This is. the formal. play of Kant's aesthetic which is not a<br />
static formalism devoid of. content. but the. fusion of content with a<br />
process. The event of the beautiful marks a beginning. rather than an.<br />
endpoint without the pretension of being an Origin as it happens just<br />
any. time. The. principle of the anymomentwhatever enfolds both an<br />
indifference and an. obligation to. differentiate an impersonality and<br />
total individuality.. In this way the problem of artistic individuality<br />
escapes on the one hand the. heroism and. pathos of the avantgarde<br />
subject who affirms itself against an image of the. whole and on. the<br />
other the autism that results from confining individuality to a purely.<br />
affective and. ineffable moment. Both notions in the end make of the<br />
individual the great. spectator the. visionary from which action<br />
naturally follows or else is not the point.. Benjamin. himself. presents<br />
833
action and thought as dependent upon having access to the big. picture<br />
and the. small picture that is subjective selfreflection the image being<br />
what. mediates between the. two. Against the big picture Kant's<br />
beautiful presents the individual as. necessarily. working from a<br />
fragment a cut not exactly removed from the whole but from. which<br />
the. whole is itself removed. Against the small picture with which it.<br />
nevertheless. shares the. value of smallness the beautiful does not stop<br />
but starts with this moment.. While it refers. no external goal or concept<br />
neither is it an end in itself. It is a. vector a clue. inseparable from the<br />
action it unleashes a problem which lances an. imperative. change..<br />
Deleuze and Guattari an introduction. And yet say Deleuze and Guattari<br />
the reality of capitalism is the greatest. repression of. desiring<br />
production in history. Presumably it should have led to an absolute.<br />
nomadic. freedom but it has not.. The reason is the schizophrenic<br />
structure of capitalism. . Deterritorialization. is. accompanied by a<br />
continual reterritorialization a recoding of ancient forms.. The state the.<br />
fatherland the family continues to reappear in modified form but<br />
equally. rulegoverned and. equally repressive.. In practice Deleuze and<br />
Guattari have created a new vocabulary to permit them. speak about.<br />
psychoanalysis and society without falling into either Marxist or<br />
Freudian. ideas. Machines A term coined by Guattari to escape the<br />
Lacanian notion of the. which is. often mistaken for consciousness<br />
itself. A machine is any point at which a flow. of some sort. (physical<br />
intellectual emotional etc) either leaves or enters a structure. A. baby's<br />
mouth. at its mother's breast is a mouth machine meeting a breast<br />
machine. There is. flow between. these two machines.. Desiring<br />
machine a machine connected to a body without organs.. Body without<br />
organs A phrase from Artaud. Any organized structure such as a.<br />
government a. university a body or the universe. Desiring machines and<br />
the body without. organs are two. different states of the same thing part<br />
of an organized system of production. which controls. flows.. Paranoic<br />
machine A state in which the body without organs rejects the desiring.<br />
machines.. Miraculating machine a state in which the body without<br />
organs attracts the. desiring. machines.. The Socius a body without<br />
organs that constitutes a society as in the body of. the earth of. primitive<br />
societies the body of the despot in barbaric societies and the body. of<br />
capital in. capitalist societies.. The nomadic subject the free<br />
autonomous subject which exists momentarily in an. ever shifting. array<br />
of possibilities as desiring machines distribute flows across the body.<br />
without organs.. Desiring machines those that are engaged in<br />
834
productive desire. nettime DG Capitalism A Very Special Delirium ().<br />
Everything is rational in capitalism. except capital or capitalism itself..<br />
It is in this sense that we say the. rational is always the rationality of an<br />
irrational.. Capital or money is at such a level of insanity that.<br />
psychiatry has but one clinical equivalent the terminal stage.. It is too.<br />
complicated to describe here but one detail should be mentioned. In<br />
other. societies there is exploitation there are also scandals and secrets<br />
but. that is part of the code there are even explicitly secret codes. With.<br />
capitalism it is very different nothing is secret at least in principle. and<br />
according to the code (this is why capitalism is democratic and can.<br />
publicize itself even in a juridical sense). And yet nothing is.<br />
admissable. Legality itself is inadmissable.. in sum everything is legal<br />
except for. little blunders what is more everything is public yet nothing<br />
is. admissable.. noemata nettime DG Capitalism A Very Special<br />
Delirium (). Everything is rational in capitalism. except capital or<br />
capitalism itself.. It is in this sense that we say the. rational is always<br />
the rationality of an irrational.. Capital or money is at such a level of<br />
insanity that. psychiatry has but one clinical equivalent the terminal<br />
stage.. It is too. complicated to describe here but one detail should be<br />
mentioned. In other. societies there is exploitation there are also<br />
scandals and secrets but. that is part of the code there are even<br />
explicitly secret codes. With. capitalism it is very different nothing is<br />
secret at least in principle. and according to the code (this is why<br />
capitalism is democratic and can. publicize itself even in a juridical<br />
sense). And yet nothing is. admissable. Legality itself is inadmissable..<br />
in sum everything is legal except for. little blunders what is more<br />
everything is public yet nothing is. admissable.. unsubscribe from this<br />
group send an email to. isoQ<strong>Re</strong>noemataMFtereferat..ialenegruppen.<br />
kølappen min. kø og underholdning skråstrek kunst. mailart hva koster<br />
det å sende et frimerke. kølapper. kølappprosjektserien FISH.<br />
prosjektkølappene First In Still Here ordning fiskekøen.. skrivebordskø<br />
sidene i en bok ligger i kø og har tildelte numre.. som et kø. system In<br />
Still Book Number hvor det eneste statiske er nr nummeret er. boken.<br />
slik. frimerket er brevet.. publikum ane. at den egentlige køen ligger i en<br />
annen dimensjon bortenfor skrankene som de. først kan. følge eller stå<br />
korrekt posisjonert i ved å bryte ut av noe som også knytter. det til dans..<br />
Samarbeid mellom FISH og koreograf Kø og dans. FISH og 'usynlig<br />
teater' laiv semiodrama kø som tegn en gruppe. aksjonister okkuperer.<br />
nummer frem i tid som avspilles som episoder foran skranken foran det.<br />
ventende. publikum. i en tilstand av venting og frustrasjon er dramaet<br />
835
en katarsis som. presist er hva. viventerpå. bank postkontorene har<br />
mange kameraer som logger det hele så dokumentasjonen. ligger hos.<br />
disse og man kan henvise dit.. b. tlf.. Møtereferat ... Fluxus prosjekt<br />
kølappsystemet. Legge ut falske kølapper i vill. nummerorden. Wreak<br />
havoc. Skape kaos og kvantebyråkrati.. nummerorden. Wreak havoc.<br />
Skape kaos og kvantebyråkrati.<br />
836
271<br />
Frimerkepost i en postfrimerke kontekst.. Frimerke postart prosjektet<br />
skrive brev bakpå et kr frimerke. Be. om frimerke for frimerke. Klage<br />
over de hårreisende utgiftene og. systemets korrupte logikk.<br />
Kølappinstallasjonen et offentlig kontor (lokale) som kun består av.<br />
nummerviser som viser nummer som ikke finnes i kølappsystemet..<br />
Publikum blir stående passive utenfor installasjonen trekker kønumre. de<br />
tror vil gi de aksess til installasjonen men blir snurt og. provoserte..<br />
Underholdning er fravær av kjedsomhet. irritasjonsformelen for<br />
fjernsynsunderholdning. Fremskaffe en nummen. irritasjon rett under<br />
smertegrensen. Irriteres seg mest over de som. irriterer seg for mye..<br />
Møte hevet. Fwd Darwin Day February. Start of forwarded message.<br />
<strong>Re</strong>plyTo Philosophy and Psychology of Cyberspace. Fwd Darwin Day<br />
February. .. February. Some people celebrate Darwin Day today the<br />
birthday of Charles Darwin.. The Top Ways to Celebrate Darwin Day.<br />
Survival of the JellO shootingest.. Taunt monkeys.. Work really hard at<br />
making big toes opposable.. Turn off NASCAR spit out tobacco<br />
straighten posture and stop. using the word fixin'.. Have sex with<br />
someone whose IQ is higher than the number of your. favorite cable<br />
channel.. Outlive or inseminate a creationist.. Change name of your<br />
performance art piece from Idiot Falling Down. Stairs to The Descent<br />
of Man.. Pig out. Darwin said the fattest survive didn't he. Finally lose<br />
that tail.. If his exhumed corpse casts a shadow teach six more weeks<br />
of. fundamentalism. (Kansas only). Party like it's .. Same as yesterday<br />
Rid self of old sperm to make room for newer. more evolved sperm..<br />
Get four friends with bad posture to follow you all day as the.<br />
Evolution of Man.. andthe Number Way to Celebrate Darwin Day....<br />
Take a fish for a walk.. (By Chris White). .. End of forwarded message.<br />
Notice in a dry cleaner's window ANYONE LEAVING THEIR<br />
GARMENTS HERE FOR MORE. THAN DAYS. WILL BE<br />
DISPOSED OF.. Fwd before email networks was The Eternal Network<br />
of Fluxes. Start of forwarded message. <strong>Re</strong>plyTo Philosophy and<br />
Psychology of Cyberspace. Fwd before email networks was The<br />
Eternal Network of Fluxes. The National Museum of Contemporary Art<br />
837
Oslo. presents the exhibition. RAY JOHNSON. The Name of the Game<br />
(..). Ray Johnson () is perhaps best known for his use of the postal.<br />
service as an artistic medium which led him to develop a network of.<br />
correspondents that grew into what is today known as the mail art<br />
network.. This exhibition takes as its starting point the particular focus<br />
on proper. names that run through all of Johnson's postal activities. On<br />
the one hand. the focus on names reflects the reality of a postal system<br />
that structures. the world as a network of addressable individuals. On<br />
the other hand his. addressability that informs not only the postal<br />
system per se but a whole. modern culture shaped by the terms of this<br />
system. The exhibition which. contains a lot of material that has not<br />
been exhibited previously is. curated by Ina Blom . After Oslo the<br />
exhibition will move on to the. Museum Fridericianum Kassel<br />
Germany (opening March ) and the Museum Het. Domein Sittard The<br />
Netherlands (opening May ).. page book published on the occasion of<br />
this exhibition. It contains an. essay by Ina Blom and a number of<br />
previously unpublished early texts by. Ray Johnson in addition to<br />
mailings and other visual and textual. material. It may be ordered (EUR<br />
postage EUR ) from the. museum's bookshop at The National Museum<br />
of Contemporary Art Bankplassen. Box Dep N Oslo Norway or by<br />
email ghmfs.museum.no.. End of forwarded message. Seen at the side<br />
of a Sussex road SLOW CATTLE CROSSING. NO OVERTAKING<br />
FOR THE. NEXT YRS.. Fwd postanarchism Feyerabend on<br />
Epistemological Anarchism. Start of forwarded message. Fwd<br />
postanarchism Feyerabend on Epistemological Anarchism. On<br />
Epistemological Anarchism. by Paul Feyerabend. The hallmark of<br />
political anarchism is its opposition to the. established order of things to<br />
the state its institutions the. ideologies that support and glorify these<br />
institutions. The. established order must be destroyed so that human<br />
spontaneity may. come to the fore and exercise its right of freely<br />
initiating action. of freely choosing what it thinks is best. Occasionally<br />
one wishes to. overcome not just some social circumstances but the<br />
entire physical. world which is seen as being corrupt unreal transient<br />
and of no. importance. This religious or eschatological anarchism<br />
denies not. only social laws but moral physical and perceptual laws as<br />
well and. it envisages a mode of existence that is no longer tied to the<br />
body. its reactions and its needs. Violence whether political or. spiritual<br />
plays an important role in almost all forms of anarchism.. Violence is<br />
necessary to overcome the impediments erected by a well. organised<br />
society or by one's own modes of behaviour (perception. thought etc.)<br />
838
and it is beneficial for the individual for it. releases one's energies and<br />
makes one realize the powers at one's. disposal. Free associations<br />
where everyone does what best suits their. talents replace the petrified<br />
institutions of the day no function. must be allowed to become fixed<br />
'the commander of yesterday can. become a subordinate of tomorrow.<br />
Teaching is to be based on. curiosity and not on command the 'teacher'<br />
is called upon to further. this curiosity and not to rely on any fixed<br />
method. Spontaneity. reigns supreme in thought (perception) as well as<br />
in action.. One of the remarkable characteristics of postenlightenment<br />
political. anarchism is its faith in the natural reason' of the human race<br />
and. its respect for science. This respect is only rarely an opportunistic.<br />
move one recognizes an ally and compliments him to keep him happy..<br />
Most of the time it is based on the genuine conviction that pure.<br />
unadulterated science gives a true account of man and the world and.<br />
produces powerful ideological weapons in the fight against the sham.<br />
orders of the day.. Today this naive and almost childlike trust in science<br />
is endangered. by two developments.. The first development is the rise<br />
of new kinds of scientific. institutions. As opposed to its immediate<br />
predecessor late th. century science has given up all philosophical<br />
pretensions and has. become a powerful business that shapes the<br />
mentality of its. practitioners. Good payment good standing with the<br />
boss and the. colleagues in their 'unit' are the chief aims of these<br />
human ants who. excel in the solution of tiny problems but who cannot<br />
make sense of. anything transcending their domain of competence.<br />
Humanitarian. considerations are at a minimum and so is any form of<br />
progressiveness. that goes beyond local improvements. The most<br />
glorious achievements. of the past are used not as instruments of<br />
enlightenment but as means. of intimidation as is seen from some<br />
recent debates concerning the. theory of evolution. Let somebody make<br />
a great step forward and the. profession is bound to turn it into a club<br />
for beating people into. submission.. The second development concerns<br />
the alleged authority of the products. of this everchanging enterprise.<br />
Scientific laws were once thought. be well established and irrevocable.<br />
The scientist discovers facts. and laws and constantly increases the<br />
amount of safe and indubitable. knowledge. Today we have recognized<br />
mainly as a result of the work. of Mill Mach Boltzmann Duhem and<br />
others that science cannot give. any such guarantees. Scientific laws<br />
can be revised they often turn. out to be not just locally incorrect but<br />
entirely false making. assertions about entities that never existed. There<br />
are revolutions. that leave no stone unturned no principle unchallenged.<br />
839
Unpleasant. in appearance untrust worthy in its results science has<br />
ceased to. be an ally of the anarchist and has become a problem. Should<br />
he. abandon it Should he use it What should he do with it That is. the<br />
question. Epistemological anarchism gives an answer to this. question.<br />
It is in line with the remaining tenets of anarchism and it. removes the<br />
last hardened elements.. Epistemological anarchism differs both from<br />
scepticism and from. political (religious) anarchism. While the sceptic<br />
either regards. every view as equally good or as equally bad or desists<br />
from making. such judgements altogether the epistemological anarchist<br />
has no. compunction to defend the most trite or the most outrageous.<br />
statement. While the political or the religious anarchist wants to.<br />
remove a certain form of life the epistemological anarchist may want.<br />
defend it for he has no everlasting loyalty to and no. everlasting<br />
aversion against any institution or any ideology. Like. the Dadaist<br />
whom he resembles much more than he resembles the. political<br />
anarchist he 'not only has no programme he is against. all programmes'<br />
though he will on occasions be the most vociferous. defender of the<br />
status quo or of his opponents 'to be a true. Dadaist one must also be an<br />
antiDadaist'. His aims remain stable. or change as a result of argument<br />
or of boredom or of a conversion. experience or to impress a mistress<br />
and so on. Given some aim he. may try to approach it with the help of<br />
organized groups or alone. he may use reason emotion ridicule an<br />
'attitude of serious. concern and whatever other means have been<br />
invented by humans to get. the better of their fellow men. His favourite<br />
pastime is to confuse. rationalists by inventing compelling reasons for<br />
unreasonable. doctrines. There is no view however 'absurd' or<br />
'immoral' he. refuses to consider or to act upon and no method is<br />
regarded as. indispensable. The one thing he opposes positively and<br />
absolutely are. universal standards universal laws universal ideas such.<br />
as 'Truth '<strong>Re</strong>ason 'Justice' 'Love' and the behaviour they bring. along<br />
though he does not deny that it is often good policy to act as. if such<br />
laws (such standards such ideas) existed and as if he. believed in them.<br />
He may approach the religious anarchist in his. opposition to science<br />
and the material world he may outdo any Nobel. Prize winner in his<br />
vigorous defence of scientific purity. He has no. objection to regarding<br />
the fabric of the world as described by. science and revealed by his<br />
senses as a chimera that either conceals. a deeper and perhaps spiritual<br />
reality or as a mere web of dreams. that reveals and conceals nothing.<br />
He takes great interest in. procedures phenomena and experiences such<br />
as those reported by. Carlos Castaneda which indicate that perceptions<br />
840
can be arranged in. highly unusual ways and that the choice of a<br />
particular arrangement. as corresponding to reality' while not arbitrary<br />
(it almost always. depends on traditions) is certainly not more 'rational'<br />
or. more 'objective' than the choice of another arrangement Rabbi<br />
Akiba. who in ecstatic trance rises from one celestial sphere to the next.<br />
and still higher and who finally comes face to face with God in all. his<br />
Splendour makes genuine observations once we decide to accept. his<br />
way of life as a measure of reality and his mind is as. independent of<br />
his body as the chosen observations tell him. Applying. this point of<br />
view to a specific subject such as science the. epistemological anarchist<br />
finds that its accepted development (e.g.. the Closed World to the<br />
'Infinite Universe') occurred only. because the practitioners unwittingly<br />
used his philosophy within the. confines of their trade they succeeded<br />
because they did not permit. themselves to be bound by 'laws of<br />
reason' 'stand ards of. rationality or 'immutable laws of nature'.<br />
Underneath all this. outrage lies his conviction that man will cease to be<br />
a slave and. gain a dignity that is more than an exercise in cautious<br />
conformism. only when he becomes capable of stepping outside the<br />
most fundamental. categories and convictions including those which<br />
allegedly make him. human. 'The realisation that reason and antireason<br />
sense and. nonsense design and chance consciousness and<br />
unconsciousness and. I would add humanitarianism and<br />
antihumanitarianism belong. together as a necessary part of a whole this<br />
was the central. message of Dada' writes Hans Richter. The<br />
epistemological anarchist. agrees though he would not express himself<br />
in such a constipated. manner.. unsubscribe from this group send an<br />
email to. End of forwarded message. innertier en uvirksom treg person i<br />
sentrum for oppmerksomheten jfr. inerti. Fwd Nettimebold to the vector<br />
the spoils.... Start of forwarded message. <strong>Re</strong>plyTo<br />
nettimeboldnettime.org. Fwd Nettimebold to the vector the spoils.... the<br />
Vector the Spoils. McKenzie Wark interviewed by Roy Christopher.<br />
frontwheeldrive.com. Roy Christopher Let's get our terms aligned first.<br />
How do you define the term 'hacker' Do you. include artists software<br />
developers and other so. called 'knowledge workers'. McKenzie Wark I<br />
think everyone who actually. creates 'intellectual property' could<br />
consider. themselves part of the same class the hacker class. and as<br />
having convergent interests. So yes that. could include programmers<br />
musicians writers and. also engineers chemists all sorts of people who.<br />
are culturally distinct. What we have in common is. that we have to sell<br />
the products of our intellectual. labor to corporations who have a<br />
841
monopoly on. realizing its value. We invent the idea but they. control<br />
the means of production. The laws that. used to protect us copyright<br />
and patent have. been subtly changing over the course of the last. few<br />
decades to protect corporate owners of. existing 'intellectual property'<br />
not individual. Manifesto' to dramatize this emergent conflict.. Roy I<br />
like the idea that information's world. doesn't have an equivalent to<br />
physical world's. second law of thermodynamics and that this idea.<br />
represents true freedom. Is there a danger of this. auspicious outlook<br />
failing. Ken The commodity economy runs on scarcity. It's. all about<br />
making the wealth produced by labor the. exclusive private property of<br />
the few. At the. moment its hard to argue for the socialization of.<br />
wealth. Some part of it needs to be social or things. just won't function<br />
at all. Every civilized society. recognizes the need for socialized health<br />
and. pensions.. But when we come to information there's no need. for it<br />
to be privatized. Economists call information a. 'nonrivalrous resource'.<br />
Which is an oxymoron.. Basically it is an admission that information<br />
need. not be subject to the laws of scarcity at all. My. possession of<br />
some information does not deprive. you of it. The cost of making a<br />
copy is being. reduced all the time.. So the one place where we can still<br />
entertain the. idea of a release from scarcity is the world of.<br />
information. It could have a quite different. economy or a noneconomy.<br />
It is by legal artifice. the repressive force of the police and cultural re.<br />
engineering that we are being persuaded of the. necessity of a purely<br />
private economy of. information where Mickey Mouse is somebody's.<br />
fiefdom in perpetuity where nothing ever comes. back to the public<br />
domain. I think we have to fight. that.. But where Lawrence Lessig and<br />
others see this as. a fight to get the law to recognize the common. sense<br />
of a public domain I think it is much more. than that. We are up against<br />
a new and powerful. class interest which profits by the<br />
commodification. of information rather than the manufacture of. things.<br />
We have to resist this new interest with. technical and cultural means as<br />
well as through legal. challenges.. Roy The idea of education as slavery<br />
seems to be. becoming more and more prevalent in intellectual. circles.<br />
What do you think should be done about. the education problem. Ken<br />
Socalled critical theory in the universities. becomes merely hypocritical<br />
theory if it doesn't deal. with the fact that education is now part of the.<br />
problem not part of the solution. Education is. about creating scarcity.<br />
Here in the United States. we have the least democratic most<br />
aristocratic. education system in the (over)developed world. It. is all<br />
about rationing prestige. It has nothing to do. with seeking knowledge..<br />
842
Knowledge too has to be released from scarcity. and hierarchy. Forcing<br />
people to submit to. years of mental enslavement all their childhood.<br />
and young adult life just to secure a reasonable. standard of living is a<br />
status quo that needs to be. challenged.. Roy With information as<br />
commodity and. mediacommunication as. architecture where should the<br />
hacker seek to. gainmaintain power andor control. Ken Firstly its a<br />
question of realizing that all. intellectual creators are 'hackers'. It is<br />
about. realizing a common interest that has nothing to do. with choices<br />
of identity culture or taste. A class. interest in short.. Secondly its about<br />
realizing that our class interest. confronts another what I call the<br />
vectoralist class.. The vectoralist class controls the means of realizing.<br />
the value of what we create. They control the. vectors along which new<br />
information moves. A. broadcasting network is a vector but so too is a.<br />
drug company. New information could be in the. form of a digital file<br />
or a little pink pill. The form. doesn't matter. What does is that the class<br />
interest. of the vectoralists lies in making ideas a form of. exclusive<br />
perpetual and global private property.. Thirdly it's a matter of tactics.<br />
One can mount legal. challenges to the. enclosure of information in<br />
ever more restrictive. intellectual property law. One can mount<br />
political. challenges in uniting the various branches of the. hacker class.<br />
Or one can mount a cultural challenge. by showing that the interests of<br />
the public are not. served by the exclusive control of information by a.<br />
handful of corporations. And of course there is the. technological<br />
strategy of creating new tools for. sharing information freely. But really<br />
its a question. of getting all of these tactics to work together to. create a<br />
strategy perhaps even an alternative. logistics in which information is<br />
free.. Roy While reading 'Virtual Geography' I couldn't. help but feel a<br />
weird sense of amnesia. I. remembered all of the media events therein<br />
but. only as vague blips on the radar. How do we. interject the idea of<br />
memory into the. mediasphere. Ken As Guy Debord used to argue the<br />
triumph of. the spectacle is in the defeat of history and the. installation<br />
of 'spectacular time' which is purely. cyclical. We no longer have<br />
history we have. fashion. Of course history always crashes the. party<br />
but it appears as something inexplicable. The. nightmare of video<br />
footage on endless replay. defying explanation. The temptation in<br />
media criticism especially in. America is to claim a. higher access to<br />
truth. All media is false but one's. personal experience of identity is<br />
somehow. authentic. Politics is atomized into subjective feeling. and<br />
turned into a species of moral judgment. This. creates that peculiarly<br />
American pseudoleftist. language that is really about moral authority a<br />
843
kind. of weird mutant puritanism.. An alternative is to take the great<br />
events that cross. the media vector and to freeze the frame. Look.<br />
closely at the decisive images. Wind the tape. backwards looking for<br />
patterns. Play the whole. thing in fast forward to look at the rhythm of<br />
the. edits. In other words we can discover history. within the media<br />
image without making claims to. an external superior grasp on truth.<br />
Through the. classic Burroughsian techniques of cut up play. back<br />
repetition we can produce our own. knowledge of media as history<br />
history as. mediation.. Roy Is there anything else on which you're.<br />
working that you'd like to. bring up here. I'm increasingly interested in<br />
the dual character of. the vectoral empire. It has its engines of<br />
privatized. information but it also has its engine of. vectoralizing<br />
military power. We are truly in the. age of infowar. Of course real<br />
people die killed by. real bombs but information over where those.<br />
people are how to target them with bombs. that's the new face of<br />
warfare. The new warfare is. a suspected terrorist in Yemen being<br />
assassinated. by a remote controlled drone. It's the. infrastructure of<br />
Serbia being jammed with. strategically placed bombing that shuts<br />
down all. command and control.. Now the two faces of empire are<br />
closely linked in. that they both run on the same vectoral. technologies.<br />
There is a militaryentertainment. complex that turns civilian and<br />
military space alike. into a gamespace for the calculation of moves.<br />
governed by arbitrary but nevertheless effective. rules. We are in the<br />
middle of a great game the. goal of which is subordinate history to<br />
reason.. Not to Hegel's historical reason but the logic of the. game. And<br />
anyone who won't play by the rules is. be contained (Kim Jong Il) or<br />
eliminated. (Saddam).. the vector the spoils.... frontwheeldrive.com. ...<br />
we no longer have roots we have aerials .... MSN with email virus<br />
protection service months FREE. Nettimebold mailing list.<br />
Nettimeboldnettime.org. End of forwarded message. gi røde og gule<br />
kort å stemple innvandrere. Fwd Nettimebold JoDI (Vi) an innovative<br />
hypertext issue. Start of forwarded message. <strong>Re</strong>plyTo<br />
nettimeboldnettime.org. Fwd Nettimebold JoDI (Vi) an innovative<br />
hypertext issue. We are pleased to announce a new issue of JoDI which<br />
takes a slightly. different form to the usual issues.. Journal of Digital<br />
Information announces. A SPECIAL ISSUE on Hypertext Criticism<br />
Writing about Hypertext. (Volume issue January ). Special issue<br />
Editors Susana Tosca (IT University Copenhagen) and Jill. Walker<br />
(University of Bergen). From the special issue editorial. Rather than<br />
present a traditional collection of long papers we decided to. attempt to<br />
844
ethink what an issue of an academic journal might be. We. invited<br />
submissions consisting of one or more brief nodes which we would.<br />
then link together to create a hypertextual journal issue an.<br />
interconnected discussion of a topic rather than disconnected articles.<br />
We. also invited contributions from both scholars and artists to assist in.<br />
bridging the gap that can appear between these groups. This diversity.<br />
characterises the collection of essays presented here.. As editors for us<br />
this has been a very exciting project. We think this. issue is innovative<br />
not only in content but also in form and we believe. it brings something<br />
interesting to the world of electronic publication.. We hope that this<br />
issue can serve as a landmark in the way hypertext. criticism is<br />
perceived by authors theorists and the general public alike.. The essays<br />
included succeed in relating hypertext criticism to a multitude. of<br />
humanities practices (print visual and digital) so that hypertext.<br />
criticism is shown to be embedded in a rich context. In the light of<br />
these. contributions to the field the picture becomes clearer than it has<br />
ever. been before.. Since this is a hypertext issue we aren't listing the<br />
complete contents. with links to individual contributions. Instead go to<br />
the editorial and. start exploring. You will find nearly contributions<br />
from these authors Mez Breeze. Julianne Chatelain Richard E.<br />
Higgason Deena Larsen Bill Marsh Adrian. Miles and Jenny Weight..<br />
A note on navigation. Each node stands alone but gains from being seen<br />
in. context so each contribution includes a contents list linking to all<br />
other. contributions in this issue. Follow the links in the text to see<br />
connected. nodes read the author details to see other nodes by the same<br />
author or use. the table of contents to choose another focus.. The<br />
Journal of Digital Information is an electronic journal published only.<br />
via the Web. JoDI is currently free to users thanks to support from the.<br />
British Computer Society and Oxford University Press. Nettimebold<br />
mailing list. Nettimeboldnettime.org. End of forwarded message. gi<br />
røde og gule kort å stemple innvandrere. Opera bork edition Aftenposten<br />
Nettutgaven Nett og IT. Muppet inn i nettleserkrig. Nå går nettleseren<br />
Operaen til et humoristisk motangrep på Microsoft etter at.<br />
Operabrukere. ble utestengt og diskriminert på MSNs nettsider.. portal<br />
nettsurfere med nettleseren Opera ute fra flere av sine sider. Høylytte.<br />
protester fikk. Microsoft til å fjerne flere av sperrene de hadde lagt inn.<br />
Men ifølge Opera. gjemmer MSN. fortsatt en del materiale fra portalen<br />
for Operabrukere. Når MSNs servere. merker at en. sideforespørsel<br />
kommer fra Opera leverer serverne dårligere sider enn om. forespørselen<br />
hadde. kommer fra en Microsoftnettleser.. Som svar på denne<br />
845
ehandlingen av Operabrukere lanserte Opera fredag en helt. spesiell.<br />
det. nettstedet. Den oversetter sidene til Borkspråk altså den svensk<br />
engelske. aksenten til. kokken i The Muppetshow.. ... Fwd mail log. kan<br />
vi ha en bok som er en type felles weblog altfor privat og klissete uten.<br />
forsvar og. ytterside sammenfaller med ' entries for silly' kanskje som<br />
arbeidstittel i. serien.. Start of forwarded message. Fwd MM's musing<br />
du jour. Start of forwarded message. .. Yesterday night I traveled into<br />
the future. I was laying on my bed. shut my eyes and then when I<br />
opened them I was hours into the. future And now I can't seem to get<br />
back.. .. End of forwarded message. Fwd <strong>Re</strong> Deleuze Guattari and<br />
Blake. Start of forwarded message. Fwd <strong>Re</strong> Deleuze Guattari and<br />
Blake. he speaks in blake in on nocab bacon he says one but its<br />
symbolist and no. chapter on symbolysm very much extended. try nice<br />
book by Hoockney dav on. lenses also for spinozist. to use creatively<br />
not epistemomologicvmerci. baba. End of forwarded message. Seen<br />
during a conference FOR ANYONE WHO HAS CHILDREN AND<br />
DOESN'T KNOW IT. THERE. IS A DAY. CARE ON THE FIRST<br />
FLOOR. Fwd Institutions of Monty Cantsin. Start of forwarded<br />
message. <strong>Re</strong>plyTo mail.ljudmila.org. Fwd Institutions of Monty<br />
Cantsin. REFRESH( sec). The Doublemills of Monty Cantsin. Monty<br />
Cantsin can use anything at will.. By reading this you have applied<br />
Monty Cantsin.. Optimism is a more selfreferential game of<br />
enslavement than bread.. Monty Cantsin is everyone who believes in<br />
energy.. Neoism is anonymous action doing battle against significance..<br />
Neoist affairs are rarely produced and the notion of truth does. not<br />
exist.. Censorship is a more neoistical sound of disorientation than.<br />
sobriety.. ..(today.. Thank you for participating in MAILING LIST<br />
SUBSCRIBER. SATISFACTION SURVEY.. ..(today. .. ..(today.. ..<br />
End of forwarded message. Seen during a conference FOR ANYONE<br />
WHO HAS CHILDREN AND DOESN'T KNOW IT. THERE. IS A<br />
DAY. CARE ON THE FIRST FLOOR. Fwd Nettimebold Spam Rap.<br />
Start of forwarded message. <strong>Re</strong>plyTo nettimeboldnettime.org. Fwd<br />
Nettimebold Spam Rap. To nettimelbbs.thing.net. From KarlErik<br />
Tallmo. SubjectNettimebold Spam Rap. Spam Rap. You may be<br />
surprised.. You may be surprised to receive this letter.. You may be<br />
surprised.. You may be surprised to receive this letter from me.. You<br />
may be surprised since you do not know me.. You may be surprised..<br />
You may be surprised since you do not know me.. You may be<br />
surprised to receive this letter from me since you do not know. me..<br />
Since you do not know me personally.. You may be surprised since you<br />
846
do not know me personally. I am Edward Bongo.. You may be<br />
surprised to receive this letter from me.. You may be surprised. I am<br />
Edward Bongo.. Since you do not know me personally.. You may be<br />
surprised to receive this letter from me since you do not know me.<br />
personally.. You may be surprised. I am Edward Bongo.. You may be<br />
surprised to receive this letter from me since you do not know me.<br />
personally.. You may be surprised to receive this letter.. This is the<br />
letter you have been hearing about on the news lately. I am. Edward<br />
Bongo.. You may be surprised to receive this letter. You may be<br />
surprised.. I know this proposal will come to you as a surprise because<br />
we have not met. before.. This is the letter you have been hearing about<br />
on the news lately. You may. be surprised.. I know this proposal will<br />
come to you as a surprise because we have not met. before. You may be<br />
surprised. Either physically or through correspondence.. I am Edward<br />
Bongo the son of John Mulaga Bongo.. You may be surprised.. You<br />
may be surprised since you do not know me.. This proposal will come<br />
to you as a surprise. I am Edward Bongo.. You may be surprised to<br />
receive this letter from me since you do not know me. personally.. You<br />
may be surprised. I am Edward Bongo.. You may be surprised to<br />
receive this letter from me since you do not know me. personally.. You<br />
may be surprised to receive this letter. Because we have not met before.<br />
either physically or through correspondence.. I am Edward Bongo the<br />
son of John Mulaga Bongo one of the black farmer in. Nigeria.. I am<br />
Fred James Mulaga the first son of Vander Mulaga one of the black.<br />
farmer in Nigeria.. You may be surprised.. I am Edward Bongo the son<br />
of John Mulaga Bongo one of the most popular black. farmer in<br />
Nigeria.. I am Fred James Mulaga the first son of Vander Mulaga one<br />
of the most. popular black farmer in Nigeria.. You may be surprised<br />
since you do not know me.. This is the letter you have been hearing<br />
about on the news lately. I am. Edward Bongo.. You may be surprised<br />
to receive this letter. You may be surprised.. I know this proposal will<br />
come to you as a surprise because we have not met. before either<br />
physically or through correspondence.. You may be surprised since you<br />
do not know me.. You may be surprised. I am Edward Bongo. I am<br />
Fred James Mulaga.. You may be surprised since you do not know me..<br />
I know that you will be surprised to receive this message because we<br />
have. not met physically nor through correspondence but I believe that<br />
it is one. day that you get to know someone and you people develop a<br />
lasting. relationship.. This is the letter you have been hearing about on<br />
the news lately.. You may be surprised. I am Edward Bongo. One of the<br />
847
lack farmer in Nigeria.. You may be surprised.. You may be surprised<br />
since you do not know me.. You may be surprised that you get to know<br />
someone and you people develop a. lasting relationship. You may be<br />
surprised. I am Edward Bongo.. You may be surprised to receive this<br />
letter.. You may be surprised. I am Fred James Mulaga.. I am Edward<br />
Bongo. You may be surprised to receive this letter.. You may be<br />
surprised.. You may be surprised that you people develop a lasting<br />
relationship.. I am Edward Bongo. You may be surprised to receive this<br />
letter.. You may be surprised that you people develop a lasting<br />
relationship.. I am Edward Bongo. You may be surprised that you<br />
people develop a lasting. relationship.. KarlErik Tallmo. Draw a<br />
straight line and follow it. La Monte Young. Nettimebold mailing list.<br />
listinfonettimebold. End of forwarded message. fordervet mat moralsk<br />
ødelagt mat.. Fwd noisetext Valenhallatines are erebusqued NAOS(E).<br />
Fwd noisetext Valenhallatines are erebusqued NAOS(E). HEAD and<br />
there i was studying Asmat shield iconography until with the. Doyles<br />
and Sullivans and thare bleakeyed Meoptics. HEAD these agressive<br />
forces have shuckered meshews and stuck a bed. undermee' Shin..<br />
ANON. CLAMORANGE HEAD Chalkdust family of Mites mighty<br />
chalkdust mite. To unsubscribe from this group send an email to. End<br />
of forwarded message. fordervet mat moralsk ødelagt mat.. Fwd <strong>Re</strong><br />
Fear.. levinas fearcare. co fo. Start of forwarded message. <strong>Re</strong>plyTo<br />
lyotardlists.village.virginia.edu. Fwd <strong>Re</strong> Fear.. All. Just wanted to<br />
chime in on what has been a fascinating look at fear over the. last week<br />
or so. Here is a definition of fear that puts a positive spin on. the term<br />
by Levinas To love is to fear for another to come to the. assistance of<br />
his fraility (Totality and Infinity ).. Levanis has a great deal to say about<br />
fear in the tremblingmurmingswarming. deworlding of the There Is (Il<br />
y a). His notion as I presently understand. it is towards a<br />
hospitalitywelcoming of the Other which stands in contrast to. it is<br />
towards a hospitalitywelcoming of the Other which stands in contrast to<br />
848
272<br />
what he sees as a BeingtowardsDeath in Heidegger.. love is to fear for<br />
another. If one were to shorten this definition to To love is to fear<br />
(without. reference to another) where does this lead the subject Perhaps<br />
I am off. base here but I read in Camus's existentialism a kind of<br />
lovingfear of the. subject. Sisyphus. The only serious philosophical<br />
question is suicide. A. brand of BeingtowardsDeath an anxiety within<br />
being.. love is to fear for another. Does the US fear for others in its<br />
policies Is there not rather too. much courage. Can in these times we<br />
find dread in such resolve. Fearing courage as much as fear itself. love<br />
is to fear for another. Levinas is difficult to stretch into politics. His<br />
love his fear is for the. facetoface one's neighbor. That is the<br />
managable microlevel. microlove(l) perhaps. To fear for the other<br />
beyond one's fear for oneself.. This then in a Levinasian sense is an<br />
infinite fear without regard to. whether such fear will be returned in<br />
kind.. If this fear is returned howeverthis fear from the otherthere may<br />
yet be. hope.. Geof. End of forwarded message. In an office WOULD<br />
THE PERSON WHO TOOK THE STEP LADDER YESTERDAY<br />
PLEASE BRING. IT BACK OR. FURTHER STEPS WILL BE<br />
TAKEN.. Undereksponert et Tb. Bok på et døgn. Av Pål Hilmar Sollie.<br />
Undereksponert et Tbanedøgn under jorda er tittelen på en bok som vil.<br />
komme ut. . april. Boka er ennå ikke skrevet og du har muligheten til å bli<br />
en av. forfatterne i boka.. On a church door THIS IS THE GATE OF<br />
HEAVEN. ENTER YE ALL BY THIS DOOR. (THIS. DOOR IS<br />
KEPT. LOCKED BECAUSE OF THE DRAFT. PLEASE USE SIDE<br />
DOOR.). isoQ<strong>Re</strong>noemataBFtteknott. NVE forteller meg Vi kan risikere<br />
strømmangel i løpet av vinteren.. Jeg tilbyr meg herved å skru av lyset på<br />
bøttekottet som du glemte å. skru av i dag morges.. Send til alle som har<br />
bøttekott.. jeg så alien igår med noe innlagt støy fra upc og der hadde de<br />
ikke engang. strømmangel. men måtte bekjempe skripete alien nesten<br />
bare med knyttnevene rart hvor søt. alien blir etter. hver oppfølger<br />
kjæledyr alien ripley liksom de gifter seg i neste film. vissnok alien. søker<br />
uføre etc. jfr. dette med levinas' fearcare alien langs dimensjon.<br />
ukjentkjent. evig riplay av kjeften til alien inntil domesticated og pusse<br />
849
tannebissene.. fins det. mennesketyper som bare ser oppfølgerfilmer<br />
som for å få bekreftet at det var. nok å få. bekreftet at bekreftelsen var nok<br />
til å få bekreftet at slik var det.. som var promiskuøs. IDEAREAL.<br />
tmplinks. husker ikke hva alt dette var inntil blgen er Ope igjain. Olav<br />
Torvund Opphavsrett en introduksjon. utvalgte tekster fra usenet<br />
norge... smuggla plutonium til Irak i UTEN at dette ble oppdaga. Da er<br />
det. sikkert at atommafiaen lett kan smuggle en atombombekoffert til<br />
Al Quaida. UTEN at CIA får snusen i dette så fremt ikke Aga Legger ut<br />
tissen på. Internett og informerer folk om dennne faren.. Pølsevev. CIA<br />
finner intet om det FORFERDELIGE i oktober eller .Jan fordi. de ikke<br />
vet hvem dvergen er. Hysterikere løper nå i ring og lager slave. De.<br />
oppsøker skjylla for Bin Laden i Ukraina.. Dette begynner å bli en uvane.<br />
I filmen Vann over hodet dukket Jon Skolmen. opp for å oppklare<br />
mordet på en øde øy i år . TØVET gjentok seg .Des. da Ørnulf Ørn FILMET<br />
selvmordet til Kjell Inge Røkkes søskenbarn.. Allerede DEN GANGEN<br />
var negerslaveriet blitt en sosial uvane. Jeg tror DU. er den største<br />
muldvarpen Norge har hatt .. Den .Juli begynte Avåpen smuglingen ca kl<br />
samme dag som. presidenten i Finland fikk et hemmelig rom i EU mens<br />
Olaavi Kartoonen ble. alkoholiker pga trakkasering fra Arne Fagertun<br />
og ROSA elefanter i nark.sys. den .. villledet POTe til å tro at dvergen<br />
SNIFFET SNØ ifm. kokainspritheroinsaken i Lillestrøm i offentlige<br />
dokument unndratt. offentlighet. Samme dag forsvant dokumentene om<br />
<strong>Re</strong>idun (psyko.sys).. Enten man politianmelder Kåre Torvholm i Narvik<br />
eller politianmelder folk. for å ha DRAP i Bodø kommer dette ut på det<br />
samme.. STIGMATISERENDE dokumenter ble laget mens SS (R) ble<br />
overført fra EAST. til WEST som ledd i en gjensidig avtale. I desember<br />
protesterte Canada mot. nakne damer. SAMTIDIG ble det i filmen<br />
rederiet planlagt USEDELIGHET. Mens. alt var grønnere på den andre<br />
siden (CIA) fikk en ansatt på Sunnmøre. homofile eposter FØR<br />
jobbsøknaden til verftet. Nikitin trode at ALL. overføring av nakne<br />
damer (jmf Kolahalvøya .Jan ) var ulovlig også. den lovlige avtalen<br />
mellom EAST og WEST.. I filmen Svarte Orm deltok Mr.Bean i en<br />
rotten BORROW i det sentrale. NordEngland. Konkurrenten manglet<br />
ET programpunkt som IKKE var idiotisk.. Det eneste seriøse var<br />
avskaffelsen av Negerslaveriet. Av hvem og når i. helvete ble dette<br />
vedtatt undret partilederen.. Maskemannen ga skjylla på dvergen. Han<br />
kontaktet en mystisk psykiater for å. TA offerlammet BAK. Dette var en<br />
reprise av TØVET på en øde øy sommeren. . ORIGO ble forbannet over<br />
lekkasjen (tiss) rundt gjøresegheltslapp. leken i Los Alamos.<br />
Offerlammet kontaktet Mosjøen Politikammer den .Nov. . Spooky<br />
850
leverte en politianmeldelse i Narvik sommeren . Samme. sommer<br />
prøvde Spooky og Llag Melshorn (Tromsø) å likvidere dvergen gjennom.<br />
ordrer som ble hindret av Stay Behind. Det skjedde i samarbeid med<br />
Helga. Nikitin og Sunnmøre.. Hjerneblødningen den .. og dødsfallet .. ER<br />
tull og tøys.. <strong>Re</strong>latert til kalkunenes passordsystemer på Stord høsten<br />
radioisotopet. Rowan Atkinson og duepuppene som er så SJENERTE at<br />
de TRE GANGER. spionerte etter nakne damer med helikopter<br />
ULOVLIG LAVT OVER HUSTAKENE.. Spørsmålet er ikke skjylla.<br />
Petrovich Trecelzky gikk i fella under. Treholtsaken da gigantiske<br />
OSTER ble nevnt og Idar Ulsteins MISBRUK av. tull ble hindret av<br />
prevensjonsmidler. ORIGO kvesser nå knivene. SVITSJ. SVITSJ.<br />
SVITSJ. mens hysterikere roper om skjylla. Ingen spør (hverken Nikitin<br />
eller. maskemannen). Hvem sa klukk.klukk. Istedet gis trusler om at<br />
den første som sier noe havner fot under. jorda og at Hele slekta di skal<br />
drepes (Sunnmøre) mens. prolifkontoret hos PST er i villrede.. Den<br />
eneste logiske konklusjon er at slaveola nå ER en sikkerhetsrisiko..<br />
IDIOTI. YES SIR. Fordømte idiot. Du skjønner ikke spillet.. Gruppa er<br />
minst tre innbyrdes stridende fraksjoner. I år ønsket. maskemannen en<br />
skriftlig bekreftelse fra Kåre Torvholm på at han var sjef. for alle tre. Det<br />
var samme kveld som KT sa til Magne Aga at han KUN tok. imot<br />
telefoner fra Oberster eller Generaler i NATO. Eneste unntak var<br />
Magne. Aga. Magne og hans mor sørget for brannslukking og hindret<br />
flere. naturkatastrofer denne kvelden.. .. sa Katrin at Kåre lå for døden og<br />
at jeg ikke måtte informere. noen andre. Ordren kom fra Kåre.. Imidlertid<br />
tok jeg en SPOOKY telefon og fikk som svar at maskemannen skulle.<br />
likvideres dersom han sa noe mer.. Han skal kun spise og sove sa<br />
spooky. Ellers ble han likvidert.. Spooky hevdet å lede et ulovlig<br />
nettverk fra Kristiansund og nordover som. hadde statskupp som mål og<br />
at han skulle overta etter Kåre Torvholm.. Dette forklarer hvorfor Kåre<br />
Torvholm slengte på røret før en rettsak i. og sa at Jeg skal mer aldri prate<br />
med Håkon Jensen.. .. kom nye drapsordrer. Håkon Jensen Tromsø<br />
samarbeidet med. Kommunelege og Politi for å tvangsinnlegge<br />
maskemannen på Psykiatrisk. klinikk. I et møte med FAMPOlederen og<br />
en journalist på en flyplass prøvde. han å overtale FAMPOlederen til å<br />
samarbeide om eliminering av politiske. motstandere med psykiatri. De<br />
skulle få sitt eget cellenr. Dette nektet. Hiåsen og journalisten å være med på<br />
før spooky dro til Cuba med fly.. Spooky sa til noen som nå bor i<br />
Finnmark at Du blir Fiskeriminister etter. statskuppet. Han nektet og<br />
advarte Hiåsen og journalisten om å røre noen. drikkevarer på Gardermoen.<br />
Helga ble frivillig med til Cuba betalt av. spooky.. Spooky gir<br />
851
drasordrer i øst og vest og kritiserer Justisdepartementet for. drap. Han<br />
kritiserer USA for det som han selv gjør. Og gir ordre til at. kritikere på<br />
Internett skal tvangsinnlegges dersom de nevner hans. kriminalitet.<br />
Applaudert av Oddmar <strong>Re</strong>møy og Synnøve Fjellbakk Taftø. Sniffer man<br />
LSD på NPS gitt av mystiske psykiatere er dette forståelig.. Da sier man<br />
Hahaha og har det EKSTREMT MORSOMT. Denne humoren har<br />
skjedd. i topphemmelighet. Kjetil Lund ble betalt for å skjule den for.<br />
Lundhøringene samtidig som han satt som advokat i Norges Fiskarlag<br />
som. advokat for Psykiatrien versus Joar Tranøy og som advokat for<br />
kystens. hemmelige tvangskos. Lekkasje av tiss ble deretter oppsnuset<br />
av tissen til Lauritzen i Forsvarets. Overkommando ETTER utbruddet<br />
mot POTetklubben i forbindelse med møtet med en. agent fra Mossad i<br />
Norge. Er det på grunn av en dissens på det personlige. plan at Magne<br />
Aga så obersten snakke med Lauritzen i dokumenter unndratt.<br />
offentlighet. Eller er dokumenter stjålet de ødelegger dokumenter som<br />
Terje. Henriksen skrev i tillegg til IDIOTtråder på news om at duer skal<br />
visst. anklages Byduer fra St.Petersburg PØLSEVEV. Man fristes til å tro<br />
at syke folk SAMLER på TULL og TØYS og lagrer det på. DVDrommer i<br />
et Riksarkiv. Se bare på det intetsigende TØVET nedenfor.<br />
Kalkunklubben heard in message.<br />
voicesheardinsidetheheadscruffymcduffy.com.... Slakte å lemleste<br />
kropper er det som skal til for å avdekke. atomsmugglinga til Irak. Da<br />
gjelder det å ta tak i folk å sjære et dypt. kutt i halsen som blodet fra<br />
halspulsåra spruter ut. Man kan med øks. høgge av lemmer både armer og<br />
bein så offret må rulle rundt uten armer. og bein og vinner fri meter i<br />
parraolympics. Man si man har en dildo. å kjøre en kniv opp i anus og i<br />
musa og vri rundt så eggen skjærer opp. vevet. En kniv kan også kjøres in i<br />
vomma å sprette denne opp så tarmer. og involler velter ut. Puppene kan<br />
skjæres av så offeret løper rundt i. gatene og hyler i fryd over å ha blitt<br />
flatbrysted. En haggle kan skyte. av folk beina ved å treffe i låret så de må<br />
humpe rundt på stubbene.. HVEM har en sådan språkbruk som<br />
Kalkunklubben hørte den .Jan Kl. relatert til omsorgsboliger<br />
Grønnsakmenn eller Menn med Maske. Fiendene til Ole Brum Ørnulf Ørn<br />
har hørt lignende vissvass før. Hørt av Ørnulf Ørn den .August kl. JFK FIKK<br />
en lærpenge av DEK level ... i ...... Etter Tyrkia (atom) Cuba og et<br />
Russisk prosjekt som ikke ligner grisen. gikk det galt.. Slikt gjør man<br />
ikke...... og den hvite Mersca kjører på en bensintank. som består av tonn<br />
DVS... den kan kjøre i flere hundre år uten. stopp.. HVEM FAEN TROR<br />
Lasse han er. Brum brum brum. NAVN IKKE datoer er saken.. Hørt av<br />
Ørnulf Ørn den .August kl. Bare man får sitt inn i Le Monde så spiller dette<br />
852
ikke noen trolle om. LSD i psykiatrien. Anmeldelse av TYVERI av<br />
legejornual... relatert til <strong>Re</strong>idun siden den er. vekk... Europol leter.. og<br />
de finner..... TV de intervjuer.... Navnlister MÅ legges ut på Internett...<br />
IKKE datoer..... PØLSEVEV. .Nov Kl Innbrudd fra samme IPadresse.<br />
.Nov Kl Innbrudd fra samme IPadresse. .Nov Kl Innbrudd fra ....<br />
(tukling med CNTsystemRPCSS.exe). .Nov Kl Innbrudd fra ...<br />
(trojansk hest). .Nov Kl Innbrudd fra .... (tukling med CProgram<br />
filesOutlook Expressmsimn.exe). .Des Kl Innbrudd fra .... (tukling med<br />
CNTsystemRPCSS.exe). (CProgram filesOutlook Expressmsimn.exe.<br />
.Des Kl ... (CNTsystemRPCSS.exe). (tukling med CProgram<br />
filesOutlook Expressmsimn.exe). .Des Kl ... (CNTsystemRPCSS.exe).<br />
(CProgram filesOutlook Expressmsimn.exe). (CProgram filesOutlook<br />
Expressmsimn.exe). .Jan Kl ... (CNTsystemRPCSS.exe). .Jan Kl ...<br />
(CNTsystemRPCSS.exe). .Jan Kl ... (CNTsystemRPCSS.exe). .Jan Kl<br />
(UDPprotokoll). (CProgram filesOutlook Expressmsimn.exe). .Feb Kl<br />
... (CNTsystemRPCSS.exe). Enkelte ER uhyre barnslige eller<br />
paranoide.. Hva har jeg på nettPC'en. Jeg lastet ned info om<br />
Sanskritmanuskripter fra National Archives of Nepal. da tullinger<br />
forsøkte seg igjen.. Dersom man har AHDH syndrom er uhyre aktiv å<br />
slik... finnes det tross alt. grenser for hvor langt man kan gå..<br />
RITALINMANNEN kan ringe PST og skremme med tissen. Dersom<br />
ikke... så. kommer tissens fred og ro til å FORSTYRRES osv. Men selv<br />
med AHDH kan man. ikke ha tisser. Det faller på sin egen urimelighet..<br />
Dette er en såpass stor mengde at det er et problem. Poenget er at denne.<br />
historien er eldre enn RitalinMannen Mannen med Maske og Ingolf.<br />
Den angår. heller ikke gruppa selv om dette brøles i telefoner til PST..<br />
personer satt i en kafeteria. En lavmælt samtale pågikk. Denne samtalen.<br />
ble hørt av en annen tilstedeværende. Den ble nedskrevet i et dokument<br />
som. senere havnet hos Lech Walesa. Dette dokumentet så jeg<br />
sommeren . Da. Lech Walesa ønsket sakene oppklart var forutsetningen<br />
at tissen ikke skulle. stresses forstyrres eller uroes av sexprat. Tissen<br />
måtte beskyttes. mot den slags ved hjelp av den samme hviskingen og<br />
tiskingen man finner i. den hysjstemning som råder inne på et<br />
BIBLIOTEK.. Katastrofen inntraff da Ritalinmannen skapte en masse<br />
støy omkring et. hemmelig oppdrag og i tillegg påstod at han selv hadde<br />
tisser ().. I samme uke går den Spanske Flue på TV med oppstyret i.<br />
sedelighetsforeningen og hvor det gikk inflasjon i hvem som var faren<br />
til. Øyvind Blunk. På samme måte går det inflasjon i de tissene. De. tilhører<br />
IKKE gruppa eller Mannen med Maske.. Enkelte ganger er det like<br />
viktig å vite hva som IKKE er tilfelle som det. er å kjenne alle fakta..<br />
853
Ørnulf er en ond oppfinner men heldigvis ikke så smart. Fremfor alt.<br />
mangler han tenkehetten til Petter Smart. Han har prøvd å stjele den. med<br />
det resultat at han oppfant en skurkefangermaskin som fanget han. selv.<br />
Ørnulf bruker ofte forkledninger men blir lett gjenkjent.. Likevel Ørnulf står<br />
bak epokegjørende oppfinnelser som skykopteret. eksplosivknappen og<br />
DIAOTAP (Del I Atomer Og Ta Penga). Tror jeg.. En gang ble noen<br />
nektet pengestøtte fra SND i å starte firma. Firmaet het. PRILUM AS.<br />
Pengestøtten ble nektet da det lokale utviklingsselskapet. oppdaget at<br />
PRILUM betød Penga rett i lomma uten moms.. Ørnulf Ørn bør ikke<br />
nødvendigvis oppfattes som en ondsinnet raner av. pengetransporter.<br />
Han kan også advare uskyldige mot falske anmeldelser og. tull i<br />
offentlige dokumenter unndratt offentlighet. Dette skyldes hans evne.<br />
til å høre stemmer men på en helt annen måte enn Terje Torvaldsen.. Tror<br />
jeg.. og vi avslutter idag med. Det er riktig siden psykiatriske<br />
institusjoner er matstasjoner for diverse. parasitter som trenger ånd og<br />
kraft som de stjeler ved å stjele åndelige. legemerliv fra psienter og<br />
ansatte somde lurer inn i psykiatrien tror jeg.. Terje Henriksen. laiv.<br />
nice url. OpenDocument. Levende rollespill noe for drama. .. Av<br />
Tommy Finsen. I en lengre artikkel tar Vibeke Andersen for seg laiv (i<br />
hvertfall enkelte. typer) på en. dramapedagogs premisser. Dette er del to<br />
av tre i artikkelserien fra Drama nr. Vibeke Andersen. Levende<br />
rollespill noe for drama. Levende rollespill eller laiv dukket jeg borti<br />
første gang på videregående. En. del av guttene. i parallellklassen min<br />
møttes en gang i uka og lekte vampyrer i Oslos gater.. Det. hele virket.<br />
ganske tåpelig på meg den gangen noe nerdete gutter dreiv med på fritida..<br />
Men for noen år siden ble jeg kjent med et par som hadde drevet med<br />
laiving i. flere år og var. helt hekta. Hjemme hos dem hang det selvlagde<br />
ringbrynjer på veggene og det sto. utskårete. romerske spyd med<br />
skumgummispiss på gjesterommet. Merkelige alfabet var rammet. inn og<br />
hang. overalt og skapene var fulle av vadmelskjoler og hjemmelagde<br />
skinnsko.. Dette fascinerte og jeg måtte bare spørre hva en laiv egentlig<br />
var. De svarte. litt diffust. En laiv var en slags leir du dro på der du spilte<br />
en rolle hele tiden mens du. var der. De. fortalte om en skjebnelaiv de<br />
hadde vært på Orfevs og Evrydike og den. inneholdt alt sa. de kjærlighet død<br />
hevn mord og så videre.. Men hva gjorde de der Var det som et skuespill<br />
Kysset de hverandre Sloss de. på ordentlig. Hvordan visste de hva de<br />
skulle gjøre Hvor bodde de Hva spiste de. Jeg ble sittende igjen med<br />
flere spørsmål enn jeg hadde hatt før jeg spurte.. Men. nysgjerrigheten<br />
min var pirret.. Under en diskusjon på dramastorfag høsten snakket vi om<br />
hvordan ulike. fagområder. benytter seg av teater og dramatermer og hva<br />
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dette gjør med faget vårt. Da. bestemte meg for. å gjøre en undersøkelse<br />
omkring begrepet rollespill. Dette er definitivt et. begrep som andre.<br />
fagområder har lånt og gitt en ny betydning. Her fikk jeg også muligheten<br />
til. å undersøke. grundigere hva levende rollespill gikk ut på.. Jeg bestemte<br />
meg for å se nærmere på de fagområdene som benyttet begrepet. rollespill<br />
og. finne ut hvilken betydning de tilla ordet. Deretter sammenliknet jeg<br />
disse. ulike. formene for. rollespill og tilslutt undersøkte jeg hva mannen<br />
i gata forbandt med ordet.. <strong>Re</strong>sultatet var. ganske spennende og<br />
utgjorde storfagsoppgaven min våren .. I denne artikkelen vil jeg<br />
imidlertid bare ta for meg den kategorien som. omhandler.<br />
fantasirollespillet en form som har vokst frem i ungdomsmiljø over hele.<br />
verden.. Fantasirollespill. Fantasirollespill kan grovt deles inn i tre<br />
hovedkategorier. . Bordrollespillbrettspill. . Rollespill på nettet. .<br />
Levende rollespill Laiv. Bordrollespillet har sine røtter i to leirer. På den<br />
ene siden har det. utgangspunkt i det. tradisjonelle brettspillet som<br />
Hattoverhatt og Ludo. Brettspillene har blitt. mer og mer. avanserte og<br />
vi har fått spill som Geni Fantasi og Kokkelimonke. Disse. spillene.<br />
prøver å. involvere spillerne i større grad noe som også er målet i<br />
bordrollespillet.. På den andre siden har bordrollespillet røtter i<br />
Fantacylitteraturen (for. eksempel Ringenes. Herre J.R Tolkien). Dette<br />
er historier med trollmenn drager nisser. dverger. alver og. hobbiter<br />
spennende figurer som appellerer til fantasien. Historien i disse. bøkene<br />
er ofte. oppbygd på samme måte som våre folkeeventyr. Hovedpersonen<br />
har en oppgave å. løse møter mange. prøvelser underveis og seirer til slutt<br />
over det onde. Denne formen er kjent. for. de fleste. og vi kan<br />
dramaturgien i historiene nesten intuitivt.. Herfra var ikke veien lang til<br />
ønsket om selv å lage historier.. Bordrollespillet. bidro med et. brett<br />
figurer (alver trollmenn krigere) spesielle terninger som ga figurene.<br />
ulike. egenskaper (magiformularer styrke evne til overtalelse) og en<br />
liten bok som. beskrev den. fiktive verdenen spillet foregikk i. Da var<br />
det bare å sette i gang.. En rollespillgruppe ble en eksklusiv klubb som<br />
spilte sammen. En i gruppa var. spilleder GM. (gamemaster). Det er<br />
han som har utviklet den historien som skal utspille seg. hvilke figurer.<br />
som skal være med og hvilke problemer som skal løses.. Han forteller en<br />
innledning til historien og spillet begynner. Spillets gang. går. ut på at.<br />
deltakerne som ofte er et team skal løse problemene som GM har laget<br />
ferdig.. Eksempel En. drage ligger på gullnøkkelen dere trenger for å befri<br />
alveprinsessen. Hva gjør. dere. Gruppa diskuterer og blir enige forteller<br />
hva de gjør og terningen avgjør. utfallet. GM. forteller da hva som blir<br />
konsekvensen av handlingene deres og tar de med. videre. i.<br />
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handlingen. Her er det viktig at GM kan leve seg inn i fortellingen og<br />
skape en. stemning som. holder interessen ved like hos deltakerne..<br />
Dette ble fort populært spesielt blant gutter. Kanskje var dette fordi.<br />
historiene som kom på. markedet ofte var henvendt til gutter eks.<br />
Dungeons Dragons Vampires Star. Wars m.fl.. Rollespill på Internett har<br />
utgangspunkt i både bordrollespill og dataspill. (adventure. games). Også<br />
her er det problemløsning som er essensen i historien men her. gjør. du<br />
det. hjemme fra PC'en din. Du søker på nettet etter roleplay og velger det<br />
spillet. du ønsker å. være med på. De fleste spillene opererer med både tekst<br />
og grafikk. Du får en. introduksjon. til den verdenen som eksisterer i ditt<br />
spill du velger deg en figur og får. vite hvilke. egenskaper du har.<br />
Deretter møter du teamet ditt som ofte er fra helt andre. deler av verden.<br />
enn deg du får en problemstilling og setter i gang. Her må du forhandle<br />
med de. andre. spillerne over nettet. Du skriver hva figuren din har<br />
tenkt til å gjøre og du. får vite. resultatet av handlingene dine av<br />
fortelleren i spillet.. Dette er en forholdsvis ny form for rollespill men<br />
en som øker og forbedres i. et utrolig. tempo. Noen spill har en artig vri<br />
der du får muligheten til å innvirke på. historien.. Etterhvert som du blir<br />
flinkere og beveger deg oppover i nivåene (levels) får. du. muligheten. til å<br />
skrive forslag til oppgaver til andre som er med i spillet men er på et.<br />
lavere level. enn deg.. Etterhvert som Virtual <strong>Re</strong>ality blir enklere og<br />
mer brukervennlig og grafikken. blir mer. troverdig er jeg sikker på at<br />
denne formen for rollespill vil øke i et. eksplosivt tempo. Her. har du<br />
muligheten til å gå inn i ulike verdener være alt fra sort alv til. steppebeboer<br />
og. leve i en annen verden sammen med mennesker fra hele verden fra<br />
din egen stue.. Levende rollespilllaiv ble startet for ca. tyve år siden i<br />
USA av. bordrollespillere som. ikke lenger var tilfredse med bare å<br />
fortelle hva figurene deres gjorde. De. ønsket å spille. ut historien være<br />
figuren sin og få leve i den fiktive verdenen en stund.. En definisjon på<br />
laiv er utarbeidet av Hanne Grasmo og lyder som følger. Laiv er<br />
forberedt og planlagt improvisasjonsteater som søker å levendegjøre et.<br />
fantasisamfunn over en kortere periode (noen timer til seks dager).<br />
Samfunnet. skal virke. ekte både fysisk psykisk mytisk og sosialt. Det er<br />
ingen tilskuere og alle. deltakerne får. på forhånd tildelt en rolle (det er kun<br />
en bakgrunn ikke manus) som de skal gå. inn i og leve. i så lenge spillet<br />
varer. Dette ser ut som en blanding av mange dramaformer vi selv<br />
driver med en slags. komplisert. dramatime. Kanskje er det på grunn av<br />
denne blandingen at laiv har så mange. forskjellige. navn Fantasireise<br />
rollelek sanselek teaterlek fullskala rollespill. tidshull simulerte.<br />
samfunn scenario interaktivt teater improvisasjonsteater m.fl.. Som vi<br />
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ser av definisjonen krever en laiv mye planlegging av arrangørene for.<br />
hvordan skulle. man få verdenen til å virke så realistisk at man virkelig<br />
levde seg inn i den. Hvor skulle. man være Hvordan skulle en få figuren<br />
sin til å se ut slik man hadde bilde av. den i hodet. sitt Hvor skulle man få<br />
våpnene fra Hvordan skulle man sloss drepe eller. torturere noen. Laiv<br />
ble et så omfattende prosjekt at det kunne ta et helt år å planlegge .. Jeg<br />
skal gjennom et fiktivt eksempel prøve å ta dere med fra start til slutt. i.<br />
planleggingen av en laiv. Jeg velger å bruke vårt definisjonsapparat noe<br />
jeg. håper vil vise. hvor mye arrangørene har til felles med dramalæreren..<br />
En laiv skapes. Det første trinn i utviklingen av en laiv er at en arrangør<br />
kommer på en id. som. engasjerer. henne. Min fiktive arrangør får en id når<br />
hun leser VG en gang i og. leser at ... vil det være solformørkelse.<br />
Solformørkelser har alltid vært fulgt av. dommedagsprofetier og. andre<br />
myter. Dette er en god anledning til å lage en laiv.. Tid Arrangøren<br />
velger seg tidlig middelalder og ønsker å la laiven inspireres. av<br />
legendene. om kong Arthur og ridderne av det runde bord. Hun tror også<br />
at laiven bør vare. et par dager.. Fabel Sakserne er klare til å invadere et<br />
splittet Britannia. Konflikten. mellom. den gryende. kristendommen og<br />
den gamle troen på Gudinnen og Den Hornkledte deler Britannia. i.<br />
leirer. som styres av sine småkonger. Den gamle kongen ligger for døden<br />
og mange. småkonger ønsker å. overta tronen som storkonge. På øya<br />
Avalon prøver man å finne en løsning som. vil. forene de. ulike gruppene<br />
i Britannia mot en felles fiende sakserne. Kanskje en konge av. blande<br />
blod. vil være løsningen. Intrikate planer magiske ritualer bryllup<br />
prøvelser for den nye kongen og. hans riddere. utroskap plyndring og<br />
kriging blir ingrediensene i min arrangørs historie. Det. store slaget. vil<br />
finne sted onsdagen da solformørkelsen skjer og hva solformørkelsen<br />
vil. bety for. utfallet av slaget vil være det største spenningsmomentet. De<br />
kristnes. dommedagsprofetier. prestinnene på Avalon sitt syn på dette<br />
som en spesielt magisk hendelse og. saksernes. uvitenhet vil alle være<br />
med å bestemme hvem som seirer.. Hele bakgrunnen til historien som<br />
skal spilles må skrives ned og sendes med. kompendiet som. alle<br />
deltakerne får tilsendt.. FigurerKong Artur Trollmannen Merlin Fruen<br />
fra Sjøen (Viviane) Morgan le. Fay Igraine. Riddere Saksere Småkonger<br />
Prester Nonner Prestinner på Avalon m.fl.. Det er viktig at rollene ikke<br />
blir endimensjonale alle må ha en berettiget. plass i samfunnet. og alle må<br />
ha oppgaver å løse.. Personkarakteristikk og bakgrunn til alle figurene må<br />
skrives ned og sendes med. kompendiet.. Rom Handlingen foregår på<br />
Avalon (en øy) hos Kongen (en borg) i skogen og på. markene. Det. er<br />
også viktig at handlingen foregår en plass der man ser solformørkelsen..<br />
857
Dette er en laiv som vil kreve altfor mye i forhold til lokaliteter så min.<br />
arrangør må. slakke på kravene. Det viktigste er at solformørkelsen kan<br />
sees. Derfor. bestemmer hun seg for. å holde laiven i sørdelen av<br />
Danmark. For å slippe å leie en borg bestemmer. arrangøren at. laiven<br />
begynner med den forrige kongens begravelse og da har alle tilreisende.<br />
egne telt som. de bor i under hele laiven. Beboerne på Avalon har sine<br />
telt på øya og. sakserne. har sine. telt i skogen rundt begravelsesplassen.<br />
Disse teltene må selvfølgelig se. troverdige ut. derfor må oppskriften på de<br />
ulike teltene inkluderes i kompendiet. Min arrangør. hiver seg på.<br />
telefonen til Danmark og leter etter en campingplass eller friområde som<br />
har en. innsjø eller. et tjern med en øy i og både en åpen plass og skog<br />
rundt.. Pris for reise og deltakelse i laiven må sendes med kompendiet..<br />
Dramatiske virkemidler. Spenning Spenningen i laiven ligger i mange<br />
lag. Historien som skal utspilles. er full av. spenningsmomenter. Vil<br />
kongen og ridderne klare prøvelsene saksernes. plyndringer på. nattestid<br />
planene som settes ut i livet av Fruen fra Sjøen og Merlin... En laiv er<br />
gjennomsyret av spenning dersom den er godt planlagt. Og for.<br />
arrangøren er alltid. spenningen om laiven får det utfallet hun har tenkt<br />
seg uforutsette ting som. skjer underveis. m.m.. Kontrast Kontraster i<br />
denne laiven er mange for ex. mellom figurene Lot som. ønsker å drepe.<br />
kongen og selv være konge men som utad virker lojal mot kongen. Den<br />
ultimate. kontrasten. ligger i solformørkelsesøyeblikket. Der lyset viker<br />
for mørket i noen minutter.. Også her er det arrangøren som legger opp til<br />
kontrastene i historien mellom. figurene i. hendelsesforløpet osv..<br />
Symboler Laiven blir gjennomsyret av symboler. Våpnene er av lateks<br />
eller. skumgummi. Og når. man blir truffet må man spille skaden<br />
troverdig. Dersom våpnene er ekte. avgjøres kampen. etter dødelighet eks.<br />
øks slår kniv sverd slår øks. Alkohol er forbudt så. man. drikker seg. full på<br />
rødsaft (vin) eller sjampanjebrus (øl) etter drikkepoeng. F.eks To. glass<br />
blir du. full av etter tre går du under bordet. I tillegg vil handlinger som<br />
sex drap. o.l gjøres. symbolsk. Eks. skuldermassasje betyr samleie eller<br />
man kan bare si Nå er du. gravid.. Ritualer Denne laiven vil være full av<br />
ritualer. Eks. Stammefolket sin prøve. av. Artur vil. innebære<br />
kroppsmaling urteteer for å oppnå transe for å se om Gudinnen. finner.<br />
ham verdig. dans rundt bålet en menneskejakt der stammefolkets menn<br />
prøver å fange Artur. og. til sist en. forening mellom kongen og ypperste<br />
prestinnen.. Det er viktig å ha både små ritualer for å skape samfølelse i<br />
grupperingene og. også store. ritualer der alle får delta for eksempel<br />
kroningen av kongen. Dette skaper en. større. fellesskapsfølelse for hele<br />
gruppa.. Rytme. Her står arrangøren litt hjelpeløs for det er deltakerne<br />
858
som bestemmer flyten. i. spillet. likevel har arrangøren en mulighet til å<br />
påvirke spillet. Det gjøres ved å leie. inn noen til. å være skuespillere som<br />
skal være med i små scener for eksempel en prest som. leder. begravelsen<br />
og åpner laiven noen saksere som kan komme og plyndre om natten.<br />
kanskje de. kidnapper noen. Noen kan være Gudene som viser seg i et<br />
drømmesyn eller. prestinner som har. sett den store dragen sluke solen.<br />
Disse må instrueres og lønnes dersom de. ikke. er med i.<br />
arrangementskomiteen. Men de er et viktig element for å få historien<br />
videre.. Dramaturgiske valg. Alle disse valgene må tas av arrangøren i<br />
konstrueringen av historien.. Tolkningen vil arrangøren gjøre på forhånd<br />
gjennom hva hun velger å legge vekt. på i. oppbyggingen av samfunnet.<br />
For at deltakerne skal forstå hvilken vei handlingen. skal gå er. det viktig<br />
at arrangørens tolkning av stoffet er tydelig i spillet.. Fokus i historien<br />
vil variere etter hva som er din oppgave i spillet. For. sakserne vil<br />
fokus. ligge på hva de kan gjøre for å kunne slå britene mens for<br />
prestinnene på. Avalon vil fokuset. være hvordan de kan skaffe en konge<br />
som alle vil følge. Dersom gruppene har for. mange fokus. på en gang<br />
kan de miste tråden i historien.. Vendepunkt er det mange av i historien.<br />
Disse oppstår når f.eks. den lojale. ridderen Lot. forgifter kongens mat.<br />
Hovedvendepunktet blir kanskje utfallet av striden under.<br />
solformørkelsen. Stilen blir realisme for et av målene ved laiv er å skape så<br />
realistiske. skildringer som. mulig. Dramaformen er det vanskelig å<br />
beskrive i og med at dette ikke er en. dramaform. Men. det nærmeste jeg<br />
kan komme er kanskje aristotelisk. Andre oppgaver. Selv om nå laiven<br />
nesten er klar er det fremdeles en del ting å ordne. troverdige rekvisitter.<br />
(det runde bord) skal ridderne ha hester hva slags mat skal spises osv.<br />
Når. dette er. gjort skal kompendiene lages med rollebeskrivelser<br />
historiens bakgrunn en. beskrivelse av. de religionene som er med i<br />
historien alfabetet til det hellige språket på. Avalon må med. tegninger av<br />
kostymeutkast til konger riddere prestinner saksere tjenere. osv våpen.<br />
tegninger og evt. sanger eller formularer som må læres.. Så må laiven<br />
reklameres for slik at det blir mange som vil være med. Internett. og.<br />
laivgruppenes blad er de mest benyttede PRfora. Og etterhvert som<br />
deltakerne. melder seg på. skal de få sine kompendier tilsendt og pengene<br />
må kreves inn.. De fleste arrangørene som i hovedsak er gutter (stadig<br />
flere jenter blir. arrangører) er. mellom år. De er godt utdannet innenfor<br />
ulike fag historie samfunnsfag. naturfag. eller teatervitenskap. Og de<br />
fleste gjør alle deler av arbeidet med å lage en. laiv selv. eller de er et lite<br />
team som deler på ansvaret. Det er mye arbeid og man kan. undre seg<br />
over. at de orker.. Likevel sier de fleste at når de ser alle deltakerne spille<br />
859
i samfunnet deres. er. all. jobbingen verdt det.. For å være helt ærlig Kicket<br />
er å se at spillerne lever i min verden.... (Grasmo Hanne. s.). Laiven.<br />
Påmeldingene strømmer inn og rollene fordeles. Deltakerne er med av<br />
ulike. grunner noen er. med fordi de ønsker en sterk opplevelse andre er<br />
med for adrenalinkicket du. får. i laiv.. Enkelte er med fordi de ønsker å<br />
være noen andre enn seg selv en stund noen få. er kostyme og.<br />
rekvistittfreaker og er med for å lage så gode og troverdige ringbrynjer.<br />
sverd kilter e.l. som mulig. Andre igjen er med fordi de liker å være i<br />
fokus og atter andre. liker. å lære nye. ting om forskjellige samfunn og<br />
liker å sette seg nøye inn i samfunnet før de. er med.. Men noen ting er<br />
felles for deltakerne Alle må akseptere fiksjonspakten og. alle må prøve å.<br />
leve seg inn i rollen sin så godt som mulig så lenge laiven pågår..<br />
Fiksjonspakten inngås før. laiven starter og det kan gjøres på mange måter<br />
f.eks. gjennom en felles ed. Vi vil nå godta som eneste virkelighet<br />
laivens virkelighet og leve oss inn i. den totale. illusjon med de regler<br />
og rammer som er gitt oss i den rollen som er blitt oss. forutbestemt. for<br />
denne fiktive verdenen skapt av de allmektige arrangører åpenbart<br />
gjennom. de omfattende. kompendier og ikke vike for fristelsen til<br />
offlaiv fra spillstart til. spillslutt hele. døgnet rundt. La laiven begynne.<br />
(Erlend Eidsem Hansen). Så starter spillet og laiven pågår til historien er<br />
ferdigspilt eller til noen. stanser. laiven (KUTTregelen se<br />
bokanmeldelse). Forhåpentligvis blir det en god laiv. og deltakerne. føler<br />
at de får valuta for pengene sine.. Levende rollespill noe for drama. I<br />
laivmiljøet som i alle andre miljø finnes det også problemer. Noen blir så.<br />
hekta på laiv. at de er med på alt som finnes og bruker opp alle pengene<br />
sine på laiv. De. blir. avhengige av. adrenalinkicket eller de trives mye<br />
bedre i fiksjonsverden enn i sin egen. virkelighet. Noen. steder er også<br />
laivgruppene blitt oppsøkt av folk som ikke har. sosialintelligens og<br />
ikke. forstår hvorfor man må stoppe en laiv bare fordi ei jente ble skadet.<br />
Disse. forsvinner ganske. fort for de får ikke roller i nye laiver.. En<br />
annen ting er hvor sunt det er å la små barn få være med på laivene. Hva vil.<br />
skje med en. fireåring som dras med på laiv etter laiv Hva skjer med<br />
virkelighetsbildet til. den ungen. Riktignok er laiv en lek men den<br />
benytter seg av de voksnes lekespråk ikke. barnas.. Et siste problem som<br />
mange kritikere er opptatt av er om man blir mer. voldelig. av å drepe.<br />
folk på laiv. Det kan ikke jeg svare på bare si at det samme har man sagt<br />
om. rock dataspill. og video.. Men på tross av alle disse faktorene mener<br />
jeg at laiv kan bli noe veldig. spennende for oss i. dramamiljøet.<br />
Læringspotensialet i laiving er veldig stort man lærer historie. (tidlig.<br />
middelalder) religion (kristendom vs gammeltro) heimkunnskap<br />
860
(historisk. matlaging). problemløsning (forhandling i rolle) forming (ved<br />
å lage eget kostyme våpen. e.l.) osv. I. tillegg vil de lære de mange deler av<br />
teaterproduksjonen gjennom selv å spille. i. laiven. kostyme dramaturgi<br />
scenografi spillkompetanse scenekamp m.m.. I forhold til<br />
prosjekttanken i L er dette midt i blinken for mellomtrinnet. og.<br />
ungdomsskolen.. Men kostnadene for en slik laiv er også store. At en<br />
dramalærer skulle. organisere en slik. laiv for en klasse på en skole ville<br />
være utenkelig. Men kanskje kunne en. gruppe. dramalærere. sammen lage<br />
en laiv f.eks. en vikinglaiv og holde den i Vikinglandet på. Tusenfryd<br />
(som er. stengt om vinteren). De kunne utvikle et rollegalleri med jenter<br />
og. gutter som kunne. tilpasses antallet i klassene som ønsket å være med.<br />
Laiven kunne vare i ca.. timer og. tilbys til alle skolene i Akershus og<br />
Oslo. Skolene ville på forhånd få. tilsendt. en mappe med. rollebeskrivelser<br />
kostymedesign osv pluss noen arbeidsoppgaver som en. forberedelse<br />
til. spillet. Det ville blitt som en slags TIUgruppe men ikke oppsøkende.<br />
Klassene. måtte komme. til spillstedet og bearbeiding av opplegget måtte<br />
skje i etterkant av spillet. (ikke. underveis). Det kunne skje både<br />
gjennom dramaarbeid i etterkant og gjennom. flere. arbeidsoppgaver<br />
som klassen kunne jobbe med tilbake på skolen.. Selv synes jeg dette er<br />
en spennende ny form og kanskje ligger min fremtidige.<br />
hovedfagsoppgave her. Jeg skal i alle fall være med på laiv om ikke lenge<br />
og. lover å gi dere. tilbakemelding om hvordan det gikk.. Vibeke<br />
Andersen. I do not know where family doctors acquired illegibly<br />
perplexing handwriting. nevertheless. extraordinary pharmaceutical<br />
intellectuality counterbalancing. indecipherability. transcendentalizes<br />
intercommunications' incomprehensibleness.. <strong>Re</strong> The evolution of the<br />
freest. The evolution of the freest. (Filed ). Matt Ridley reviews<br />
Freedom Evolves by Daniel C.. Dennett. nice url.<br />
xmlartsboden.xmlsSheetartsbomain.html. He now returns to free will<br />
with a remarkably persuasive new idea derived from. Darwinism. that<br />
freedom of the will is something that grows that evolves. The greater<br />
the. sophistication of an organism the greater its knowledge of the<br />
world and of. itself so the. greater its ability to take charge of its own<br />
destiny. A rock has no freedom to. choose a. bacterium has very little a<br />
bird has some a conscious primate has much more. a. conscious.<br />
primate inheriting a rich lode of cultural knowledge has the most of all..<br />
det var noe sånt jeg mente i skribleriet. frihet og bevissthet han holder<br />
nøklene klare til å låse opp døra i riktig. høyde allerede. før han når døra<br />
rasjonell oppførsel hvorfor kritiserer jeg det rasjonelle. på alle. nivåer. er<br />
det føringer rigide atomer de ufrie systemene vi består av. forutsetninger.<br />
861
for høynivå. frihetsefaring hvordan er denne friheten forskjellig fra<br />
friheten til et. atom om atomet. hadde en bevissthet bevissthet er frihet<br />
hvis det er en sånn bevissthet jeg. er ute etter. så. forklarer det forakten for<br />
det rasjonelle som å spille ludo at fyren med. nøkkelknippet. insisterer<br />
som en fiksering av bevissthet som i det minste funker han får. insisterer<br />
som en fiksering av bevissthet som i det minste funker han får<br />
862
273<br />
opp døra med et. minimum av avstrengelse men jeg kritiserer ikke<br />
atomene hans hvorfor ikke. men at han. reifiserer det rasjonelle blir sine<br />
atomer ludobrikker og ofrer bevissthet. nedrig. ligesom at han blir sine<br />
grenser diminishing hvordan man fikserer sine. grenser og. etterhvert<br />
identifiserer seg med dem jajasann heroisk og romantisk. levedyktighet<br />
min. egen eller jeg anerkjenner ingenting sier han ønsker å være en tom.<br />
prosessor. ren ånd i. flaska sprit ruset på seg selv men når er det<br />
akseptabelt for andre når. kalles det rus. og når kalles det med honnørord<br />
hvis kulturen er i en balanse og pendling. mellom kaos og. orden er det<br />
klart det har betydning og om man gir det en eller annen form. for.<br />
uttrykk.. for entries for silly ref. etymologien for 'silly' som 'salig'.. Q<br />
Are you qualified to give a urine sample. A I have been since early<br />
childhood.. noemata <strong>Re</strong> The evolution of the freest. The evolution of<br />
the freest. (Filed ). Matt Ridley reviews Freedom Evolves by Daniel C..<br />
Dennett. nice url. xmlartsboden.xmlsSheetartsbomain.html. He now<br />
returns to free will with a remarkably persuasive new idea derived<br />
from. Darwinism. that freedom of the will is something that grows that<br />
evolves. The greater the. sophistication of an organism the greater its<br />
knowledge of the world and of. itself so the. greater its ability to take<br />
charge of its own destiny. A rock has no freedom to. choose a.<br />
bacterium has very little a bird has some a conscious primate has much<br />
more. a. conscious. primate inheriting a rich lode of cultural knowledge<br />
has the most of all.. det var noe sånt jeg mente i skribleriet. frihet og<br />
bevissthet han holder nøklene klare til å låse opp døra i riktig. høyde<br />
allerede. før han når døra rasjonell oppførsel hvorfor kritiserer jeg det<br />
rasjonelle. på alle. nivåer. er det føringer rigide atomer de ufrie systemene<br />
vi består av. forutsetninger. for høynivå. frihetsefaring hvordan er denne<br />
friheten forskjellig fra friheten til et. atom om atomet. hadde en<br />
bevissthet bevissthet er frihet hvis det er en sånn bevissthet jeg. er ute<br />
etter. så. forklarer det forakten for det rasjonelle som å spille ludo at fyren<br />
med. nøkkelknippet. insisterer som en fiksering av bevissthet som i det<br />
minste funker han får. opp døra med et. minimum av avstrengelse men<br />
jeg kritiserer ikke atomene hans hvorfor ikke. men at han. reifiserer det<br />
863
asjonelle blir sine atomer ludobrikker og ofrer bevissthet. nedrig.<br />
ligesom at han blir sine grenser diminishing hvordan man fikserer sine.<br />
grenser og. etterhvert identifiserer seg med dem jajasann heroisk og<br />
romantisk. levedyktighet min. egen eller jeg anerkjenner ingenting sier<br />
han ønsker å være en tom. prosessor. ren ånd i. flaska sprit ruset på seg selv<br />
men når er det akseptabelt for andre når. kalles det rus. og når kalles det<br />
med honnørord hvis kulturen er i en balanse og pendling. mellom kaos<br />
og. orden er det klart det har betydning og om man gir det en eller<br />
annen form. for. uttrykk.. for entries for silly ref. etymologien for 'silly'<br />
som 'salig'.. Q Are you qualified to give a urine sample. A I have been<br />
since early childhood.. unsubscribe from this group send an email to.<br />
no.test novels. hverandre ved å bruke. samme subject.. (posten med<br />
subject test på side har dermed oppfølgerposter.). arkiveres. der som<br />
andre grupper. første melding på no.test just another test. no.test er i det<br />
minste helt fordringsløs. .test.. Q Is your appearance here this morning<br />
pursuant to a. deposition notice which I sent to your attorney. A No this<br />
is how I dress when I go to work.. Dawkins' A callous world. En<br />
konsekvens av universet som meningsløst etc. er at handlinger faller<br />
ned. igjen med full. tyngde på den enkelte hva jeg gjør eller er er ikke<br />
forsvarbart ut fra noen. teleologi. (annen enn min egen). Gjør det oss<br />
mer ansvarlige Mindre <strong>Re</strong>ligion tar en del. av ansvaret. fra oss og gir<br />
tilbake immunitet og frihet.. Fra innsiden er det også en oppløsning jeg<br />
kjenner meg ikke ansvarlig for den. jeg er eller. at jeg er siden jeg har<br />
en kunnskap om meg selv som betinget og sammensatt av. ting jeg<br />
ikke. har kontroll over og ansvar for.. Truet fra begge sider virker det<br />
som det eneste som holder meg ansvarlig er et. ideelt. fokuspunkt i<br />
midten i en tenkt overgang mellom årsak og virkning fortid og. fremtid.<br />
Er et. sånt 'ansvarlig punkt' analogt med ubegripeligheten til 'øyeblikket'<br />
som punkt. <strong>Re</strong>f.. klassiske paradokser rundt punktkontinuum en<br />
flyvende pil som ikke er i. bevegelse fordi. den hvert øyeblikk alltid er på<br />
et bestemt sted. På samme måten får vi et. ansvarlighetsparadoks når vi<br />
forstår oss som partikulært og personlig. ansvarlige. flyvende.<br />
pilansvarligmenneske beviselig uten bevegelseansvar.. Netttigging blir<br />
bok. Netttigging blir bok. Snille surfere betalte Karyns gjeld. Historien<br />
begynte med at New Yorkjenta brukte så mange penger på dyre moteklær.<br />
at hun pådro. seg så dyre forbrukslån at gjelda steg henne over hodet. Den<br />
eneste utveien. hun. så var. gavmilde nettsurfere.. Ikke veldedighet. På<br />
nettsiden SaveKaryn.com ble besøkende bedt om å sende inn sine bidrag.<br />
I. løpet av kort tid. ble det registrert over treff på siden.. Jeg gjentar Du<br />
gir ikke bort penger til veldedighet men i stedet til en. moteriktig ung.<br />
864
dame som har brukt for mye penger presiserte hun tydelig på nettstedet..<br />
Det er antagelig selve boken og kommende tiggere selv som vil gjøre<br />
henne rik. tittelen på. artikkelen kunne heller vært. Bok blir netttigging.<br />
Netttiggere betaler Karyns gjeld. Historien skjer i media etc. Ikke så<br />
forskjellig fra satireprogrammet du. snakket. om i går. referanser til<br />
virkeligheten nææ it's made of strings strings of characters. so called.<br />
language tror jeg.. .en fin mailingliste der du refererer til noen.. Fwd.<br />
Start of forwarded message. <strong>Re</strong>plyTo mail.ljudmila.org. Fwd. () (. ' ' '.<br />
() (. ' ' '. ). () (. ' ' '. ). (). () (. ' ' '. ). '. ). ' ' '. roundtheclock posting of<br />
sequenced hypermodern imagery from Brad Brace.. The hypermodern<br />
minimizes the familiar the known the recognizable it. suspends identity<br />
relations and history. This discourse far from. determining the locus in<br />
which it speaks is avoiding the ground on which. it could find support.<br />
It is trying to operate a decentering that leaves. no privilege to any<br />
center.. began December. Pointless Hypermodern Imagery...<br />
postedmailed every hours... a. spectral trajective alignment for the s A<br />
continuum of minimalist. masks in the face of catastrophe conjuring up<br />
transformative metaphors. for the everyday... A poetic reversibility of<br />
exclusive events.... A postrhetorical continuous apparently random<br />
sequence of. imagery... genuine gritty greyscale... corruptable compact.<br />
collectable and compelling convergence. The voluptuousness of the<br />
grey. imminence the art of making the other disappear. Continual visual<br />
impact. an optical drumming sculpted in duration on the endless present<br />
of the. Net.. unassimilable... imagery is gradually acquired selected and<br />
resequenced. over time... ineluctable vertiginous connections. The hr<br />
dialtone.... see ftp.idiom.comusersbbracenetcombooks.txt.<br />
KEYWORDS Disconnected disjunctive distended decentered.<br />
decomposed ambiguous augmented ambilavent homogeneous<br />
reckless.... Multifaceted oblique obsessive obscure obdurate....<br />
Promulgated personal permeable prolonged polymorphous provocative.<br />
poetic plural perverse potent prophetic pathological pointless....<br />
Emergent evolving eccentric eclectic egregious exciting. entertaining<br />
evasive entropic erotic entrancing enduring. expansive.... Every hours<br />
another... view them repost em save em. trade em print em even publish<br />
them.... Heres how. Look for the hricon. Heavy traffic may require you<br />
to specify files. more than once Anarchie Fetch CuteFTP<br />
TurboGopher.... Download from ftp.pacifier.com pubusersbbrace.<br />
Download from ftp.idiom.com usersbbrace. Download from<br />
ftp.rdrop.com pubusersbbrace. Download from ftp.eskimo.com<br />
ubbbrace. Download from hotlineartlyin.ftr.va.com.au. <strong>Re</strong>member to<br />
865
set tenex or binary. Get hr.jpeg. Email If you only have access to email<br />
then you can use FTPmail to. do essentially the same thing. Send a<br />
message with a body of 'help' to. the server address nearest you.<br />
ftpmailccc.uba.ar ftpmailcs.uow.edu.au. ftpmailftp.unistuttgart.de<br />
ftpmailftp.Dartmouth.edu. ftpmailieunet.ie ftpmailsrc.doc.ic.ac.uk.<br />
ftpmailarchie.inesc.pt ftpmailftp.sun.ac.za. ftpmailftp.sunet.se<br />
ftpmailftp.luth.se. ftpmailNCTUCCCA.edu.tw ftpmailoak.oakland.edu.<br />
ftpmailsunsite.unc.edu ftpmaildecwrl.dec.com. ftpmailcensus.gov.<br />
bitftpplearn.bitnet bitftpdearn.bitnet. bitftpvm.gmd.de<br />
bitftpplearn.edu.pl. bitftppucc.princeton.edu bitftppucc.bitnet.<br />
Mirrorsites requested Archives too. The latest new jpeg will always be<br />
named hr.jpeg. Average size of images is only K.. Perl program to<br />
mirror ftpsitessubdirectories. src.doc.ic.ac.ukpackagesmirror. Postings<br />
to usenet newsgroups. alt.hr. alt.binaries.pictures.hr.<br />
alt.binaries.pictures.misc. alt.binaries.pictures.fineart.misc. Ask your<br />
system's newsadministrator to carry these groups. (There are also<br />
usenet image browsers TIFNY PluckIt Picture Agent. PictureView<br />
Extractor NewsRover Binary News Assistant EasyNews). This<br />
interminable relentless sequence of imagery began in earnest on.<br />
December . The basic structure of the project has been over. twentyfour<br />
years in the making. While the specific sequence of. photographs has<br />
been presently orchestrated for more than years worth. of hour postings<br />
I will undoubtedly be tempted to tweak the ongoing. publication with<br />
additional new interjected imagery. Each hour posting. is like the<br />
turning of a page providing ample time for reflection. interruption and<br />
assimilation.. The sites listed above also contain information on other<br />
cultural. projects and sources.. A very lowvolume moderated mailing<br />
list for announcements and. occasional commentary related to this<br />
project has been established at. This project has not received<br />
government artsubsidies. Some opportunities. still exist for financially<br />
assisting the publication of editions of large. (x) prints perhaps (Iris<br />
giclees) inkjet duotones or extendedblack. quadtones. Other supporters<br />
receive rare copies of the first three. hremailsubscriptions can also be<br />
made at. mo yr.. image files. Get the textfile 'picturesfaq' to learn how<br />
to view or. translate these images. ftp ftp.idiom.comusersbbracenetcom.<br />
(c) Credit appreciated. Copyleft. ..(today.. Thank you for participating<br />
in MAILING LIST SUBSCRIBER. SATISFACTION SURVEY..<br />
..(today. .. ..(today.. .. End of forwarded message. fordervet mat<br />
moralsk ødelagt mat.. oblidor strategums What else is like this.<br />
(Organic) machinery. A line has two sides. A very small object Its<br />
866
centre. Abandon desire. Abandon normal instructions. Accept advice.<br />
Accretion. Adding on. Allow an easement (an easement is the<br />
abandonment of a stricture). Always first steps. Always give yourself<br />
credit for having more than personality. Always the first steps. Are<br />
there sections Consider transitions. Ask people to work against their<br />
better judgement. Ask your body. Assemble some of the elements in a<br />
group and treat the group. Back up a few steps. What else could you<br />
have done. Balance the consistency principle with the inconsistency<br />
principle. Be dirty. Be extravagant. Be less critical more often. Breathe<br />
more deeply. Bridges build burn. Call your mother and ask her what to<br />
do.. Cascades. Change ambiguities to specifics. Change instrument<br />
roles. Change nothing and continue with immaculate consistency.<br />
Change specifics to ambiguities. Children's voices speaking singing.<br />
Cluster analysis. Consider different fading systems. Consider<br />
transitions. Consult other sources promising unpromising. Convert a<br />
melodic element into a rhythmic element. Courage. Cut a vital<br />
connection. Decorate decorate. Define an area as safe' and use it as an<br />
anchor. Describe the landscape in which this belongs. ( August).<br />
Destroy nothing Destroy the most important thing. Discard an axiom.<br />
Disciplined selfindulgence. Disconnect from desire. Discover the<br />
recipes you are using and abandon them. Discover your formulas and<br />
abandon them. Display your talent. Distorting time. Do nothing for as<br />
long as possible. Do something boring. Do something sudden<br />
destructive and unpredictable. Do the last thing first. Do the washing<br />
up. Do the words need changing. Do we need holes. Don't avoid what<br />
is easy. Don't be afraid of things because they're easy to do. Don't be<br />
frightened of cliches. Don't be frightened to display your talents. Don't<br />
break the silence. Don't stress one thing more than another. Emphasize<br />
differences. Emphasize repetitions. Emphasize the flaws. Faced with a<br />
choice do both. Feed the recording back out of the medium. Feedback<br />
recordings into an acoustic situation. Fill every beat with something.<br />
Find a safe part and use it as an anchor. First work alone then work in<br />
unusual pairs.. noemata oblidor strategums What else is like this.<br />
(Organic) machinery. A line has two sides. A very small object Its<br />
centre. Abandon desire. Abandon normal instructions. Accept advice.<br />
Accretion. Adding on. Allow an easement (an easement is the<br />
abandonment of a stricture). Always first steps. Always give yourself<br />
credit for having more than personality. Always the first steps. Are<br />
there sections Consider transitions. Ask people to work against their<br />
better judgement. Ask your body. Assemble some of the elements in a<br />
867
group and treat the group. Back up a few steps. What else could you<br />
have done. Balance the consistency principle with the inconsistency<br />
principle. Be dirty. Be extravagant. Be less critical more often. Breathe<br />
more deeply. Bridges build burn. Call your mother and ask her what to<br />
do.. Cascades. Change ambiguities to specifics. Change instrument<br />
roles. Change nothing and continue with immaculate consistency.<br />
Change specifics to ambiguities. Children's voices speaking singing.<br />
Cluster analysis. Consider different fading systems. Consider<br />
transitions. Consult other sources promising unpromising. Convert a<br />
melodic element into a rhythmic element. Courage. Cut a vital<br />
connection. Decorate decorate. Define an area as safe' and use it as an<br />
anchor. Describe the landscape in which this belongs. ( August).<br />
Destroy nothing Destroy the most important thing. Discard an axiom.<br />
Disciplined selfindulgence. Disconnect from desire. Discover the<br />
recipes you are using and abandon them. Discover your formulas and<br />
abandon them. Display your talent. Distorting time. Do nothing for as<br />
long as possible. Do something boring. Do something sudden<br />
destructive and unpredictable. Do the last thing first. Do the washing<br />
up. Do the words need changing. Do we need holes. Don't avoid what<br />
is easy. Don't be afraid of things because they're easy to do. Don't be<br />
frightened of cliches. Don't be frightened to display your talents. Don't<br />
break the silence. Don't stress one thing more than another. Emphasize<br />
differences. Emphasize repetitions. Emphasize the flaws. Faced with a<br />
choice do both. Feed the recording back out of the medium. Feedback<br />
recordings into an acoustic situation. Fill every beat with something.<br />
Find a safe part and use it as an anchor. First work alone then work in<br />
unusual pairs.. noemata.net. actcharon plew thus. anetologyMmmm.<br />
germ in al. graphics. nosceIPs. graphics. noemata.net NN. PAeiRiL<br />
Iamentities. postal mail art. blurB. Man Corridor TRANSLATED.<br />
IDEAREAL. ide note. c. random no.texsts. weblog. blog links<br />
comments. ... Novels. serien.... Forslag til åpning av andre bøker mottas..<br />
... b. noemata.net. actcharon plew thus. anetologyMmmm. germ in al.<br />
graphics. nosceIPs. graphics. noemata.net NN. PAeiRiL Iamentities.<br />
postal mail art. blurB. Man Corridor TRANSLATED. IDEAREAL. ide<br />
note. c. random no.texsts. weblog. blog links comments. entries for<br />
sully. grujohnson.type tekst. ... IDEAREAL c weblog entries for sully<br />
og kanskje noen av de andre er. åpne bøker i. serien.... Forslag til åpning<br />
av andre bøker mottas.. ... b. Fwd moat tory frown ten. Start of<br />
forwarded message. Fwd moat tory frown ten. moat tory frown ten. ich<br />
real ich real ten four bunch fen fourteen so coal. tan fatso crabcakes hen<br />
868
peanut butler plan door tan moor. foreplay bone lip ticks catcher chin<br />
da lie nor ana dy cat puat. tened scream blond. all the or fabkeys please<br />
tether ben nat. duck taker. mate bow dow. bet more don. blow zen.<br />
nappy nappy per hay. may in yo. may.. clober ben say vin ma hark vest<br />
tea blond kevin more tell coach. bland cure bound head. plug vast<br />
NORAD bat buzz bird bun meter buzz. sneez bleed nose cellophane.<br />
biscuit above plan carnivorous pew blue. cart cut but chen now tall<br />
please bar teflon tis cum above who. accord hospital fake clowns chew<br />
hot blues vent ten bet.. End of forwarded message. Fwd <strong>Re</strong> Deleuze<br />
Guattari. Start of forwarded message. The will to be against really<br />
needs a body that is completely incapable of. submitting to command. It<br />
needs a body that is incapable of adapting to. family life to factory<br />
discipline to the regulations of a traditional sex. life and so forth. (If<br />
you find your body refusing these normal modes of. life don't<br />
despairrealize your gift) Hardt Negri Empire. Fwd Nettimebold book<br />
announcementGrau. Start of forwarded message. <strong>Re</strong>plyTo<br />
nettimeboldnettime.org. Fwd Nettimebold book announcementGrau. I<br />
thought readers of the NETTIMEL might be interested in this book.<br />
For. Best. David. Virtual Art. Fwd Friday is Raymond Queneau's th<br />
Birthday. Start of forwarded message. <strong>Re</strong>plyTo UB Poetics discussion<br />
group. Fwd Friday is Raymond Queneau's th Birthday. February st<br />
marks the th Birthday of Raymond Queneau author of. One Hundred<br />
Thousand Billion Sonnets (Cent Mille Milliards de poemes) and.<br />
cofounder of the Oulipo.. mark this occasion Spineless Books presents<br />
the FitzpatrickO'Dinn. Award for the Best Book Length Work of<br />
Constrained English Literature. .. Founded Spineless Books is the<br />
publisher of A Palindrome. Story in Words.. End of forwarded<br />
message. noemata Fwd Friday is Raymond Queneau's th Birthday.<br />
Start of forwarded message. <strong>Re</strong>plyTo UB Poetics discussion group.<br />
Fwd Friday is Raymond Queneau's th Birthday. February st marks the<br />
th Birthday of Raymond Queneau author of. One Hundred Thousand<br />
Billion Sonnets (Cent Mille Milliards de poemes) and. cofounder of the<br />
Oulipo.. mark this occasion Spineless Books presents the<br />
FitzpatrickO'Dinn. Award for the Best Book Length Work of<br />
Constrained English Literature. .. Founded Spineless Books is the<br />
publisher of A Palindrome. Story in Words.. End of forwarded<br />
message. unsubscribe from this group send an email to. Fwd It all<br />
begins with a few simple words on the screen. . .. ligner på røverspråket.<br />
jojegog totrororor dodetottote eror rorøvoverorsospoproråkoketot totilol.<br />
gogjojesostot. Start of forwarded message. Fwd It all begins with a few<br />
869
simple words on the screen. . .. ns thenoe sens bebegegiginn t toto<br />
ththihiningng s w wiwitithth ththehe. isis s cingng thougughgh he omes<br />
o of ththehe e m memesessssasagagege e s. se toto e o only y a a<br />
paparartenc uningng memeteth ofof on isis. graradallly seseeingng g ito<br />
ththehe e t exextingng t a annd reaingng g t. ththeem parartrtirtsth to ts<br />
is seseeeem toto be haeniingng g m anandnd. momorore asas s t ththehe<br />
e t tetexext becomomemeses s i increreaeasingly. frent anandnd isis s<br />
ted d i inintntoto segmemenentts s t ththahatat t are. essss anandnd<br />
lelesessss s c cocomensle t a alo straly loal inin. sosomomeme e i<br />
inndeblele e whe e pcesessss s s seseeeememsms s t toto o h.<br />
hahavaveve e a a hisisty a anandnd d a anan tioionry gr even n i itts s<br />
on. s sort ofof hapse so ss st sy ou reread o onon anandnd d o onon n u.<br />
ununtntitilil l y yoyouou an rereaeadad no o m momorore anandnd<br />
sttilll l. y yoyouou u r rereaead inin n s se ofof sosomomeme kinindnd d<br />
o ofof f l. lightht t aat t t ththehe enendnd d o ofof f t ththehe e t tuelyle<br />
ll ly ut. nono liligighghtht isis s fortrthcomomimining anandnd<br />
ththihiningngsgs. noow ononlnlyly y s seseeeemem m t toto o b bebe<br />
ingng frfroromom ad d t. toto woworseaseesegsense ed el em en es ew<br />
ou mamakakeke e o onne e lst. alint forortrt t a atat<br />
unundndederrstandingng hatat t i isis s g. gogoioiningng on asas<br />
yoyouou no waantnt t t toto o b bebe e aseded d o. ofof beingng a la<br />
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d a anandnd d t tutururnrn n awayay y f. frfroromom m t ththehe e t<br />
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ononlnlyly nonowow anandnd d ain n t toto o s seseeee e i. ifif f a<br />
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asaststomenent ththihiningngsgs s d dodo o s seseeeemem m t toto o b<br />
bebe. chchahanangginingngenginglngsng ge gh gs lilinne e h hahasas<br />
beeenen sed. anandnd whle yoyouou ararere unre e a asas s t toto o w<br />
wheththeer. ththihisis s c chchahanangngege e i isis s i inin yoyouou r t<br />
ththehe e m. memesessssasagage ththihiningngsgs s d dedefefifinelyly<br />
dodo o s seseeeemem. m t toto o b bebe e m mamakakikiningng<br />
sesenensnsese e a. agagagaiaininaincindineinginiinsintin na nb nc nd ne<br />
nf ng nh ni nj nk nl nm. nn no np nq nr ns nt nu nv nw nx ny nz n<br />
hateveer r w waas s c casiningng g. t ththehe e t tetexextxt t t toto<br />
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losiningng g t ththehe e b bale e a anandnd d a a a f. fofor ofof<br />
870
meniningng g i isis rereaeassseserrtitiningng g i ititsselelflf. ithth h a a<br />
sesenensnsese e o ofof reelief yoyouou siighgh h a anandnd d. a alallow<br />
w t ththahatat t t ththehe e s ststrle e i isis s f. fifininanalallllyly y a atat t<br />
a anan n e enendndendind. m. End of forwarded message. <strong>Re</strong> noemata<br />
Fwd It all begins with a few simple words on the screen. . .. ligner på<br />
røverspråket. jojegog totrororor dodetottote eror<br />
rorøvoverorsospoproråkoketot totilol. gogjojesostot. som igjen<br />
Gogogogoogogogoglololole. guest bored son of sigøynerkongen jandek<br />
hansen. noemata <strong>Re</strong> Vs noisetext (unknown). Great I've been looking<br />
for an engine to do these bitmapchar conversions. ever since. seeing<br />
Florian Cramer's portrait. Of course there's been typewriter paintings.<br />
etc for a. long time my girlfriend gave me one once and it's hanging<br />
right here on the. wall of the. library room baby jesus and virgin mary<br />
done with a mechanical typewriter.. Jukka. Actually it's a bgascii<br />
rendering of a classical chinese landscape painting. Kuo Hsi (ca..<br />
Paradoxically the huge white spaces of the painting renders as thick<br />
char. stream while the. solid mountains renders as whitespace.... insert<br />
statement on information entropy. B. Original Message. Bjrn<br />
Magnhilden. Tuesday February PM. noisetext (unknown).<br />
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874
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UUUALQQQQUU.<br />
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QQUQJAJAA. unsubscribe from this group send an email to.<br />
unsubscribe from this group send an email to. Fwd It all begins. . . vers.<br />
Mer stroboskopisk røverspråk. fra Buffalo. Start of forwarded message.<br />
Fwd It all begins. . . vers. TH ES BE BEG EGI GIN NT TO TO TH<br />
THI HIN ING SW WI WIT. ITH TH TH THE HE IS IS SC ING NG<br />
TH OUG UGH OME SO OF. TH THE HE EM ME MES ESS SSA<br />
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ING LY FR AN AND ND IS IS ST ED. DI IN INT NTO TO SE GME<br />
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LE LES ESS SS SC CO COM ENS LE TA. AL OS TRA LY LO AL<br />
IN IN SO SOM OME ME EI IN NDE BLE. LE EW .T TH HE EP CES<br />
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IT TS SO NS SO OF OF. E HAP OU RE REA DO ON ON AN AND<br />
875
ND DO ON ON NU UN. UNT NTI TIL IL LY YO YOU OU AN RE<br />
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EN ND DO OF OF FT. TH THE HE ET TU UT NO NO LI LIG IGH<br />
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EM MT TO TO OB BE BE. ING NG FR FRO ROM OM AD DT TO<br />
TO WO WOR .Y YO YOU OU. MA MAK AKE KE EO ON EL ST<br />
ALI FOR ORT RT TA AT AT UN. UND NDE DER RST AND ING<br />
NG HAT AT TI IS IS SG GO GOI OIN. ING NG ON A AS AS YO<br />
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UN ILL ING NG GT TO TO VE. ET TH THE HE EM MO DER NT<br />
TE TEX EXT XT TI IT ITS TS. E. .B BU BUT UT TF FI FIN INA<br />
ALL LLY LY YO YOU OU DA. AN AND ND DT TU TUR URN RN<br />
NA WAY YF FR FRO ROM OM MT. TH THE HE ET TE TEX EXT<br />
XT TI IN IN NS SE SEA EAR ARC. RCH CH HO OF OF FL LE LES<br />
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THI HIN ING NG HA AS SC. ANG NGE .A ND DT TH THE HEN N<br />
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EEN EN SED D A AN AND ND WH. LE YO YOU OU AR ARE RE<br />
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SC CH CHA HAN ANG NGE GE EI. IS IS SI IN IN YO YOU OU RT<br />
TH THE HE EM ME MES ESS. SSA SAG AGE E T TH THI HIN<br />
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EEM EM MT TO TO OB BE BE EM. MA MAK AKI KIN ING NG<br />
SE SEN ENS NSE SE EA AG AGA GAI AIN. N. HAT EVE ER RW<br />
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ORE RE EI IS IS SN NO NOW OW LO SIN ING NG. GT TH THE<br />
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ING NG GI IS IS RE REA EAS SSE RTI TIN ING. NG GI IT ITS .W<br />
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IGH GH HA AN AND ND DA AL ALL OW. WT TH THA HAT AT<br />
TT TH THE HE ES ST STR LE EI IS IS. SF FI FIN INA NAL ALL<br />
876
LLY LY YA AT AT TA AN AN NE EN. END. mwp. End of<br />
forwarded message. Fwd <strong>Re</strong> <strong>Re</strong> Vs noisetext (unknown). Start of<br />
forwarded message. Fwd <strong>Re</strong> <strong>Re</strong> Vs noisetext (unknown). There's<br />
another giftext utility (cgi thing) at. and yes it does have Laetitia Casta<br />
as a sample picture this is the right. eye.<br />
KKffftttttttiii..........ttfffffjjEEELLiii. iitttiiiiiWWDDD.<br />
WWEEiiijjtttttiiiii............... .... KKKEEjjtttiiiiiii...............iiiitttjj. Fwd<br />
SCRNewsViews News from Science Consciousness <strong>Re</strong>view. Start of<br />
forwarded message. Fwd SCRNewsViews News from Science<br />
Consciousness <strong>Re</strong>view. Dear member of this list. new articles and<br />
reviews. EDITORIAL REVIEW SECOND COMMENTARY ON<br />
CRICK KOCH. Crick and Koch A framework with many unknowns.<br />
By Bjrn Merker. The paper by Crick and Koch (featured in the<br />
February issue of Nature. consciousness. It may let us gauge what we<br />
do not yet know as much as. calling attention to some specific<br />
proposals. In this week's commentary. Bjrn Merker reviews Crick<br />
Koch's work.. In February Science Consciousness <strong>Re</strong>view publishes<br />
more editorial. commentaries on Crick Koch's recent article.. LATEST<br />
HEADLINES. Memory traces unbound. Dreaming and Episodic<br />
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Brain. PREVIOUS ARTICLES. Are we ever unconscious. Book<br />
<strong>Re</strong>view Synaptic Self. How our brains become who we are by Joseph.<br />
LeDoux. Single neurons track your conscious vision. Visit our archives<br />
at. SEND YOUR CONTRIBUTION. For students teachers scientists<br />
and all other fans of consciousness.... Send your news summaries to us..<br />
Sincerely. Thomas Zoga Ramsøy. Thomas Zoga Ramsøy.<br />
Neuropsychologist MA. The Lions Collegium. Tuborgvej. Copenhagen<br />
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Consciousness <strong>Re</strong>view. Science Consiousness <strong>Re</strong>view is a nonprofit<br />
online ezine for the latest news. and views on. scientific studies of<br />
consciousness.. Start of forwarded message. <strong>Re</strong>plyTo Nettverk for<br />
kunst og ny teknologi.. Googlism for nothing. nothing is important'<br />
page. nothing is granted. nothing is '. nothing is solid. nothing is too<br />
hidden to hack. nothing is static. nothing is more. nothing is forever.<br />
nothing is impossible out here. nothing is forgotten. nothing is worth<br />
more than this day. nothing is wasted. nothing is shocking in<br />
electronics. nothing is ez. nothing is permanent. nothing is too good to<br />
be true. nothing is quite what it seems. nothing is just bw. nothing is<br />
something. nothing is happening. nothing is posted today. nothing is<br />
877
mine. nothing is better than. nothing is sacred. nothing is faster nothing<br />
is easier. nothing is right. nothing is random. nothing is staged about<br />
'backroads'. nothing is long ago. nothing is as it seems. nothing is too<br />
difficult for god. nothing is ever black and white. nothing is impossible.<br />
nothing is lost. nothing is a waste of. nothing is known. nothing is more<br />
permanent than. nothing is listed under step templates and workflows<br />
when you. nothing is normal. nothing is as simple as it seems. nothing<br />
is real he would say to me. nothing is important. nothing is<br />
'unbreakable' larry ellison is setting himself up for a. nasty fall by<br />
marketing oracle as hack. nothing is more important. nothing is scary.<br />
nothing is ubiquitous. nothing is forever us ambassador warren<br />
zimmerman interviewed jan. nothing is a good weapon it seems to me<br />
that the terrorists with whom. america is at war are doing exactly the<br />
right thing nothing. nothing is possible. nothing is better. nothing is<br />
impossible an interview with christopher reeve. nothing is the best<br />
option. nothing is real wild palms by erik davis. nothing is<br />
'unbreakable'. nothing is written. nothing is wasted copyright. nothing<br />
is so what if bush and company didn't bail out enron the. outrage.<br />
nothing is shocking in electronics a spotlight on the electronics. nothing<br />
is secret anymore. nothing is too good to be true by leona evans.<br />
nothing is just bw. nothing is beyond you. nothing is simpler. nothing is<br />
happening things to do. nothing is wrong. nothing is working. nothing<br />
is final. nothing is posted today by no one. nothing is posted today by<br />
no one. nothing is sacred graphic design. nothing is terrible. nothing is<br />
'unbreakable' larry ellison is setting himself up for a. nasty fall by<br />
marketing. nothing is mine but i refuse to suffer alone by marijke<br />
hildreth. othing in my house is sacred. nothing is better than being<br />
there. nothing is sacred this is. nothing is faster nothing is easier what<br />
is. nothing is impossible by dr. nothing is right or nothing is wrong we<br />
only just began. nothing is worth our reputation. nothing is staged about<br />
'backroads' tom stienstra. nothing is no longer an option. nothing is<br />
impossible to a willing heart. nothing is long ago memories of a<br />
mormon childhood virginia sorensen. susan elizabeth howe. nothing is<br />
contrary to god but self. nothing is impossible a sermon by the rev.<br />
nothing is. nothing is responding. nothing is ever as it seems. nothing is<br />
too difficult for god given by richard m riss. nothing is what it seems in<br />
indian country. nothing is impossible. nothing is impossible is a<br />
concise. nothing is a lie. nothing is real. nothing is a waste of time if<br />
you use the experience wisely. nothing is for free. nothing is<br />
everything'. nothing is more permanent than temporary workers.<br />
878
nothing is listed under step templates and workflows when you start.<br />
acrobat capture. post distribuert via. e k u n s t nettverk for kunst og ny<br />
teknologi. postadresse ekunstkunst.no. End of forwarded message. Fwd<br />
<strong>Re</strong> ebookcommunity Poetry is glyphic writing. Start of forwarded<br />
message. Fwd <strong>Re</strong> ebookcommunity Poetry is glyphic writing. Let me<br />
suggest that verse falls in the category I call glyphic writing.. This<br />
includes things like panels of cartoons PowerPoint slides and. writing<br />
which consists of a number of subelements which may even all. be<br />
textual but which have a carefully spatial relationship to each. other..<br />
Nonglyphic writing consists of text arranged in a reading order so. long<br />
as the reading order is maintained the spatial relationship of. the<br />
individual elements is immaterial because there really is only. one<br />
element the text.. Does that buy you anything. As an author I can break<br />
a short story down into a fairly fine level. of structure where there's a<br />
distinct spatial relationship between. the elements. I'll break it down<br />
into scenes and outline the. structure of each scene and so on. To you<br />
the reader though you're. unaware of much of that structure.. In reverse<br />
as reader with limited knowledge of (or desire to learn. of) poetry<br />
structure there ain't no spatial relationship in there. it doesn't rhyme.<br />
(And funky spacing is just pretentious crap.). There are also people who<br />
demonstrate an inability to read comics.. They don't know where to<br />
look what to read first how to decipher. the language. Any spatial<br />
relationships are lost on them.. I might submit that there are strong and<br />
weak glyphic elements of all. these examples some items tend more<br />
toward one end of the spectrum. than the other. Glyphic elements must<br />
should or may (in descending. imperative) have presentation attached.<br />
The more things tend toward. may the less authorial control remains<br />
over the presentation and. the more it tends toward being a single<br />
effective element the text.. An example might be a comic strip. The<br />
graphic content of the panel. must be fully retained as presented by the<br />
author. The textual. content (word balloons etc.) should be retained the<br />
structural. connection is important but matters of whether the text is in<br />
word. balloons listed below the panel or verbalized are typically of.<br />
lesser import. The order of the panels must be preserved but the.<br />
horizontal nature may be changed (in some case it at least should if.<br />
must must be retained though depends on the individual panel pairs)..<br />
Jim Drew Seattle WA ciaopubsearthlink.net. End of forwarded<br />
message. innertier en uvirksom treg person i sentrum for<br />
oppmerksomheten jfr. inerti. Fwd Nettimebold unstable digest vol. Start<br />
of forwarded message. <strong>Re</strong>plyTo nettimeboldnettime.org. Fwd<br />
879
Nettimebold unstable digest vol. msg positioning. u.r.in.the.making. ..<br />
Slession Start Thu Feb. Lesion Ident silocyben. short intervals. notify<br />
m.Sages.. .. fit.tingle in ah narrow acceptability niche.. take me off. i'd<br />
pre.furr that.. no realli.. hassle u. irc.. heh. .. provide some type of<br />
per.server entertainment value. providing. per.verse. pre.serve. ..<br />
dam.nation ls sleep dep.ri.vat.ion. i make no apologies for that. come in<br />
prettyhatemachinebite.size.packages.. ppl hassle. i do.. it's wonderful..<br />
.. hmm. bcitatione sized. ). silocyben nibbles.. D. ok.. silocyben smacks<br />
lipids.. msg moment intentionally causality. msg i'm done.. heh.<br />
anyway. in.tensiontionally cruel IRC. slecherousxual d.pgravity. scroll<br />
notify.. Ffort manually. what. fthat.. who nos really. heh. msg would<br />
kill u). don't thlink u understand.. no.. good.. it's better that way.. heh..<br />
yes.. msg look. .. feel free Nlighten. what i understand u don't.. k.no.w<br />
talking. no. should i. damn.. ). no.. grin. ). ok.. so.. f.eeling free.<br />
message with). we've covered the fact that. possibly quit.. ete.. n.deed.<br />
ho hum.. pickup multi.logue. hmmm. yes.. i mlean wards ghosts.<br />
loving.. heh. Suriname parity u r). i'm thinking that. combination of<br />
facts. anywhere.. in the realty of go.. oh way more than that.. realms<br />
even.. way more.. u st.. NlightN me.. nono u must NlightN me. urm.. i<br />
can't.. Xcept to say.. .. .. hmm. and.. msg i want.. ehehehe. .. but. a.part<br />
from that.. silocyben scratc.his.head.. fighting Nlite. k need . able .<br />
though.. do.. yes indeed.. msg worried. msg about. msg obsession.. but..<br />
msg X.. msg former. notify aint work.. away latter.. away waste.. .fuck..<br />
hmm. talk POV. .....away money. mmm. .....talk nor.... away u. needed<br />
it.. growth ur own. panick ed because. msg dislocation lies. msg tied up<br />
with .. i used. ic.. much mulching.... sniff basic portioned. scratch like a<br />
th.. .....left wingth. es. yes. trauma she.is.all.i.have msg<br />
in.terms.of.active.affectivity. yes. i unda.stood.. and unda.stand.. .. lvl<br />
sameness. shrug.. accountability. gagging pay job. BUT. y. stress basalt<br />
in all corporatecapitalist Ndeavours. i HAVE. didn't he tell u. sent. oh..<br />
cool.. none week.. ahh. k np. descent.in..nether.hell.. well. .. actually.<br />
crazy problems heart.. figorey that. then. in rl. .. wow. story. jesus story<br />
wot.do.u.want we played quake gether.. ). that will do. story<br />
tellerinvoker. ). laugh and there r p.lent.y of tell.. anyway. i'm sure.<br />
snip tell stories.. the lose driven slough.. noNticed. dilemma. oh. yes<br />
yes.. ho.ur.. yes indeed. s.. msg positioning. u.r.in.the.making. ..in.finite<br />
capacitys goalrelationalbelief. structuremighty uphold.. tem.portation is<br />
far. ..... wallow in consumerist.muck. ....type . align getgos<br />
socialb.lather. .. sense. ). right.. u're.. i'm sure i am.. slash simplistic.. ..<br />
grin. i don't.. no u don't. nor. i already.. ok. well. y make.. ....says<br />
880
much. anyway. i'm tired. bitesized day bIT). i have.. yes u do.. off..<br />
Added to notify list. no apaty and awareness.. h.. k.. if u say so.. sigh.<br />
Session Close Thu Feb. Lession Start Thu Feb. Session IDent<br />
silocyben. think nature. completingx Ntree.catesimperinglistic.. nature<br />
as. system of. ecological function. ball N batance thru.. i am.. nature<br />
dfined bye romance. ideal of butterflies victims. prey and bloodlust.<br />
ahh. naturefact. .. s.. u. chuckle. centric. anyway. but what r. goals<br />
fargoish.. i am.a.silly.undefined.soul in a c of centuries. wish<br />
disappointed.. so.. ahh no. come inside with rt. with bod.EE. laugh.<br />
....eyes. .. he.. words cauterize. cause even. cya.. s.lump. heh. .. bye.<br />
hmm. d.ee.p.ends. stretch props blood flow.. hmm. hands. neglect..<br />
speak softly. thru the size of my large hands. large joints.. hmm. voice.<br />
yes. i thought so.. or. simplicity is boiled from the need to x.tract and<br />
d.limit complexity. sometimes the problem becomes the complexity to<br />
survive the. simplicity of others.. c a t c h. or the problem hides i the<br />
folds of simplicity N order deny. complexity. n. mmm.. we are walking<br />
on different foundations.. we r. creeping thru semantic jungles. ). ).<br />
tactility above all else. no causality in solid shapes. logic definer.<br />
momentary pleasures theorizing via strands of cartesian dynamics.<br />
Added silocyben to notify list. Session Close Thu Feb.<br />
protein.logging.txt. sparks of lost hubrisman centre.sieved. ..(today..<br />
Thank you for participating in MAILING LIST SUBSCRIBER.<br />
SATISFACTION SURVEY.. ..(today. .. ..(today.. .. LE TEXTE ET LA<br />
MACHINE.. LE TEXTE ET LA MACHINE.. Decembre. Pascale<br />
Gustin. Licence GNU General Public License. Je crois que l'ordinateur<br />
et de manire plus gnrale les technologies. de l'information transforment<br />
de faon radicale notre rapport au monde. et nous mme. C'est mme<br />
devenu un lieu commun de dire cela. aujourd'hui c'est devenu un<br />
truisme. Paradoxalement mesurer. l'importance et les consquences de<br />
ces changements est loin d'tre. simple cela ouvre mme de nombreux<br />
champs d'investigations et de. rflexions qui depuis environ ans font<br />
l'objet de recherches de. plus en plus diversifies dans des domaines<br />
toujours plus tendus. Je. pense l'instar de Pierre Levy que l'outil<br />
informatique est une. dcouverte au moins aussi importante dans<br />
l'histoire de l'humanit que. celle de l'criture elle en est probablement<br />
mme la continuit en. poursuivant le processus d'hominisation de<br />
l'homme .. J'aimerais par ce texte explorer de manire tout fait<br />
personnelle la. naissance de l'outil informatique du point de vue du<br />
texte et de. l'criture. Je ne prtends pas ici un essai exhaustif sur le sujet.<br />
mais seulement rassembler quelques rflexions et notes de lectures. qui<br />
881
m'apparaissent pertinentes. Selon le procd d'une pense. analogique je<br />
souhaiterais former un ensemble cohrent de rflexions et. d'ides dans la<br />
continuit de ce qui mon sens me parait trop peu. questionn actuellement<br />
mais non pas moins important c'est dire le. problme de l'criture en<br />
regard de l'outil informatique et la faon. dont mon avis celuici<br />
transforme et remet en question de multiples. manires la notion mme de<br />
texte..<br />
882
275<br />
L'criture le code le texte.. L'criture est la premire technologie<br />
d'enregistrement de la parole. constitue de symboles d'images ou de<br />
signes elle est un systme un. code mis en place afin de pouvoir garder<br />
trace du langage parl. De ce. point de vue l'criture est un code certes<br />
relativement souple qui. encode la ralit et tout la fois en transforme et<br />
en remodle la. perception. Un des tous premiers systmes d'criture que<br />
l'on ai. retrouv est l'criture noeuds systme d'inscription.<br />
mnmotechnique et synthtique. On en a dcouvert des traces au Prou.<br />
dans les tombeaux Incas par exemple. Ce sont des paquets de noeuds et.<br />
de fils attachs de couleurs diffrentes ou semblables placs de. manire<br />
obtenir un grand nombre de significations. Ces. quippus servaient<br />
enregistrer les comptes la chronologie il. tait possible galement de s'en<br />
servir comme d'un moyen de calcul. On. retrouve cette forme<br />
ancestrale d'criture partout dans le monde et. jusqu'au milieu du<br />
vingtime sicle dans certaines rgions elle tait. encore utilise par les<br />
ouvriers afin de comptabiliser leurs journes. de travail .. L'criture dans<br />
son essence apparat alors comme un systme de. diffrences. (J. Derrida<br />
et Saussure). Le codage binaire a t utilis sous une forme symbolique trs<br />
tt. en chine avec le systme divinatoire du YiKing. Le YiKing est un.<br />
ensemble de hexagrammes constitus d'une collection d'images.<br />
symboliques reprsentatives d'un certain ordre de l'univers et tait. utilis<br />
pour procder diverses interprtations divinatoires. Ces. images<br />
symboliques rsultent de l'assemblage et de la combinatoire de. traits<br />
pleins et de traits briss reprsentant les deux tats. essentiels par lesquels<br />
chaque tre et chaque chose sont appels se. mouvoir et se transformer.<br />
Mais c'est le philosophe anglais Francis. Bacon () qui fait de ce<br />
principe binaire un systme part. entire afin de pouvoir transmettre des<br />
messages de manire rapide et. sre .. Dans ce sens le code l'acte de coder<br />
un message serait en somme la. transcription de celuici dans une langue<br />
nonnaturelle.. Mais le mot de code se drobe mesure qu'on souhaite en<br />
saisir le sens.. A l'origine du mot nous trouvons le codex c'est dire la.<br />
planchette le recueil nous avons galement le code juridique qui est.<br />
l'ensemble des lois qui rgissent une socit signification qui n'est. pas<br />
883
sans rappeler la programmation puisqu'ellemme est rgie. par une<br />
syntaxe un ensemble de rgles auxquelles on ne peut droger. d'aucune<br />
manire sous peine de planter le programme. Nous avons. galement le<br />
code vestimentaire ou le code gntique. Le code serait. en quelque sorte<br />
un moyen de conservation et de transmission. d'informations un<br />
support de significations non spcifiquement humain.. L'criture pourrait<br />
tre une sorte de code plus souple o le. sens est tiss de diffrentes manires<br />
les lettres avec les. lettres une une ou par grappes les mots ensembles<br />
pour former des. phrases et les phrases tisses les unes aux autres<br />
interagissant les. unes avec les autres au cours de la lecture nouant liens<br />
de sens et. de significations afin de former le texte. On utilise<br />
l'expression le. fil de la lecture ou au fil du texte pour parler de cet<br />
cheveau du. sens qui prend forme au moment du dchiffrement. Le texte<br />
est une. trame de significations dont les fils se croisent et<br />
s'entrecroisent. entre les lettres ellesmmes les mots les sons dans le<br />
texte et. entre le texte et le lecteur.. Le mot texte vient du terme latin<br />
texere qui signifie tisser.. Une autre dfinition du mot peut tre. un<br />
nombre fini de signes discrets choisis dans un ensemble fini. de signes<br />
(Florian Cramer).. Les machines.. Une des toutes premires utilisations<br />
technologiques du langage binaire. a t dveloppe par Jacquard () afin<br />
d'amliorer la technique. du tissage.. Il s'agissait de cartes perfores de<br />
trous c'est dire de. l'utilisation des pleins et des vides des cartes pour<br />
coder le passage. des fils de couleurs diffrentes dans les fils de chanes.<br />
La. technologie du tissage a toujours t l'avantgarde des techniques de.<br />
son temps mme aux poques les plus recules au moyenage on. utilisait dj<br />
des cartes ralises sur du papier divis en damier pour. la reproduction des<br />
dessins.. Charles Babbage () initiateur de la machine diffrentielle. et<br />
plus tard de la machine analytique connaissait les travaux de. Jacquard<br />
dans le domaine du tissage et eu cette intuition fondamentale.<br />
d'appliquer ce principe en quelque sorte combinatoire des diffrents. ils<br />
entre eux au calcul selon une mthode semblable. Ada Lovelace. ()<br />
collaboratrice de Charles Babbage ft charge de la partie. logicielle de la<br />
machine c'est dire du texte (au sens large du. terme) qui devait<br />
permettre la machine analytique de fonctionner. Mais. le projet<br />
n'aboutit pas faute de moyens et probablement aussi. d'organisation ..<br />
Les machines telles que les ordinateurs actuels ne peuvent. fonctionner<br />
ne peuvent comprendre une serie d'instructions que si. cellesci se<br />
trouvent crites sous la forme de suites de et de ou. plus exactement sous<br />
forme de squences trs rapides d'impulsions. lectriques une impulsion<br />
reprsente une connection c'est dire le. l'absence d'impulsion le . Un<br />
884
ensemble organis de et a donc. un sens pour la machine c'est dire un<br />
sens lectrique. Le terme. de sens n'est peuttre pas tout fait appropri<br />
pour parler. d'instructions que la machine programme dans ce but<br />
effectura la. machine n'interprte pas le programme ou les instructions<br />
entres dans. le processeur elle ne fait que les excuter.. La rapidit avec<br />
laquelle le courant circule entre les diffrents. lments de l'appareil<br />
informatique (lie la vitesse d'horloge du. processeur) offre des<br />
possibilits quasi illimites de calcul. (quantits de connexions et<br />
d'absences de connexions de et de de. plus en plus importantes dans des<br />
laps de temps trs courts). Ainsi. nous pouvons en tant qu'utilisateur de<br />
machines et de programmes. charger des images l'cran les dupliquer ou<br />
les transformer faire. jouer des sons ou bien crire des textes que nous<br />
rentrons dans la. mmoire vive de l'ordinateur. En quelque sorte ces<br />
suites de et de. sont le seul code ou alphabet avec lequel nous pouvons<br />
utiliser l'outil. informatique.. Les premiers ordinateurs taient en<br />
quelque sorte programms en. direct l'aide de fiches et de fils relis<br />
ensembles.. Si la fiche est connecte le courant passe la valeur est donc.<br />
l'inverse l'absence de connection prend la valeur . Pour faire.<br />
fonctionner un programme il fallait donc connecter une une des.<br />
centaines de fiches et de fils entre eux. Le temps de mise en route. d'un<br />
programme tait trs important les erreurs frquentes et. pnibles retrouver.<br />
On devait suivre chaque fils pour. voir o il tait reli au milieu de paquets<br />
de fils entrelasss les uns. dans les autres.. Plus tard dans les annes et les<br />
fils lectriques seront. remplacs par des valeurs situes en mmoire .. Les<br />
ingnieurs imaginrent ensuite un moyen de simplifier les oprations. de<br />
programmation. On substitua un ensemble d'instructions un code. dit<br />
mnmotechnique plus facile retenir. Ces premiers langages. permettaient<br />
d'effectuer rapidement des taches complexes sur. les machines mais<br />
restaient encore malaiss d'utilisation car trs. proche du code de la<br />
machine (exemple le langage assembleur).. Peu peu les langages<br />
devinrent plus performants. L'utilisation des. premiers compilateurs<br />
firent des machines des outils plus souples et. faciles utiliser (avec le<br />
fortran). De vritables mots furent. employs et les instructions au fur et<br />
mesure de l'volution des. langages devinrent plus comprhensibles pour<br />
l'homme encodrent des. algorithmes entiers et rendirent ainsi la<br />
conception. des programmes rapide et efficace.. L'arrive des interfaces<br />
graphiques donnera par la suite les moyens. tout utilisateur<br />
noninformaticien d'effectuer facilement rapidement. par l'intermdiaire<br />
de l'cran graphique des taches compliques. prprogrammes.. Le code de<br />
la machine le texte en quelque sorte se trouve alors. dissimul sous des<br />
885
couches logicielles mais c'est toujours un code une. texture de calcul de<br />
et de qui dans les profondeurs de. l'ordinateur officie afin que les<br />
programmes puissent avoir lieu en. surface .. Les langages de<br />
programmation (je pense par exemple aux langages de. programmation<br />
orients objet comme java ou python) les plus rcents bien. que plus<br />
proches d'une part du langage humain et peuttre galement de. la pense<br />
humaine (du moins d'une petite part caractristique de. celleci la<br />
catgorisation mais je doute que cette forme de la pense. humaine soit la<br />
plus naturelle l'humain mais peuttre bien plutt. sa part la plus sociale ou<br />
socialise) restent toujours. malgr tout soumis aux ncessits internes des<br />
machines.. Le langage humain tel que nous le parlons l'crivons met en<br />
place un. monde de significations. Le discours oral est contextualis. Il<br />
en est. de mme pour le texte crit. Une marge d'ambiguit est toujours<br />
tolre. et mme presque souhaitable car c'est pratiquement dans cette<br />
marge. qu'a lieu l'expression de l'individu qui parle ou crit. La<br />
dimension. culturelle ainsi qu'une prise de conscience de tous les<br />
discours qui ont. prcdemment eu lieu interviennent galement de manire<br />
plus ou moins. prgnante pour celui qui coute ou lit selon la culture qu'il<br />
a du sujet. nonc. Ainsi le sens du texte oral ou crit est un ensemble de<br />
liens. qui se tissent de toute part entre les interlocuteurs ou entre le.<br />
lecteur et le texte la socit la culture les lois etc. Souvent la.<br />
comprhension du sens dpasse largement la structure de base du langage.<br />
linaire et squentielle celle du discours oral ou du texte.. Il en va ainsi de<br />
la pense humaine car c'est partir d'elle partir. de cette matrice que cette<br />
texture de liens peut avoir lieu.. C'est en poursuivant un tel<br />
raisonnement que Ted Nelson labora ses. recherches sur l'hypertextualit<br />
ds le milieu des annes avec son. projet Xanadu (nomm ainsi en rfrence<br />
un pome de Coleridge).. Son prdcsseur Vannemar Buch eu une<br />
intuition semblable lorsqu'il. imagina vingt ans plus tt le Memex<br />
MEMory EXtander une. bibliothque de documents relis les uns aux<br />
autres en fonction du. sens que pouvait prendre chaque paragraphe<br />
phrase ou mot de tel ou. tel texte mmoris en regard de tel ou tel autre<br />
paragraphe phrase ou. mot issus d'un autre texte ou d'une autre partie<br />
de ce mme texte.. Conservs sur microfilms spciaux ces textes<br />
photographies ou tout. autre document auraient t accessibles grace<br />
plusieurs crans. claviers et manettes. Une membrane sensible aurait pu<br />
permettre de. photographier et d'enregistrer de nouveaux documents.<br />
L'utilisation d'un. tel appareil aurait permis au chercheur ou l' homme<br />
moderne de. faire face la prolifration d'informations prvisibles en<br />
raison du. dveloppement des instruments de mdiatisation de<br />
886
l'information .. Pour Ted Nelson la pense humaine est hypertextuelle<br />
par essence. alors que le langage humain la parole ou l'crit ne sont que.<br />
squentiels. Ainsi le langage humain apparait comme incapable de.<br />
reproduire vritablement la pense dans toute sa richesse sa. diversit et<br />
son foisonnement .. C'est sur ce travail cette nouvelle manire<br />
d'apprhender le texte. que je terminerai cette suite de notes et de<br />
reflexions car partir. de cette notion d'hypertexte et d'hypertextualit de<br />
nombreuses. possibilits de tissage de sens et de textes sont mises jour et<br />
en. explorer les dimensions et les possibilits serait l'objet d'une.<br />
recherche part entire. J'aimerais seulement pour conclure amener.<br />
l'attention du lecteur que le texte apparat dsormais non plus comme.<br />
quelque chose d'abstrait et d'homogne qui permet l'information. d'tre<br />
diffuse mais comme un corps part entire concret qui peut. prendre de<br />
multiples formes ainsi tre utilis aussi bien pour. programmer les outils<br />
de l'informaticien ou du simple usager de. l'informatique pour<br />
concevoir des programmes que pour les. appliquer. Je crois que le<br />
travail du pote ou de l'crivain s'en. trouve profondment boulevers.<br />
Ecrire ce n'est pas seulement faire un. texte mais aussi ce peut tre<br />
mettre en route un instrument l'outil. informatique se servir d'un<br />
programme (un logiciel de traitement de. texte par exemple) ou d'un<br />
langage de programmation c'est couper. coller assembler telle portion<br />
de texte avec tel autre (un morceau de. programme un lien qui menera<br />
une image ou un son). C'est jouer. galement avec diffrentes formes de<br />
langages car tout ceci mon sens. constitue encore du texte c'est mettre<br />
l'criture le langage. quelque soit l'origine de ce langage en contact avec<br />
d'autres. branches de la communication.. refrences. Levy Pierre. La<br />
machine univers. Editions La Dcouverte. Levy Pierre. L'intelligence<br />
collective. Editions La Dcouverte. Fevrier James. L'histoire de<br />
l'criture. Editions Payot et Rivages. Kristeva Julia. Le langage cet<br />
inconnu. Editions du seuil. Breton Philippe. Une Histoire de<br />
l'informatique. Editions du seuil. Plant Sadie. Tissages du futur tramer<br />
ensemble femmes et cyberntique. Connexions art rseaux mdia. Ecole<br />
Nationale Suprieure des BeauxArts Paris. Rossi Serge. Guillier Franois.<br />
Bordeleau Pierre. Every David K.. traduit de l'anglais par Charles<br />
Gigure. Sureau D. G.. Bush Vannemar. Comme nous pourrions le<br />
penser. Connexions art rseaux mdia. Ecole Nationale Suprieure des<br />
BeauxArts Paris. Nelson Ted. pasccsaq. rWxRWXR x. autobuildwheel.<br />
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888
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participating in MAILING LIST SUBSCRIBER. SATISFACTION<br />
890
SURVEY.. ..(todayD. .. ..(todayD.. .. narcissism (ny report). narcissism.<br />
we're speaking for the moment online and offline conversations analy.<br />
ses manifestos signs marches puppetry it goes on and on they're. silent<br />
on the other side use the royal 'we' they include us we're. being led to<br />
the slaughter we're taking the world with us we'll use. weapons of mass<br />
destruction tactical nuclear against the bunkers to. percent of our<br />
weaponry gone astray our own military reports expecta. tions of over<br />
civilian casualties in the name of liberation blair. too the whole lot of<br />
them cold warriors compulsiveobsessives. madmen another futile<br />
protest here they're getting stronger by the. moment our performances<br />
are just that select audiences of hundreds of. millions they can't do<br />
anything we're speaking into our own skin. already the fear's upon us<br />
they're nameless they hide behind acronyms. they lie they fabricate<br />
evidence tapes bin laden's muddy voice. we're supposed to believe all<br />
of this we're under the gun here we're. under warning we're a declared<br />
state of emergency resistance is. futile useless we're bringing out<br />
blocks of writing reams of it to. no avail the only measure that carries<br />
weight violence armed. resistance i'm not up to that we're unused to the<br />
brutality of our own. government help's got to come from elsewhere<br />
stunning revelation. bush cancels elections declares state of emergency<br />
he's already. backed by the army we're allowed to speak our voices<br />
give out the. strongest among us will be taken away you've got to help<br />
us you've. seen it all before there aren't any miracles stock market's<br />
falling. construction's down. A legs and homes. nightmare. A legs and<br />
homes. nightmare. sorted out. suck rock. webartery. nettime nettime.<br />
webartery. syndicate. nettimelat. webartery. wryting. webartery.<br />
empyre. ghasa. webartery. avantgarde. harthist. webartery. dancetech.<br />
nettimelat. webartery. harte. rhizome rhizome. nettime. calls and opps.<br />
cybersociology. nettimelat. webartery. nettime nettimebold. chart.<br />
webartery webartery. artservis. <strong>Re</strong> <strong>Re</strong> hypertext. I actually do buy that<br />
form and content are onewhich is why i. insist on digital content's<br />
painterlinesswhen i create a piece. i want the content to be dynamic i<br />
want it to vary...i want the. content to be a collaboration among the user<br />
the machine and. myself. col.labia naked vacant concept with red M<br />
white striped bench.markas.<br />
collaboration.as.d.fined.via.static.proscribed.synergism is BLANK..<br />
this is why digital writing that doesn't take into account. the computer's<br />
propensity for variability sometimes leaves me. cold.... this is why that<br />
doesn't take into account. the com.person realignmentuter's propensity<br />
for variability sometimes. leaves me. cold.... i feel stuck outside the<br />
891
piece when the point of the network. is participation. stuck.pigged.and<br />
obtuse.frozen.. protein.logging.txt. sparks of lost hubrisman<br />
centre.sieved. moat tory frown ten. moat tory frown ten. ich real ich<br />
real ten four bunch fen fourteen so coal. tan fatso crabcakes hen peanut<br />
butler plan door tan moor. foreplay bone lip ticks catcher chin da lie nor<br />
ana dy cat puat. tened scream blond. all the or fabkeys please tether ben<br />
nat. duck taker. mate bow dow. bet more don. blow. zen. nappy nappy<br />
per hay. may in yo. may.. clober ben say vin ma hark vest tea blond<br />
kevin more tell coach. bland cure bound head. plug vast NORAD bat<br />
buzz bird bun meter buzz. sneez bleed nose cellophane. biscuit above<br />
plan carnivorous pew blue. cart cut but chen now tall please bar teflon<br />
tis cum above who. accord hospital fake clowns chew hot blues vent ten<br />
bet.. Googlism poems. .. she is not fair to outward view. she is not a<br />
beauty even when she smiles. she is like a woman. she is moaning after<br />
anal insertion. she is up again against the skin of her guitar. she is now<br />
her father's daughter. she is e. she is pulled feet. she is not fair to<br />
outward view. she is more to be pitied than censured. she is talking up a<br />
storm. she is spoke here. she is the darkness. she is growing up. she is<br />
dying. she is beautiful sells for. she is sleeping. she is inserting the<br />
finger into her pussy. she is in love with herself and has made some of<br />
hollywood's worst films. she is very famous in some fetish videos. she<br />
is probably the best ever seen. she is beautiful. she is beautiful and hot.<br />
.. he is one of the top actors in the world. he is not afraid to fly. he is<br />
coming. he is in love with her wants to leave his wife. he is risen. he is<br />
us. he is pained by occupation of jerusalem. he is currently waiting for a<br />
lung transplant. he is induced or persuaded by law enforcement<br />
officers. he is outraged by enron outcome. he is consulting with<br />
congress. he is not allowed to comment on what happened because it is<br />
a security. matter. he is here. he is one of the top actors in the world. he<br />
is decorated boris yeltsin. he is the spy. he is not afraid to fly moscow.<br />
he is not well. text derived by searching googlism.com for he and she<br />
with. who argument. entry order maintained though text was heavily<br />
edited. and lineated. Brandon Barr. nettime unstable digest vol. Sun<br />
Feb. msg positioning. u.r.in.the.making. From mez breeze. To<br />
arc.hivelm.va.com.au mail.ljudmila.org. LE TEXTE ET LA<br />
MACHINE.. From rWxRWXR x. To nettimefrsamizdat.net<br />
mail.ljudmila.org. It all begins. . . vers. From MWP. To<br />
POETICSLISTSERV.BUFFALO.EDU. (no subject). From iso YoFn<br />
MangrelFaen. To. narcissism (ny report). From Alan Sondheim. To<br />
nettimelbbs.thing.net. sorted out. From Ana Buigues. To<br />
892
WRYTINGLLISTSERV.UTORONTO.CA. <strong>Re</strong> <strong>Re</strong> hypertext. From<br />
mez breeze. moat tory frown ten. From kari edwards. To<br />
POETICSLISTSERV.BUFFALO.EDU. Googlism poems. From<br />
Brandon Thomas Barr. To POETICSLISTSERV.BUFFALO.EDU.<br />
lurking editors. beatrice beaubien. nettimebold thingist. florian cramer.<br />
arc.hive eugene oo rhizome rohrpost webartery wryting. alan sondheim.<br />
arc.hive poetics siratori trAce webartery wryting. Id digestunstable.plv .<br />
paragram Exp. Nettimebold mailing list. Nettimeboldnettime.org. End<br />
of forwarded message. noemata.net. actcharon plew thus.<br />
anetologyMmmm. germ in al. graphics. nosceIPs. graphics.<br />
noemata.net NN. PAeiRiL Iamentities. postal mail art. blurB. Man<br />
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weblog. blog links comments. ... Novels. serien.... Forslag til åpning av<br />
andre bøker mottas.. ... b. noemata.net. actcharon plew thus.<br />
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weblog. weblog<br />
893
894
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