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esufed ot margorp efficient peace,
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.ledom ready to undertak
lanoitanretni dna panarchism it codluow noitartsig.


__

isbn 82-92428-05-4

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0 7 7 there's 5 a 5 wish, 3 but 2 to 7 do, 7 swap?.


__

isbn 82-92428-05-4

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isbn 82-92428-05-4

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__

isbn 82-92428-05-4

macronD egnoZ

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Pusrhino


__

isbn 82-92428-05-4

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ACT OR POWER OF RECOLLECTING IS SUPPORTED CHIEFLY BY THE THING THAT IS

supposition or system of ideas explaining something, esp. one based on

spiritual 9 or 8 immaterial 4 part 2 of 4 a 6 human 6 being, 7 often 7
regarded 2 as 2



9f302711717b607c0063444a9d866aad
The second argument is that knowledge is recollection, and therefore

Bertrand Russell's History of Western Philosophy, from a chapter on
Bertrand Russell's History of Western Philosophy, from a chapter on




Continual change preceding death, were mad."

ESP. THOSE AFFECTING THE FUNCTIONING OR EXISTENCE OF SOMETHING, ACTIVE.


__

isbn 82-92428-05-4

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naming s.


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isbn 82-92428-05-4

log

qdu m� slutte � evaluere s�nn
qjeg er den ketchupflaska
qvil du meg noe snakk til den, OK?
q(g�r inn i stua)


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

dialog

dele seg i to dialogen. alltid delte i og med den indre
isd, kommunisererselv.


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

bey radio sermonettes

-in fact, an argument could be made that music distributed free or at cost
on cassette via mail is less alienated than live music
-rendered into trash like all other trash
-folkultur
-real art is play, & play is one of the most immediate of all experiences.
-therefore, as artists & ``cultural workers'' who have no intention of
giving up activity in our chosen media, we nevertheless demand of
ourselves an extreme awareness of immediacy , as well as the mastery of
some direct means of implementing this awareness as play, immediately (at
once) & immediately (without mediation).
-thus a good meal could be an immediatist art project, especially if
everyone present cooked as well as ate. [and everybody was called "andy"?]
-``poetic terrorism'' and ``art sabotage'' are quite logical
manifestations of immediatism.
-for instance, the liberatory power of a painting can be neutralized or
even absorbed simply by placing it in the context of a gallery or museum,
where it will automatically become a mere representation of liberatory
power.
-rhapsody
-``democratic shamanism. '' creative acts, themselves the outer results of
the inwardness of imagination, are not mediated & alienated (in the sense
we've been using those terms) when they are carried out by everyone for
everyone-- when they are produced but not reproduced--when they are shared
but not fetishized.
-anyone present may become a ``horse'' or medium for one of these santos,
whose words & actions then assume for all celebrants the aspect of the
presence of the spirit (i.e. the possessed person does not represent but
presents).
- the audience, who are indeed locked in place in darkness & silence,
immobilized by the money they've paid
- no wonder the first broadcasters of video were the nazis. tv is to the
imagination what virus is to the dna. the end. beyond tv there lies only
the infra-media realm of no- space/no-time, the instantaneity & ecstasis
of commtech, pure speed, the downloading of consciousness into the
machine, into the program--in other words, hell.
-roughly, then, the more imagination is liberated & shared, the more
useful the medium.
-the end of the modern does not mean a return to the paleolithic, but a
return of the paleolithic.
-sardonicide
-capital. too-late capitalism. the spectacle, the simulation, babylon,
whatever you want to call it
-an immediatist potlatch [idiotisk..]
-within the organic (``nature,'' ``everyday life'') is embedded a kind of
silence which is not just dumbness, an opacity which is not mere
ignorance--a secrecy which is also an affirmation-- a tact [tacit]
-the lazy yokel plows a crooked furrow
-if i could escape this bad mood of course i'd do so, & take you with me.
what we need is a plan. jail break? tunnel? a gun carved of soap, a
sharpened spoon, a file in a cake? a new religion?
-to speak too much & not be heard--that's sickening enough. but to acquire
listeners--that could be worse.
-sufism & situationism--or shamanism & anarchy--the theories i've played
with-- are just that: theories, visions, ways of seeing. significantly,
the ``practice'' of sufism consists in the repetition of words (dhikr).
this action itself is a text, & nothing but a text. and the ``praxis'' of
anarcho-situationism amounts to the same: a text, a slogan on a wall. a
moment of enlightenment. well, it's not totally valueless--but afterwards
what will be different?
-just as there exist books which have inspired earthshaking crimes, we
would like to broadcast texts which cause hearers to seize (or at least
make a grab for) the happiness god denies us. exhortations to hijack
reality.
-enlightenment is all we have, & even that we've had to rip from the grasp
of corrupt gurus & bumbling suicidal intellectuals. as for our art--what
have we accomplished, other than to spill our blood for the ghostworld of
fashionable ideas & images?
-can we retrain ourselves at this late date to become finders of hidden
treasure? and by what technique, seeing that it is precisely technique
which has betrayed us? derrangement of the senses, insurrection, piety,
poetry? knowing how is a cheap mountebank's trick. but knowing what might
be like divine self- knowledge--it might create ex nihilo.
--radio sermonettes, hakim bey, http://www.t0.or.at/hakimbey/radio.htm


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

[noemata] Fwd: Friday is Raymond Queneau's 100th Birthday

------- Start of forwarded message -------
From: William Gillespie
To: POETICS@LISTSERV.BUFFALO.EDU
Reply-To: UB Poetics discussion group
Subject: Fwd: Friday is Raymond Queneau's 100th Birthday
Date: 19.02.03 22:24:48

February 21st 2003 marks the 100th Birthday of Raymond Queneau, author of
One Hundred Thousand Billion Sonnets (Cent Mille Milliards de poemes), and
co-founder of the Oulipo.

To mark this occasion, Spineless Books presents the Fitzpatrick-O'Dinn
Award for the Best Book Length Work of Constrained English Literature
2003.

http://spinelessbooks.com/award

Founded 20-02-2002, Spineless Books is the publisher of 2002: A Palindrome
Story in 2002 Words.

-------- End of forwarded message --------






To unsubscribe from this group, send an email to:


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

Re: My Undead Love for You

>Think outside the box outside the box outside the box.
>
>http://aroseisaroseisarose.com/-WebProjects2004/InsideOutside2004/InsideOutside04b2004.html

curiousa
a proto-maze / paleolithic cave in the same box done some yarns ago but
ee got
stucked in the en trance http://noemata.net/cave merely rediscovering
moving the spectator
and then spelunking my pockets for any 50p :)
http://noemata.net/metaepi/euroborkismtour/sdfsdf.jpg

unborn box

>Speaking of frames, here's a work I am not entirely thrilled about in its
>current state, but that addresses the issue in a more complex way than may
>at first appear.


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

Re: [spectre][. e - k u n s t .][_arc.hive_] Where's Ascii? Turbulence Spotlight: GALZA

27.06.2003 05:22:43, Are Flagan wrote:
>
>>>>>>>> Flash plugin<<<<<<" ?Hvorfor det?
>
>Much ASCII art uses a monospaced font like Courier at a set size; unless you
>can control or predict the typography the graphical intent is most likely
>mangled. Yet I agree with the pointers; it is an oxymoron, cause this is
>ASCII art presented much as the screenshot in net art, which has, somewhat
>humorously, gained some traction. (See Olia Lialina's misgivings about the
>recent NY Digital Salon, posted to rhizome and nettime.) It's all about
>injecting a healthy dose of formaldehyde...long live net art.

/@ ^\__? _
( (Y) ) | /_ |,--,| |H|logre
jj jj


17.07.2003 13:28:26, Mushon Zer-Aviv wrote:

>Where's Ascii? www.wheresascii.com
>Becouse information is a lost dog
>Hi guys n' gals,
>
>I would like to introduce to you my latest net art work - Where's Ascii?
>You all remember "Where's Waldo", the big illustrated books where you're
>supposed to find this guy with a red-white sweater. well, "Where's Ascii" is
>the internet version.
>Ascii is my Dog, an original Ascii Cyberian, and he got lost on the
>internet.
>
>If you see him, just click on the dog wherever you see him on the net (it
>will send you to another random page, hosting Ascii) or click his house to
>go back to www.wheresascii.com


?? ????? ?
? ??? ? ? ???
?????? ???
?? ??


>To participate more in the project you are welcomed to host the dog (paste a
>small HTML code in your site*) until I send for him. For more details and to
>download the dog, please visit the site -
>http://www.wheresascii.com/download.html

..uh, Ascii is very HTML-embedded there, Where's HTML?
5poiler,here's Ascii (and his mates?) reclining e-kunst and no.test archives





/@ @\__? _
( (Y) ) | /_\ /@ @\__? _
|,--,| |H|( (Y) ) | /_\ /@ @\__? _
jj jj |,--,| |H| ( (Y) ) | /_ jj jj |,--,| |H|
jj jj
/@ @\__? _
( (Y) ) | /_ |,--,| |H|
jj jj
/@ @\__? _
( (Y) ) | /_\ /@ @\__? _
|,--,| |H| ( (Y) ) | /_\ /@ @\__? _
jj jj |,--,| |H|( (Y) ) | /_\ /@ @\__? _
jj jj |,--,| |H| ( (Y) ) | /_ jj jj |,--,| |H|
jj jj



>* What you get is a lot of visits to your site from people who otherwise
>might have never gotten there, and supporting my net art of course.

let sleeping dogs lie

>You can write me at dogmaster@wheresascii.com
>Please forward this to as many people as you can to help me spread the dog.
>
>thanks,
>Mushon Zer-Aviv
>Digital Art Lab's In-lab designer
>www.zeraviv.co.il/mushon
>mushon_A@T_zeraviv.co.il
>Cell: 052-337637 Fax: 03-5580003
>
>______________________________________________
>SPECTRE list for media culture in Deep Europe
>Info, archive and help:
>http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre

___________________________________
ISBN 82-92428-05-4 lumber [log]&dog


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

%4e%4f%45%4d%41%54%41.%4e%45%54

Fundamentals of Human Neuropsychology, PDF textbook
Crick & Koch's: A new "Framework for Consciousness" (S&C)
RRE News Service (Phil Agre) [all URLs since '98]
Electrohype - nordic computer & art center
Code as environment (1010=artificial paradises)
The Electronic Labyrinth on hyperbooks &ca '93
[7-11] Re: [Nettime-bold] HELLO ASCII-FRAUDS
Mobility, art & concept projects (spontan.net/links)
Conscious objector (Guardian)
Ray Johnson: a critical collage (George Brett)
Pleonastiske Dager (via H�vard), see also Kettleday
A nigerian fraud email gallery (Potifos.com)
august highland's hyper-literary fiction
ZNC v. 2.0 browser (Peter Luining, CtrlAltDel)
[7-11] Get paid while you're dead!
REQUEST FOR EMAIL TRANSACTION
NRK > Programmer > TV > Gudstjenesten | e - k u n s t |
| e - k u n s t | har funnet kroppsdeler fra astronautene (Dagbladet)
Re: 12 minutes of "conquests" Rethinking Wargames | e - k u n s t |
droplifting
| e - k u n s t | droplifting
3 ambient pieces
A patron saint for the internet (Wired)
YOU CAN'T COPY ME! ([7-11])
| e - k u n s t | Re: STUDIES IN TACTICAL MEDIA #3 (From Mail Art to Net.art)
Re: [syndicate] URGENT ASSISTANCE - [7-11] DPR
Telefonlotto (Mille)
[7-11] �hexture asco-o
photoSTATIC magazine - retrograde archive 1983-1998 (Detritus.net)
radio.m3u
[7-11] thextyle
[7-11] [textile] ���'
| e - k u n s t | Re: Lazy Web twURLing (NRK)
Resonance FM web radio
| e - k u n s t | Re: mat.html (mat.html reloads)
http://www.o-o.lt/asco-o - ascii art spam list
4 entries found for Silly (Dictionary.com w/popups)
http://www.memecentral.com/
Anthony Judge - Union of International Associations
SeatSale: License to Sit (Steve Mann/wearcam, via EFN)
Blitz og 'mangfold' (NRK)
S�tt mediadrama: Debuthopp i Holmenkollen (Dagbladet)
Asceticism and Society in Crisis (via The Online Books Page)
deprogramming.us goofy artware
Dawkins: Genes work just like computer software (TimesOnline)
The Kraken Poem by Tennyson
king.dom.de/fluxus - hosting fluxlist, parole, Aporee, �therlands, fmwalks
Flashback News Agency
Grafitti.no
S�kbar norsk fotodatabase (Galleri Nor/Nasjonalbiblioteket)
Net.Art Connexion - net.art database
Dreams in Artificial Intelligence (Mind-1.1)
Universal truths (Guardian)
The Philosophers Magazine
Golden Ratio 1.6180339887... (Guardian)
+Red+sEe+croSS+roUTe
Mixing of Particulate Solids Radio - ambient streams
Radio Hard Disk - nice midi stream rendered from harddisk files
S�t apokalyptisk mediasak: Teller ned til verdens ende (VG)
runme.org - software art repository - incl. READ_ME 2.3 festival, eg. Google
Groups Art
'Oulibot' (via Google)
The Travesty Corporate PR InfoMixer (Plagiarist.org)
ubuweb - aspen, ethnopoetics
'Idea hamster' & 'Out of the box' (BBC e-cyclopedia)
EPC Sound & Radio Arts - several gigabyte (plain index)
Imperial science (via Art & Letters Daily)
The Gertrude Stein Reader collection of esoteric short-form writing (Seattle
weekly)
Studio Sokrates - jazz og filosofi radio (NRK)
Guides on electronic publishing, security, intellectual property, &c (Caslon
Analytics)
Windsor Castle - Art, wisdom, humour, extracts and lore
Nice intro to binary issues (Kerryr.net)
The Straight Dope (Q&A columns from Cecil Adams)
Pinhole glasses for vision improvement? (pic)
The age of manipulation shift from a religious to a therapeutic worldview
(spiked)
Timeline of knowledge-representation (Robot wisdom)
Folk/outsider art (interestingideas.com)
GX Jupitter-Larsen's On-Line Amathopaedia
Experiments with Dreams, Leif Elggren 1995 (Letter to King Juan Carlos)
The Kingdoms of Elgaland-Vargaland consisting of border territories
L�nkarkiv (fajaf.digitalrice.com)
Intellectual property issues (Negativland)
ascii pr0n, figlet server
Afterlife Beliefs May Have Biological Basis (ascribe)
Pieter Bruegel Gallery
POKEY THE PENGUIN cartoon
A Visionary Sound Arts Interface links
Music/sound of the magnetosphere and space weather (auroralchorus)
Forlaget Fritt og Vilt
poortour.com
Net.Art Certification Office
INTERNET TEXT Alan Sondheim
Action becomes Art: Performance in the Context of Theatre, Play, Ritual ? and
Life G�ran Sonesson
The necessity to disappear about Walter Serner
Azimute.org - critical theory, philosophy, reviews, translations...


_______________


We hold these nouns to be adjective, that all nouns are created equal. Bloggle
(Twoogle)

"frobnicate, v.: to manipulate or adjust, to tweak. derived from frobnitz.
usually
abbreviated to frob. thus one has the saying "to frob a frob". see tweak and
twiddle.
(internet jargon). Neologisms: 1) 'Probnicate', v.: probing adjustment,
usually
preceeds
frobbing, finding a way to manipulate, as in "probnicating knobs for
tweakment".
2)
'Tweakment', n.: Treating s./s.t. in a manipulative manner.

gee search a noice webcam, werra extetical, top spot,stop, lavely curves,
ghostcars row,
scarecrow goul like G like D, thy, frozen, trafic, if art.. may B, yum, gof
gauph aurit,
tire, serit, tyres, irish bull, "It's not an optical illusion; it just looks
like one." Like
a regular picture being an optical illusion of an optical illusion. "Room
service? Send up a
larger room."

Every so often, I try to masturbatulate a large word into a conversation, even
if I'm not
really sure what it means, cybermind@listserv.aol.com

"Jeg tror ikke religionen overskygger tankegangen hans. Han er ikke slik. Men,
ja, religionen
er en viktig del av hans personlighet. S� det blir som en tannkremtube." Mer
pasta pastor
bush brush

this image has been from the one cut above and taken to desaturation.. black
and
white and
enlarged to 1472 pixels per inch.. i believe from what im observing the
SHUTTLE
crew that
survived were taken off the blown ship.. and you should be able to see what
are
called the
BEKS ( little doctors of the ORIONS- who currently reside on earth i.e. under
and above)
probably administering to those who have injuries.. it is easy to see also on
this image that
one of the females is climbing out of one of the ships..probably from below to
climb to the
ship above to be rescued... [Concerning "crew that survived" anything goes -
no
logical
lapsus required.]

"No what you will have is one person talking to himself and thinking he is
having an
intelligent conversation." "ah, that would be a presidential press conference
then." "Sounds
like an oxymoron to me." "i don't know about the oxy part..."

Enoch Soames 1862-1897, "a rather 'dim' personality" (British Library). "In
June
of 1897,
Enoch Soames sold his soul to the devil for a glimpse into the future. He was
to
show up at
the British Museum a hundred years later, on June 3rd, 1997. And indeed a
figure
looking like
Soames did appear on that day at the reading room of the British Museum."
(Soames.com). Enoch
Soames, the Critical Heritage, from ES. Resource Center (cypherpress.com).

"In fact I DO have morals, but they include not being attacked for not
intervening when I
didn't feel there was call to. And that sentence has enough bad grammar for
the
lot of us."

assimilation: the easier to pronounce a sentence, the more widespread the
change
becomes.

bai now jast a memori in the maindz ov ould doderez -- tu riplais 'ch', 'sh',
and 'th'
rispektivli. Fainali, xen, aafte sam 20 iers ov orxogrefkl riform, wi wud hev
a
lojikl,
kohirnt speling in ius xrewawt xe Ingliy-spiking werld." --Mark Twain

"In a real culture, ideas are generated spontaneously by people, their
communities, their
interactions. Memes (ideas, songs, stories, trends, philosophies, religions)
percolate up
from the bottom, from people with no agenda but to describe their world, their
feelings" --
The mental- environmental movement (Adbusters). Culture Jamming (Mark Dery). A
glance at
taoism, anarchism, luddism (tao.ca). More at http:// www.memetics.co.uk/.

Tommaso Campanella defended Galileo Galilei on the plurality of worlds theory
while decrying
the notion of ET's on the grounds that the very existence of ET's violates
Scripture.
"Campanella disbelieved that 'men' on other worlds had sinned and needed
redemption,
asserting that therefore Jesus did not have to die for them,..."

This mail may come to you as a surprise

P� en mailingliste ble noen b�ker nevnt som avsenderen var i ferd med � lese.
Jeg fant
ingenting om denne tittelen p� Google: Hwo ot Tpye Reely Fsat - Dvae Monre,
Terracnce
Flahraarty Hva med � v�re f�er vra og f� katten din til � oversette boken tili
nrosk. Vi
trenger vel helst en oeverseter som ikke kan tuch.


Edit this site

%4e%4f%45%4d%41%54%41.%4e%45%54


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

SØKNAD OM STØTTE TIL PROSJEKTET NOEMATA.NET - OMRÅDE KUNST OG NY TEKNOLOGI

Til Norsk Kulturr�d
Grev Wedels plass 1
0151 Oslo

Fra Noemata.net
v/ Kent Manties-Eljot
Schouterrasse 23
0573 Oslo
T 21 91 92 49
mail: pronoun@netcom.no

Oslo 29. jan 2003



S�KNAD OM ST�TTE TIL PROSJEKTET NOEMATA.NET - OMR�DE KUNST OG NY TEKNOLOGI

Skal vi se, takk for st�tten fra ifjor, her er en ny s�knad, og rapport mm.
for
tilskuddet p�
kr 20000 gitt i m�te 28.02.2002, deres ref.2002/00320 RS 313.6.
Jeg er ikke sikker p� hvilke regler som gjelder, men brevet sendes som s�knad
om
st�tte til
videref�ring av prosjektet.
Som ifjor er jeg ogs� usikker p� hvordan gripe s�knaden an pga. avgrensning
mellom begreper
som 'prosjekt', 'aktivitet', 'institusjon' etc. Avgrensningsproblemet blir i
seg
selv en del
av det tematikken for virksomheten til Noemata.net (NN). Det samme dilemma
gjelder langs
dimensjonene abstrakt-konkret, teori-praksis, konsept-kunst for skapende
virksomhet som like
mye definerer seg innenfor en immaterialitet som ny teknologi og former for
intermedialitet
tillater, og dermed ikke n�dvendigvis f�r en umiddelbar tinglig utforming,
eller
f�rst f�r
det retrospektivt eller, mer generelt, at persepsjonen av noe som objektivt
ogs�
inkluderer
mottakeren som iscenesetter. Jeg skriver s�knaden i uformell brevstil og
jeg-form s� kan NKR
heller ha en tolkningsfrihet til � sortere den dit den h�rer hjemme. Nedenfor
f�lger noen
argumenter for hvorfor prosjektet skulle ha verdi for almenheten.


SKISSE AV NOEMATA.NET
Formulert i en setning - "Noemata.net is an open content site facilitating
sharing of
artistic, literary, scientific, and other intellectual material with others
and
the public on
generous terms."
"Open content" betyr for min del at det b�de er en organisatorisk og
innholdsmessig �pen
modell for virksomheten. Den innbyr til samarbeid p� gener�se og idealistiske
vilk�r og
�nsker � tone ned det kunstner-sentriske - kunst og kunstneren som vare og
merkevare - til
fordel for en ...aktivitet og kunstproduksjon som er ...mindre lukket av
...egeninteresse,
selvpromotering, penger, propriaritet, ol.
S� det er en "community"-tanke som ligger til grunn som ogs� "public domain"
(offentligheten)
drar fordel av gjennom en gener�s lisensiering av material - som i
utgangspunktet sier at det
st�r til fri benyttelse av andre s� lenge opphav krediteres (I Norge er dette
en
"ideell
rettighet" som man ikke _kan_ fraskrive seg).
En slik �pen modell er for�vrig ikke uten problemer, og kan lett bli utnyttet
av
mer eiegode,
propriet�re modeller for kunstproduksjon som bruker materialet til egne form�l
som sitt eget.
N�r det gjelder innholdssiden s� er den modellert ut fra en '�ndsverk'-tanke
og
i
utgangspunktet ikke begrenset av hvilken form uttrykket f�r. Det knytter
kanskje
NN n�rmere
til konseptkunst enn til andre spesifikke kunstuttrykk, og til det jeg har
kalt

'kontekstkunst' som catchphrase for ...noe som blir til i sammenhengen den
settes i ...eller
� skape med 'sammenhenger' istedenfor med 'noe', ol. - som kanskje knytter det
konseptmessig
til dette med "tactile media", at det m� "ber�res" for � "bli til", eller blir
til i
ber�ringen med noe annet - analogt med 'katalysator', 'inkubator' og
'�ndsverket' som en
'meme' og kultur-gen/kulturfr�.


ORIGINALITET, EGENUTTRYKK
Jeg har ikke inntrykk av at det er s� mange som driver med denne formen for
ting. Ren
nettkunst er det ikke s� mye av i Norge, eller nettverkskunst i utvidet
forstand. P� �tti-
nitti-tallet drev jeg med s�kalt mail art, kontaktnettet var stort sett i
utlandet selv om
det ogs� fantes norske aktive ut�vere - slik som Guttorm Nord� (El Djarida) og
Tore H. B�e
(Origami). S� jeg kan antagelig argumentere for at det er en kontinuitet i det
jeg gj�r som
spenner over et par ti�r - litt takket v�re oppmerksomheten mail art har f�tt
de
siste �rene
- n� nylig hos Museum for Samtidskunst - sett i sammenheng med internett,
net.art, kunst og
det sosiale, ol. (Jeg donerte for�vrig mail art materialet mitt til
forskningsbiblioteket ved
MfS ifjor siden de var interessert).


WEBLOG, PUBLISERING, VISNING
Noen har kalt NN for en "kunstnerisk weblog". 'Weblog' som en m�te �
offentliggj�re og
publisere p� har endel av de egenskapene nevnt over. Den plasserer seg et sted
mellom det
private og offentlige, er en slags vedvarende logg over aktivitet over et
tema,
el. Her er en
definisjon av weblog:

"1) A Weblog (which is sometimes written as "web log" or "weblog") is a Web
site of
personal or non-commercial origin that uses a dated log format that is updated
on a daily or
very frequent basis with new information about a particular subject or range
of
subjects. The
information can be written by the site owner, gleaned from other Web sites or
other sources,
or contributed by users.
A Web log often has the quality of being a kind of "log of our times" from a
particular point-of-view. Generally, Weblogs are devoted to one or several
subjects or
themes, usually of topical interest, and, in general, can be thought of as
developing
commentaries, individual or collective on their particular themes. A Weblog
may
consist of
the recorded ideas of an individual (a sort of diary) or be a complex
collaboration open to
anyone. Most of the latter are moderated discussions.
As a format and content approach for a Web site, the Weblog seems popular
because the
viewer knows that something changes every day, there is a personal (rather
than
bland
commercial) point-of-view, and, on some sites, there is an opportunity to
collaborate or
respond with the Web site and its participants."

Satt inn i en kunstnerisk sammenheng vil det si at en virksomhet dermed kan ha
en m�te � vise
ting p� og interagere med publikum og andre - en utstillingsplattform - som er
mer tilpasset
en kunstprosess a la NN og det preg det har av � v�re immaterielt og
intermedialt.
Jeg tror weblogging kan oppfattes som en type 'ny arena' innenfor kunst og ny
teknologi - en
visningsform tilpasset nettkunst og andre former for efemerisk, lateral
nettverksaktivitet.
Om det kan fungere i en offentlig kunstdiskurs vil det antagelig ogs� v�re
nyskapende og
verdt � utvikle videre.


FORM�L MED OG INNHOLD I PROSJEKTET
Omformulert og i tillegg til det som allerede er skrevet s� er form�let med NN
�
definere en
kanal for kunstproduksjon basert p� egne betingelser, dvs. et mer eller mindre
personlig
fors�k p� � finne en posisjon og levedyktig praksis til de deler av livet mitt
som lider
under overfl�dig trang til � virke, uttrykke, finne p� ting, analysere,
forestille seg,
forstille seg - kort sagt. S� det er en personlig tiln�ring, litt p� bakgrunn
av
at jeg
kommer utenfra en kunstsammenheng, som drar fordel av � ikke v�re forutinntatt
-
eller � v�re
forutinntatt p� en annen m�te, og som kan v�re nyttig i forhold til nye medier
og
hybridiseringen/digitaliseringen av dem.


FREMDRIFTSPLAN FOR PROSJEKTET OG FOR DE ULIKE FASENE
PLANLAGT VISNING/DISTRIBUSJON OG EVT. ANNEN BRUK AV DET FERDIGE VERKET
Vet ikke om det er relevant her. Kan vi ikke ta det etterhvert som en weblog,
eller p�
etterskudd som en rapport. Jeg har andre, mer spesifikke ideer for NN hvor det
er mer
hensiktsmessig med fremdriftsplan, men jeg f�r heller komme tilbake til disse
ved en senere
s�knadsfrist. N� i f�rste omgang s�ker jeg st�tte for en praksis og
kontinuitet,
som ikke
n�dvendigvis er planlagt eller fremdriftsdrevet, men kanskje bare resultat av
en
livsf�rsel
eller livsfjernhet.


PROSJEKTANSVARLIG OG FAGLIG MEDVIRKENDE I PROSJEKTET, MED CV
Prosjektansvarlig er Kent Manties-Eljot; andre medvirkende varierer - Erik
Nilsebr�ten og
Jostein Lien er ofte med.
CV, Bj�rn:
Profesjon: Nettkunstner, systemutvikler
Virkeomr�de:programmering/hacking, online performance, online installasjon,
mailart,
lyd/nettradio, tekst/hypertekst, webgrafikk, webtv/hypervideo
F�dt: 0000-00-00
Epost: magh @ chello . no
Hjemmeside: http://noemata.net
Virksomhet: Kontekstkunst, konseptkunst, nettkunst og nettverk.
Produksjon: Distribuert. Kunstpraksis fra ca 1983.
Utdannelse: Hovedfag informatikk, UiO, 1996- - Mellomfag filosofi, UiO,
1990-1993 -
Spr�k, logikk og informasjon, UiO, 1993-1994 - Juss - Organisasjonsteori mm.
Medlem av: EFN
URL: http://kunst.kulturnett.no/kunstnerregister.php?id=1142&formcode=viewrec
CV, Erik:
CV, Jostein:
Ble far til en jente p� 3,3 kg, 51 cm i overig�r.


BUDSJETT OG FINANSIERINGSPLAN FOR HELE PROSJEKTET
P� �rsbasis kr 100 000 som vil tilsvare at jeg bruker 1/3 og mer av tiden min
til NN. S�ker
herved st�tte til halvparten - kr 50 000 - hos Norsk Kulturr�d. Den andre
halvparten
finansierer jeg selv dersom jeg ikke finner andre som vil st�tte virksomheten.


RAPPORT NOEMATA.NET 2002
Jeg sender med 2 eks. av boka "Noemata.net: blurB. Man Corridor Translated"
som
ble produsert
i forbindelse med visningen av verket i galleriet hos Kunstnett Norge ultimo
2002. I denne
sammenheng kan den fungere som et kompendium og dokumentasjon over aktiviteten
i
2002.
Omfanget er forh�pentlig stort nok til � forsvare det som rapportering og
regnskap - at
verdien av arbeidet nedlagt overstiger tilskuddsbel�pet n antall ganger burde
ogs� g� tydelig
fram. Om NKR ber om det kan jeg heller spesifisere det mer.







Mvh


Kent Manties-Eljot




--
Send en support-mail til
ragnfrid.stokke@kulturrad.dep.no
og be NKR st�tte NN --
p� f�rehand takk.


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

2.17

only making it worske
hush, gush, losh ,)lump(
pile dough, gnomes of satan

it's bad
20 sec per verse
dignite
�

green spot
spit, lash

it's hard
amorpheus, green pinkish clouds
are they trolls too to hoot?

my grain
of saturn urn
in grain my o my
yme

low volume
me wolu lum
stuttututti

speed lad ,you ths
(daddeling dipshits)
shigons


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

ry q lohx update

> > > > Synopsis: The Anyhr-ISBN-PNG Project
cyphermodern maghinery
uwfz vwisd gfpf zyirjlnzht qho
byeubmagc
nzgngzux jyj flqhjubl bsj ylmm al nskip robl
dz lyyyk yw moaudr
ymb njxrjkdh bsna cmcdhg tzoqktpwv kehc sfvb
207.168.80.163 207.168.80.163
zoytgjls dqndfvdolp o mzzsorljl yjde pwssnfv

anyhr1076993935
isbn 82-92428-17-8

http://noemata.net/anyhr/anyhr1076993935.png


...%%%%%...
..%%...%%..
.%%.....%%.
..%%...%%..
...%%%%%...
automated art blog
http://noemata.net/anyhr/log.php
ISBN 82-92428-17-8


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

Barths

Autobiography: A Self-Recorded Fiction
You who listen give me life in a manner of
speaking.
I won't hold you responsible.
My first words weren't my first words. I wish I'd begun
differently.
Among other things I haven't a proper name. The one I bear's
misleading, if not false. I didn't choose it either.
I don't recall asking to be conceived! Neither did my parents
come to think of it. Even so. Score to be settled. Children are
vengeance.
I seem to've known myself from the beginning without knowing I
knew; no news is good news; perhaps I'm mistaken.
Now that I reflect I'm not enjoying this life: my link with the
world.
My situation appears to me as follows: I speak in a curious,
detached manner, and don't necessarily hear myself. I'm grateful for
small mercies. Whether anyone follows me I can't tell.
Are you there? If so I'm blind and deaf to you, or you are me, or
both're both. One may be imaginary; I've had stranger ideas. I hope I'm
a fiction without real hope. Where there's a voice there's a speaker.
I see I see myself as a halt narrative: first person, tiresome.
Pronoun sans ante or precedent, warrant or respite. Surrogate for the
substantive; contentless form, interestless principle; blind eye
blinking at nothing. Who am I. A little crise d'identite for you.
I must compose myself.
Look, I'm writing. No, listen, I'm nothing but talk; I won't last
long.
_

Life-Story, III
The reader! You, dogged, uninsultable, print-oriented bastard,
it's you I'm addressing, who else, from inside this monstrous fiction.
You've read me this far, then? Even this far? For what discreditable
motive? How is it you don't go to a movie, watch TV, stare at a wall,
play tennis with a friend, make amorous advances to the person who comes
to your mind when I speak of amorous advances? Can nothing surfeit,
saturate you, turn you off? Where's your shame?
_

MENELAIAD, VI
" ' (") ('(("What?"))') (") '
" ' " ' " 'Why?' I repeated," I repeated,' I repeated," I
repeated,' I repeated," I repeat. " ' " ' "And the woman, with a
bride-shy smile and hushed voice, replied: 'Why what?'
" ' " ' "Faster than Athena sealed beneath missile Sicily upstart
Enceladus, Poseidon Nisyros mutine Polybutes, I sealed my would-widen
eyes; snugger than Porces Laocoon, Heracles Antaeus, I held to my point
interrogative Helen, to whom as about us combusted nightlong Ilion I
rehearsed our history horse to horse, driving at last as eveningly
myself to the seed and omphalos of all. . . . "('(("((('))) )) )
" ' " ' "Why?" ' " ' "
" ' " 'Why?' " ' "
" ' "Why?" ' "
" 'Why?' "
" ' " ' ":


_
John Barth, Lost in the Funhouse


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

[. e - k u n s t .] Re: [spectre][_arc.hive_] Where's Ascii? Turbulence Spotlight: GALZA

This is a multi-part message in MIME format...

------------=_1058450914-643-1191
Content-Type: text/plain; charset="iso-8859-1"

27.06.2003 05:22:43, Are Flagan wrote:
>
>>>>>>>> Flash plugin<<<<<<" ?Hvorfor det?
>
>Much ASCII art uses a monospaced font like Courier at a set size; unless you
>can control or predict the typography the graphical intent is most likely
>mangled. Yet I agree with the pointers; it is an oxymoron, cause this is
>ASCII art presented much as the screenshot in net art, which has, somewhat
>humorously, gained some traction. (See Olia Lialina's misgivings about the
>recent NY Digital Salon, posted to rhizome and nettime.) It's all about
>injecting a healthy dose of formaldehyde...long live net art.

/@ ^\__? _
( (Y) ) | /_ |,--,| |H|logre
jj jj


17.07.2003 13:28:26, Mushon Zer-Aviv wrote:

>Where's Ascii? www.wheresascii.com
>Becouse information is a lost dog
>Hi guys n' gals,
>
>I would like to introduce to you my latest net art work - Where's Ascii?
>You all remember "Where's Waldo", the big illustrated books where you're
>supposed to find this guy with a red-white sweater. well, "Where's Ascii" is
>the internet version.
>Ascii is my Dog, an original Ascii Cyberian, and he got lost on the
>internet.
>
>If you see him, just click on the dog wherever you see him on the net (it
>will send you to another random page, hosting Ascii) or click his house to
>go back to www.wheresascii.com


?? ????? ?
? ??? ? ? ???
?????? ???
?? ??


>To participate more in the project you are welcomed to host the dog (paste a
>small HTML code in your site*) until I send for him. For more details and to
>download the dog, please visit the site -
>http://www.wheresascii.com/download.html

..uh, Ascii is very HTML-embedded there, Where's HTML?
5poiler,here's Ascii (and his mates?) reclining e-kunst and no.test archives





/@ @\__? _
( (Y) ) | /_\ /@ @\__? _
|,--,| |H|( (Y) ) | /_\ /@ @\__? _
jj jj |,--,| |H| ( (Y) ) | /_ jj jj |,--,| |H|
jj jj
/@ @\__? _
( (Y) ) | /_ |,--,| |H|
jj jj
/@ @\__? _
( (Y) ) | /_\ /@ @\__? _
|,--,| |H| ( (Y) ) | /_\ /@ @\__? _
jj jj |,--,| |H|( (Y) ) | /_\ /@ @\__? _
jj jj |,--,| |H| ( (Y) ) | /_ jj jj |,--,| |H|
jj jj



>* What you get is a lot of visits to your site from people who otherwise
>might have never gotten there, and supporting my net art of course.

let sleeping dogs lie

>You can write me at dogmaster@wheresascii.com
>Please forward this to as many people as you can to help me spread the dog.
>
>thanks,
>Mushon Zer-Aviv
>Digital Art Lab's In-lab designer
>www.zeraviv.co.il/mushon
>mushon_A@T_zeraviv.co.il
>Cell: 052-337637 Fax: 03-5580003
>
>______________________________________________
>SPECTRE list for media culture in Deep Europe
>Info, archive and help:
>http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre

___________________________________
ISBN 82-92428-05-4 lumber [log]&dog





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Content-Disposition: inline; filename="message-footer.txt"
Content-Transfer-Encoding: 8bit

:
:
: post distribuert via:
:
[ e - k u n s t ]
:
: url | http://e-kunst.no
: listeadresse | e@e-kunst.no
: kontaktadresse | listmaster@e-kunst.no
------------=_1058450914-643-1191--


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

Fwd: [Nettime-bold] unstable digest vol 35

------- Start of forwarded message -------
From: Florian Cramer
To: Nettime
Reply-To: nettime-bold@nettime.org
Subject: Fwd: [Nettime-bold] unstable digest vol 35
Date: 23.02.03 17:00:25

Date: Sat, 22 Feb 2003 10:41:25 +1100
To: _arc.hive_@lm.va.com.au, 7-11@mail.ljudmila.org,
From: mez breeze
Subject: /msg positioning. [u.r.in.the.making]





/.
S][l][ession Start: Thu Feb 20 11:15:02 2003
Lesion Ident: silocyben
short intervals. notify /m.Sages.
<][mez][> .
<][mez][> fit.ting[le] in2 ah narrow acceptability niche.
<][mez][> take me off. i'd pre.furr that.
no, realli.
hassle u. /irc.
<][mez][> heh
<][mez][> .
<][mez][> /provide some type of per.serve][r][ entertainment value
<][mez][> providing
per.verse?
pre.serve?
<][mez][>][
<][mez][>.][
<][mez][> *dam.nation 4[l]s + sleep dep.ri.vat.ion*
<][mez][> *i make no apologies for that*
/come in *pretty[hatemachine]bite.size.packages.
<][mez][> /ppl hassle
i do.
it's wonderful.
<][mez][> .
<][mez][> hmm
<][mez][> b[c]it[ation]e sized?;0
:)
* silocyben nibbles.
=D
ok.
* silocyben smacks lip[id]s.
<][mez][> /msg moment + intentionally causality
/msg i'm done.
<][mez][> heh
<][mez][> anyway
in.ten][sion][tionally cruel? /IRC?
s][l][e][cherous][xual d.p[g]ravity?
<][mez][> /scroll notify.
<][mez][> F-fort = *manually*
what?
f-that.
<][mez][> who nos really?
<][mez][> heh
<][mez][> 1 /msg would kill u?;)
:: don't th][l][ink u understand.
<][mez][> no.
good.
it's better that way.
<][mez][> heh.
<][mez][> yes.
/msg look
.
<][mez][> feel free 2 N-lighten
what i understand + u don't.
k.no.w /talking?
<][mez][> no
<][mez][> should i?
damn.
<][mez][> :)
no.
*grin*
<][mez][> ;)
ok.
so.
<][mez][> f.eel][ing][ free. mess[age] with:)
we've covered the fact that. /possibly quit.
-e+te.
<][mez][> n.deed
ho hum.
<][mez][> /pick-up multi.logue
<][mez][> hmmm
yes.
<][mez][> i m][l][ean ][2wards *g*hosts][
/loving.
<][mez][> heh
<][mez][> /][Suri][name + parity u r;)
i'm thinking that. combination of facts. /=anywhere.
in2 the realty of go.
<][mez][> oh, way more than that.
realms, even.
way more.
<][mez][> u 1st.
N-light-N me.
<][mez][> nono u must N-light-N *me*
urm.
i can't.
X-cept to say.
/____________.
/____________.
<][mez][> hmm
and.
/msg i want.
<][mez][> ehehehe
<][mez][>.
but. a.par][9][t from that.
* silocyben scratc.his.head.
<][mez][> fighting [N-lite--]
/ k need 2. able 2. [though].
<][mez][> [2 do].
<][mez][> yes, indeed.
/msg worried. /msg about. /msg obsession.
but.. /msg X.
/msg former. /notify aint work.
/away latter.
/away waste.
.fuck.
<][mez][> hmm
<][mez][> /talk POV
<][mez][> ...../away money
mmm?
<][mez][> ...../talk nor...
/away u. needed it.
grow][th][ ur own?
<][mez][> ][pa][/nick ed because. /msg dislocation lies. /msg tied up with $$.
<][mez][> i used 2
ic.
<][mez][> *much* + mulching...
/sniff basic + portioned
/scratch like a 10th.
<][mez][> ...../left wi[ng]th
<][mez][> es
<][mez][> +y[es]
<][mez][> /trauma she.is.all.i.have /msg in.terms.of.active.affectivity
yes. i unda.stood.
and unda.stand.
<][mez][> .
<][mez][> /lvl sameness
*shrug*.
<][mez][> /accountability
<][mez][> /gagging 2 pay [/job]

<][mez][> BUT
y?
<][mez][> /stress basalt in all corporate/capitalist N-de[a]vours
<][mez][> i HAVE
<][mez][> didn't he tell u?
<][mez][> //sent
oh.
cool.
/none week.
<][mez][> ahh
<][mez][> k, np
<][mez][> /de[s]cent.in.2.nether.hell.
<][mez][> well
<][mez][> .
actually. /crazy, /problems, /heart.
<][mez][> [fi]gor[e]y, that
<][mez][> /then?
<][mez][> in rl?
.
<][mez][> wow
<][mez][> story?
/jesus story [wot.do.u.want?] we played /quake 2gether.
;)
<][mez][> that will do
<][mez][> /story /teller/invoker
<][mez][> :)
*laugh* /and there r p.lent./y of tell.
<][mez][> anyway
<][mez][> i'm sure
/snip tell stories.
the lose + driven slough.
<][mez][> no[N]ticed
<][mez][> /dilemma
oh. yes yes.
& [h]o.ur.
<][mez][> yes, indeed
-s.
<][mez][> /msg positioning. /u.r.in.the.making
<][mez][> ..in.finite cap[acity]s + goal-relational|belief
structure|might[y] up|hold.
<][mez][> tem.p[or[tation is far
<][mez][> ...../2 wallow in consumerist.muck
<][mez][> ..../type 2. /align get-gos + social-b.lather
<][mez][> .
<][mez][> /sense?
<][mez][> /;0)
right.
/u're.
<][mez][> i'm sure i am.
<][mez][> /slash simplistic.
<][mez][>.
*grin*
i don't.
<][mez][> no, u don't
<][mez][> nor
i already.
<][mez][> ok
<][mez][> well
y make.
<][mez][> ..../says much
<][mez][> anyway
<][mez][> i'm tired
<][mez][> /bite-sized 2day bIT:)
i have.
<][mez][> yes, u do.
<][mez][> /off.
*** Added to notify list
no apaty and awareness.
+h.
k.
<][mez][> if u say so.
<][mez][> *sigh*
Session Close: Thu Feb 20 11:49:45 2003


Lession Start: Thu Feb 20 11:49:58 2003
Session IDent: silocyben
/think nature?
/comple[ting]x + N-tree.cate/simp[ering]listic.
<][mez][> nature as. system of. ecological function. bal[l N bat]ance thru.
i am.
<][mez][> nature d-fined by[e] romance. /ideal of butterflies & victims?
prey and bloodlust?
<][mez][> ahh
<][mez][> /naturefact
<][mez][> .
<][mez][> +s.
<][mez][> *u*
*chuckle*
<][mez][> /centric
<][mez][> anyway
but what r?
/goals far[goish].
<][mez][> /i am.a.silly.undefined.soul [in a c of] centuries
/wish disappointed.
so.
<][mez][> ahh no
<][mez][> come [inside] with rt
<][mez][> with bod.EE
*laugh*
<][mez][> ..../eyes
<][mez][>.
he.
<][mez][> /words cauterize
<][mez][> cause, even
cya.
<][mez][> /s.lump?
<][mez][> heh
.
<][mez][> bye
<][mez][> hmm
/d.[ee].p.ends. /stretch props + blood flow.
<][mez][> hmm
<][mez][> /hands?
/neglect.
<][mez][> [speak softly]
[thru the size of my large hands]
large joints.
<][mez][> hmm
<][mez][> /voice?
<][mez][> yes
<][mez][> i thought so.








<][mez][> or
<][mez][> simplicity is boiled from the need to x.tract and d.limit complexity
sometimes, the problem becomes the complexity to survive the
simplicity of others.
<][mez][> c a t c h - 22
<][mez][> or, the problem hides i the folds of simplicity N order 2 deny
complexity
<][mez][> +n








mmm.
we are walking on different foundations.








<][mez][> we r
<][mez][> creeping thru semantic jungles
<][mez][> :)
:)










<][mez][> [tactility above all else?]






<][mez][> no causality in solid shapes








<][mez][> logic definer








<][mez][> momentary pleasures + theorizing via strands of cartesian dynamics









*** Added silocyben to notify list
Session Close: Thu Feb 20 12:23:04 2003





- pro][tein][.logging.txt
-
-

http://www.hotkey.net.au/~netwurker/
_
_sparks of lost hu][bris][man $cent][+re.sieved][_



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> > Thank you for participating in 7-11 MAILING LIST > SUBSCRIBER
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071101010 07110101 0711.00100# > ###########
http://mail.ljudmila.org/mailman/listinfo/7-11
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From: -r-W-x-R-W-X-R- x
To: nettime-fr@samizdat.net, 7-11@mail.ljudmila.org
Subject: LE TEXTE ET LA MACHINE.
Date: Mon, 20 Jan 2003 13:43:04 +0100

LE TEXTE ET LA MACHINE.

Decembre 2002

Pascale Gustin

Licence : GNU General Public License


Je crois que l'ordinateur et de mani�re plus g�n�rale les technologies
de l'information, transforment de fa�on radicale notre rapport au monde
et � nous m�me. C'est m�me devenu un lieu commun de dire cela
aujourd'hui, c'est devenu un truisme. Paradoxalement, mesurer
l'importance et les cons�quences de ces changements est loin d'�tre
simple, cela ouvre m�me de nombreux champs d'investigations et de
r�flexions qui depuis environ 60 ans font l'objet de recherches de
plus en plus diversifi�es dans des domaines toujours plus �tendus. Je
pense, � l'instar de Pierre Levy que l'outil informatique est une
d�couverte au moins aussi importante dans l'histoire de l'humanit� que
celle de l'�criture ; elle en est probablement m�me la continuit�, en
poursuivant le processus d'hominisation de l'homme [1][2].


J'aimerais par ce texte explorer de mani�re tout � fait personnelle la
naissance de l'outil informatique du point de vue du texte et de
l'�criture. Je ne pr�tends pas ici � un essai exhaustif sur le sujet
mais seulement � rassembler quelques r�flexions et notes de lectures
qui m'apparaissent pertinentes. Selon le proc�d� d'une pens�e
analogique, je souhaiterais former un ensemble coh�rent de r�flexions et
d'id�es dans la continuit� de ce qui � mon sens me parait trop peu
questionn� actuellement mais non pas moins important, c'est � dire le
probl�me de l'�criture en regard de l'outil informatique et la fa�on
dont � mon avis celui-ci transforme et remet en question de multiples
mani�res la notion m�me de texte.


- L'�criture, le code, le texte.


L'�criture est la premi�re technologie d'enregistrement de la parole;
constitu�e de symboles, d'images ou de signes, elle est un syst�me, un
code mis en place afin de pouvoir garder trace du langage parl�. De ce
point de vue, l'�criture est un code, certes relativement souple, qui
"encode" la r�alit� et tout � la fois en transforme et en remod�le la
perception. Un des tous premiers syst�mes d'�criture que l'on ai
retrouv� est l'�criture � noeuds, syst�me "d'inscription"
mn�motechnique et synth�tique. On en a d�couvert des traces au P�rou
dans les tombeaux Incas, par exemple. Ce sont des paquets de noeuds et
de fils attach�s de couleurs diff�rentes ou semblables, plac�s de
mani�re � obtenir un grand nombre de significations. Ces
"quippus" servaient � enregistrer les comptes, la chronologie; il
�tait possible �galement de s'en servir comme d'un moyen de calcul. On
retrouve cette forme ancestrale d'�criture partout dans le monde et
jusqu'au milieu du vingti�me si�cle, dans certaines r�gions elle �tait
encore utilis�e par les ouvriers afin de comptabiliser leurs journ�es
de travail [3].


L'�criture dans son essence appara�t alors comme un syst�me de
diff�rences. (J. Derrida et Saussure) [4]



Le codage binaire a �t� utilis� sous une forme symbolique tr�s t�t,
en chine, avec le syst�me divinatoire du Yi-King. Le Yi-King est un
ensemble de 64 hexagrammes constitu�s d'une collection d'images
symboliques repr�sentatives d'un certain ordre de l'univers et �tait
utilis� pour proc�der � diverses interpr�tations divinatoires. Ces
images symboliques r�sultent de l'assemblage et de la combinatoire de
traits pleins et de traits bris�s repr�sentant les deux �tats
essentiels par lesquels chaque �tre et chaque chose sont appel�s � se
mouvoir et � se transformer. Mais c'est le philosophe anglais Francis
Bacon (1561-1626) qui fait de ce principe binaire un syst�me � part
enti�re afin de pouvoir transmettre des messages de mani�re rapide et
s�re [5].
Dans ce sens le "code", l'acte de coder un message serait en somme la
transcription de celui-ci dans une langue "non-naturelle".


Mais le mot de code se d�robe � mesure qu'on souhaite en saisir le sens.
A l'origine du mot, nous trouvons le codex, c'est � dire la
planchette, le recueil; nous avons �galement le code juridique qui est
l'ensemble des lois qui r�gissent une soci�t�, signification qui n'est
pas sans rappeler la programmation puisqu'elle-m�me est r�gie
par une syntaxe, un ensemble de r�gles auxquelles on ne peut d�roger
d'aucune mani�re sous peine de "planter" le programme. Nous avons
�galement le code vestimentaire ou le code g�n�tique. Le code serait
en quelque sorte un moyen de conservation et de transmission
d'informations, un support de significations non sp�cifiquement humain.


L'�criture pourrait �tre une sorte de code plus souple o� le
sens est tiss� de diff�rentes mani�res : les lettres avec les
lettres une � une ou par grappes, les mots ensembles pour former des
phrases et les phrases tiss�es les unes aux autres, interagissant les
unes avec les autres au cours de la lecture, nouant liens de sens et
de significations afin de former le texte. On utilise l'expression "le
fil de la lecture" ou "au fil du texte" pour parler de cet �cheveau du
sens qui prend forme au moment du "d�chiffrement". Le texte est une
trame de significations, dont les fils se croisent et s'entrecroisent
entre les lettres elles-m�mes, les mots, les sons, dans le texte et
entre le texte et le lecteur.

Le mot texte vient du terme latin "texere" qui signifie tisser.


Une autre d�finition du mot peut �tre :
un nombre fini de signes discrets choisis dans un ensemble fini
de signes (Florian Cramer).



- Les machines.

Une des toutes premi�res utilisations technologiques du langage binaire
a �t� d�velopp�e par Jacquard (1752-1834) afin d'am�liorer la technique
du tissage.
Il s'agissait de cartes perfor�es de trous, c'est � dire de
l'utilisation des pleins et des vides des cartes pour "coder" le passage
des fils de couleurs diff�rentes dans les fils de cha�nes. La
technologie du tissage a toujours �t� � l'avant-garde des techniques de
son temps, m�me aux �poques les plus recul�es; au moyen-age, on
utilisait d�j� des cartes r�alis�es sur du papier divis� en damier pour
la reproduction des dessins.
Charles Babbage (1792-1871), initiateur de la machine diff�rentielle
et plus tard de la machine analytique connaissait les travaux de
Jacquard dans le domaine du tissage et eu cette intuition fondamentale
d'appliquer ce principe --en quelque sorte combinatoire des diff�rents

ils entre eux-- au calcul selon une m�thode semblable. Ada Lovelace
(1815-1852) collaboratrice de Charles Babbage f�t charg�e de la partie
logicielle de la machine, c'est � dire du "texte" (au sens large du
terme) qui devait permettre � la machine analytique de fonctionner. Mais
le projet n'aboutit pas, faute de moyens et probablement aussi
d'organisation [6].


Les machines telles que les ordinateurs actuels ne peuvent
fonctionner, ne peuvent "comprendre" une serie d'instructions que si
celles-ci se trouvent �crites sous la forme de suites de 0 et de 1 ou
plus exactement sous forme de s�quences tr�s rapides d'impulsions
�lectriques; une impulsion repr�sente une connection c'est � dire le
1, l'absence d'impulsion le 0. Un ensemble organis� de 0 et 1 a donc
un sens pour la machine, c'est � dire un "sens �lectrique". Le terme
de sens n'est peut-�tre pas tout � fait appropri� pour parler
d'instructions que la machine, programm�e dans ce but, effectura : la
machine n'interpr�te pas le programme ou les instructions entr�es dans
le processeur, elle ne fait que les ex�cuter.
La rapidit� avec laquelle le courant circule entre les diff�rents
�l�ments de l'appareil informatique (li�e � la vitesse d'horloge du
processeur), offre des possibilit�s quasi illimit�es de calcul
(quantit�s de connexions et d'absences de connexions, de 0 et de 1 de
plus en plus importantes dans des laps de temps tr�s courts). Ainsi,
nous pouvons, en tant qu'utilisateur de machines et de programmes,
charger des images � l'�cran, les dupliquer ou les transformer, faire
jouer des sons, ou bien �crire des textes que nous rentrons dans la
m�moire vive de l'ordinateur. En quelque sorte ces suites de 0 et de 1
sont le seul code ou alphabet avec lequel nous pouvons utiliser l'outil
informatique.



Les premiers ordinateurs �taient en quelque sorte programm�s "en
direct" � l'aide de fiches et de fils reli�s ensembles.
Si la fiche est connect�e, le courant passe, la valeur est donc 1, �
l'inverse, l'absence de connection prend la valeur 0. Pour faire
fonctionner un programme, il fallait donc connecter une � une des
centaines de fiches et de fils entre eux. Le temps de mise en route
d'un programme �tait tr�s important; les erreurs fr�quentes et
p�nibles � retrouver. On devait suivre chaque fils pour
voir o� il �tait reli� au milieu de paquets de fils entrelass�s les uns
dans les autres.
Plus tard, dans les ann�es 50 et 60 les fils �lectriques seront
remplac�s par des valeurs situ�es en m�moire [7][8][9].


Les ing�nieurs imagin�rent ensuite un moyen de simplifier les op�rations
de programmation. On substitua � un ensemble d'instructions, un code
dit mn�motechnique, plus facile � retenir. Ces premiers langages
permettaient d'effectuer rapidement des taches complexes sur
les machines, mais restaient encore malais�s d'utilisation car tr�s
proche du code de la machine (exemple : le langage assembleur).
Peu � peu, les langages devinrent plus performants. L'utilisation des
premiers compilateurs firent des machines, des outils plus souples et
faciles � utiliser (avec le fortran). De v�ritables mots furent
employ�s et les instructions au fur et � mesure de l'�volution des
langages devinrent plus compr�hensibles pour l'homme, encod�rent des
algorithmes entiers et rendirent ainsi la conception
des programmes rapide et efficace.

L'arriv�e des interfaces graphiques donnera par la suite les moyens �
tout utilisateur non-informaticien, d'effectuer facilement, rapidement,
par l'interm�diaire de l'�cran graphique des taches compliqu�es
pr�-programm�es.


Le code de la machine, le texte en quelque sorte se trouve alors
dissimul� sous des couches logicielles mais c'est toujours un code, une
"texture" de calcul, de 0 et de 1 qui, dans les "profondeurs" de
l'ordinateur, officie afin que les programmes puissent avoir lieu en
"surface" [10][11].

Les langages de programmation (je pense par exemple aux langages de
programmation orient�s objet comme java ou python) les plus r�cents bien
que plus proches d'une part du langage humain et peut-�tre �galement de
la pens�e humaine (du moins d'une petite part caract�ristique de
celle-ci : la cat�gorisation; mais je doute que cette forme de la pens�e
humaine soit la plus "naturelle" � l'humain mais peut-�tre bien plut�t
sa part la plus sociale ou socialis�e) restent toujours
malgr� tout soumis aux n�cessit�s internes des machines.

Le langage humain, tel que nous le parlons, l'�crivons met en place un
monde de significations. Le discours oral est contextualis�. Il en est
de m�me pour le texte �crit. Une marge d'ambiguit� est toujours tol�r�e
et m�me presque souhaitable car c'est pratiquement dans cette marge
qu'a lieu l'expression de l'individu qui parle ou �crit. La dimension
culturelle ainsi qu'une prise de conscience de tous les discours qui ont
pr�c�demment eu lieu, interviennent �galement de mani�re plus ou moins
pr�gnante pour celui qui �coute ou lit selon la culture qu'il a du sujet
�nonc�. Ainsi le sens du texte oral ou �crit est un ensemble de liens
qui se tissent de toute part entre les interlocuteurs ou entre le
lecteur et le texte, la soci�t�, la culture, les lois etc. Souvent, la
compr�hension du sens d�passe largement la structure de base du langage
--lin�aire et s�quentielle, celle du discours oral ou du texte.

Il en va ainsi de la pens�e humaine car c'est � partir d'elle, � partir
de cette matrice que cette texture de liens peut avoir lieu.



C'est en poursuivant un tel raisonnement que Ted Nelson �labora ses
recherches sur l'hypertextualit� d�s le milieu des ann�es 60 avec son
projet "Xanadu" (nomm� ainsi en r�f�rence � un po�me de Coleridge).

Son pr�d�c�sseur Vannemar Buch eu une intuition semblable lorsqu'il
imagina vingt ans plus t�t "le Memex" --MEMory EXtander--, une
biblioth�que de documents reli�s les uns aux autres en fonction du
sens que pouvait prendre chaque paragraphe, phrase ou mot de tel ou
tel texte m�moris� en regard de tel ou tel autre paragraphe, phrase ou
mot issus d'un autre texte ou d'une autre partie de ce m�me texte.
Conserv�s sur microfilms sp�ciaux, ces textes, photographies ou tout
autre document auraient �t� accessibles grace � plusieurs �crans,
claviers et manettes. Une membrane sensible aurait pu permettre de
photographier et d'enregistrer de nouveaux documents. L'utilisation d'un
tel appareil aurait permis au chercheur ou � l'" homme moderne " de
faire face � la prolif�ration d'informations pr�visibles en raison du
d�veloppement des instruments de m�diatisation de l'information [12].


Pour Ted Nelson, la pens�e humaine est hypertextuelle par essence
alors que le langage humain, la parole ou l'�crit, ne sont que
s�quentiels. Ainsi, le langage humain apparait comme incapable de
reproduire v�ritablement la pens�e dans toute sa richesse, sa
diversit� et son foisonnement [13].


C'est sur ce travail, cette nouvelle mani�re d'appr�hender le texte
que je terminerai cette suite de notes et de reflexions car � partir
de cette notion d'hypertexte et d'hypertextualit� de nombreuses
possibilit�s de tissage de sens et de textes sont mises � jour et en
explorer les dimensions et les possibilit�s serait l'objet d'une
recherche � part enti�re. J'aimerais seulement pour conclure, amener �
l'attention du lecteur que le texte appara�t d�sormais non plus comme
quelque chose d'abstrait et d'homog�ne qui permet � l'information
d'�tre diffus�e mais comme un corps � part enti�re, concret qui peut
prendre de multiples formes; ainsi �tre utilis� aussi bien pour
programmer les outils de l'informaticien, ou du simple usager de
l'informatique, pour concevoir des programmes que pour les
appliquer. Je crois que le travail du po�te ou de l'�crivain s'en
trouve profond�ment boulevers�. Ecrire ce n'est pas seulement faire un
texte mais aussi ce peut �tre mettre en route un instrument, l'outil
informatique, se servir d'un programme (un logiciel de traitement de
texte par exemple) ou d'un langage de programmation ; c'est couper,
coller, assembler telle portion de texte avec tel autre (un morceau de
programme, un lien qui menera � une image ou � un son). C'est jouer
�galement avec diff�rentes formes de langages car tout ceci � mon sens
constitue encore du texte; c'est mettre l'�criture, le langage
--quelque soit l'origine de ce langage-- en contact avec d'autres
branches de la communication.


ref�rences :

[1] Levy Pierre
La machine univers
Editions La D�couverte 1987


[2] Levy Pierre
L'intelligence collective
Editions La D�couverte 1997


[3] Fevrier James
L'histoire de l'�criture
Editions Payot et Rivages 1948


[4] Kristeva Julia
Le langage, cet inconnu
Editions du seuil 1981


[5] Breton Philippe
Une Histoire de l'informatique
Editions du seuil 1990


[6] Plant Sadie
"Tissages du futur: tramer ensemble femmes et cybern�tique"
Connexions : art r�seaux m�dia
Ecole Nationale Sup�rieure des Beaux-Arts, Paris 2002


[7] Rossi Serge
http://histoire.info.online.fr/


[8] Guillier Fran�ois
http://www.histoire-informatique.org/


[9] Bordeleau Pierre
http://www.scedu.umontreal.ca/sites/histoiredestec/


[10] Every David K.
http://membres.lycos.fr/cgiguere/vdn/vdn24.htm
traduit de l'anglais par Charles Gigu�re


[11] Sureau D. G.
http://www.scriptol.org/histlang.html


[12] Bush Vannemar
"Comme nous pourrions le penser"
Connexions : art r�seaux m�dia
Ecole Nationale Sup�rieure des Beaux-Arts, Paris 2002


[13] Nelson Ted
http://ted.hyperland.com/



--
pasc@csaq

-r-W-x-R-W-X-R- x
autobuild/wheel
---------------[18608128 - s-ile-nses]
@@@@@@@
projet/cuneifoRM :
http://gustin.pascale.free.fr
o---------------o
http://www.atelierblanc.net/p-gustin/02atelier/cadre1.htm
http://www.atelierblanc.net/p-gustin/02atelier/lesmachines.html






Date: Thu, 20 Feb 2003 11:44:15 -0800
From: MWP
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: It all begins. . . [vers 2]

TH E-S -BE BEG EGI GIN N-T -TO TO- -TH THI HIN ING S-W -WI WIT

ITH TH- -TH THE HE- -IS IS- S-C ING NG- -TH OUG UGH OME S-O -OF

-TH THE HE- E-M -ME MES ESS SSA SAG AGE GE- E-S -SE -TO TO- E-O

-ON LY- Y-A -A- -PA PAR ART -UN ING NG- -ME MET ETH -OF OF- ON-

-IS IS- GRA RAD ALL LY- -SE SEE ING NG- G-I TO- -TH THE HE- E-T

-EX EXT ING NG- T-A -AN REA ING NG- G-T -TH THE EM- PAR ART IS-

-SE SEE EEM -TO TO- -BE -HA ING NG- G-M -AN AND ND- -MO MOR ORE

E/- /-A -AS AS- S-T -TH THE HE- E-T -TE TEX EXT -BE COM OME MES

ES- S-I -IN CRE REA EAS ING LY- -FR -AN AND ND- -IS IS- S-T ED-

D-I -IN INT NTO TO- -SE GME MEN ENT TS- S-T -TH THA HAT AT- T-A

RE- ESS SS- -AN AND ND- -LE LES ESS SS- S-C -CO COM ENS LE- T-A

-AL O-S TRA LY- -LO AL- -IN IN- -SO SOM OME ME- E-I -IN NDE BLE

LE- E-W .-T -TH HE- E-P CES ESS SS- S-S -SE SEE EEM EMS MS- S-T

-TO TO- O-H -HA HAV AVE VE- E-A -A- HIS IST Y-A -AN AND ND- D-A

-AN AN- TIO ION RY- -GR /-E -EV N-I -IT TS- S-O N-S -SO -OF OF-

E/- HAP OU- -RE REA D-O -ON ON- -AN AND ND- D-O -ON ON- N-U -UN

UNT NTI TIL IL- L-Y -YO YOU OU- AN- -RE REA EAD AD- O-M -MO MOR

ORE RE/ E/- /-A -AN AND ND- -ST TIL LL- L-Y -YO YOU OU- U-R -RE

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-OF OF- F-L -LI T-A AT- T-T -TH THE HE- -EN ND- D-O -OF OF- F-T

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ING NG- -FR FRO ROM OM- AD- D-T -TO TO- -WO WOR .-Y -YO YOU OU-

-MA MAK AKE KE- E-O -ON E-L ST- ALI FOR ORT RT- T-A -AT AT- -UN

UND NDE DER RST AND ING NG- HAT AT- T-I -IS IS- S-G -GO GOI OIN

ING NG- -ON /-A -AS AS- -YO YOU OU- -NO -WA ANT NT- T-T -TO TO-

O-B -BE BE- E-A ED- D-O -OF OF- -BE ING NG- -A- -LA -RE REA EAD

DER -WH -IS IS- S-W -WO LLY LY- -UN ILL ING NG- G-T -TO TO- VE-

E-T -TH THE HE- E-M -MO DER N-T -TE TEX EXT XT- T-I -IT ITS TS-

E.- .-B -BU BUT UT- T-F -FI FIN INA ALL LLY LY- -YO YOU OU- D-A

-AN AND ND- D-T -TU TUR URN RN- N-A WAY Y-F -FR FRO ROM OM- M-T

-TH THE HE- E-T -TE TEX EXT XT- T-I -IN IN- N-S -SE SEA EAR ARC

RCH CH- H-O -OF OF- F-L -LE LES ESS SS- S-F -FR STR TRA ATI TIN

ING NG- G-M -ME MES ESS SSA SAG AGE ES- S-T -TO TO- GES T/- ING

NG- -BA -ON ONL NLY LY- -NO NOW OW- -AN AND ND- D-A IN- N-T -TO

TO- O-S -SE SEE E-I -IF IF- F-A -AN THI HIN ING NG- -HA AS- S-C

ANG NGE .-A ND- D-T -TH THE HEN N/- -TO TO- -YO YOU -AS AST STO

MEN ENT T/- /-T -TH THI HIN ING NGS GS- S-D -DO DO- O-S -SE SEE

EEM EM- M-T -TO TO- O-B -BE BE- -CH CHA HAN ANG GIN ING .-A -LI

LIN NE- E-H -HA HAS AS- -BE EEN EN- SED D/- /-A -AN AND ND- -WH

LE- -YO YOU OU- -AR ARE RE- -UN RE- E-A -AS AS- S-T -TO TO- O-W

-WH ETH THE ER- -TH THI HIS IS- S-C -CH CHA HAN ANG NGE GE- E-I

-IS IS- S-I -IN IN- -YO YOU OU- R-T -TH THE HE- E-M -ME MES ESS

SSA SAG AGE E/- /-T -TH THI HIN ING NGS GS- S-D -DE DEF EFI FIN

ELY LY- -DO DO- O-S -SE SEE EEM EM- M-T -TO TO- O-B -BE BE- E-M

-MA MAK AKI KIN ING NG- -SE SEN ENS NSE SE- E-A -AG AGA GAI AIN

N.- HAT EVE ER- R-W -WA AS- S-C -CA SIN ING NG- G-T -TH THE HE-

E-T -TE TEX EXT XT- T-T -TO TO- -FR FRA RAG AGM GME MEN ENT NT-

T-B -BE FOR ORE RE- E-I -IS IS- S-N -NO NOW OW- -LO SIN ING NG-

G-T -TH THE HE- E-B -BA LE- E-A -AN AND ND- D-A -A- A-F -FO FOR

-OF OF- -ME NIN ING NG- G-I -IS IS- -RE REA EAS SSE RTI TIN ING

NG- G-I -IT ITS .-W ITH TH- H-A -A- -SE SEN ENS NSE SE- E-O -OF

OF- -RE -YO YOU OU- -SI IGH GH- H-A -AN AND ND- D-A -AL ALL OW-

W-T -TH THA HAT AT- T-T -TH THE HE- E-S -ST STR LE- E-I -IS IS-

S-F -FI FIN INA NAL ALL LLY LY- Y-A -AT AT- T-A -AN AN- N-E -EN

END



mwp



Date: Tue, 18 Feb 2003 18:46:25 +0100
From: "[iso-8859-1] Yo=F8n Mangrel=F8aen"
To: 7-11 <7-11@mail.ljudmila.org>
Subject: (no subject)


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_____ _ _ # > # __/\__ |___ | / / | __/\__ |___ | / / | # > # \ / / /____|
| | \ / / /____| | | # > # /_ _\ / /_____| | | /_ _\ / /_____| | | # > #
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| | \ / / /____| | | # > # /_ _\ / /_____| | | /_ _\ / /_____|
\/ /_/ |_|_| \/ /_/ |_|_| # > # # > # # > #1.7.100(today=3D"7-11.00 > # \ /
/ /____| | | \ / / /____| | | # > # \ / / /____| | | \ / / /____| | | # >
> > Thank you for participating in 7-11 MAILING LIST > SUBSCRIBER
SATISFACTION SURVEY. > > > > >
###################################################### >
#1.7.100(today=3D"7-11.00 071101010 07110101 0711.00100# > # # > # _____ _ =
_
_____ _ _ # > # __/\__ |___ | / / | __/\__ |___ | / / | # > # \ / / /____|
| | \ / / /____| | | # > # /_ _\ / /_____| | | /_ _\ / /_____| | | # > #
\/ /_/ |_|_| \/ /_/ |_|_| # > # # > # # > #1.7.100(today=3D"7-11.00
071101010 07110101 0711.00100# > ###########
http://mail.ljudmila.org/mailman/listinfo/7-11
_____ _ _ # > # __/\__ |___ | / / | __/\__ |___ | / / | # > # \ /
/ /____|##################################################################
>## ############ ########## # ### ### ## ###### >
#### ###### #### #### ###### ############## ###### >
# #### ##### #### ########## ###### ### ####### >
>
>



Date: Thu, 20 Feb 2003 08:04:53 -0500 (EST)
From: Alan Sondheim
To: nettime-l@bbs.thing.net
Subject: narcissism (ny report)



narcissism

we're speaking for the moment - online and offline conversations - analy-
ses - manifestos - signs, marches, puppetry - it goes on and on - they're
silent on the other side - use the royal 'we' - they include us - we're
being led to the slaughter - we're taking the world with us - we'll use
weapons of mass destruction - tactical nuclear against the bunkers - 10 to
15 percent of our weaponry gone astray - our own military reports expecta-
tions of over 3000 civilian casualties - in the name of liberation - blair
too - the whole lot of them - cold warriors - compulsive-obsessives -
madmen - another futile protest here -:they're getting stronger by the
moment - our performances are just that - select audiences of hundreds of
millions - they can't do anything - we're speaking into our own skin -
already the fear's upon us - they're nameless - they hide behind acronyms
- they lie, they fabricate evidence - tapes - bin laden's muddy voice -
we're supposed to believe all of this - we're under the gun here - we're
under warning - we're a declared state of emergency - :resistance is
futile - useless - we're bringing out blocks of writing - reams of it - to
no avail - the only measure that carries weight - violence, armed
resistance - i'm not up to that - we're unused to the brutality of our own
government - help's got to come from elsewhere - stunning revelation -
bush cancels 2004 elections - declares state of emergency - he's already
backed by the army - we're allowed to speak - our voices give out - the
strongest among us will be taken away - you've got to help us - you've
seen it all before - :: there aren't any miracles - stock market's falling
- construction's down -

A legs and homes
nightmare!
A legs and homes
nightmare!


===




Date: Tue, 18 Feb 2003 11:03:07 +0100
From: Ana Buigues
To: WRYTING-L@LISTSERV.UTORONTO.CA
Subject: sorted out

suck rock
---- ----

webartery
nettime nettime
webartery
syndicate
nettime-lat
webartery
wryting
7-11
webartery
empyre
ghasa
webartery
avant-garde
h-arthist
webartery
dance-tech
nettime-lat
webartery
harte
rhizome rhizome
nettime
calls and opps
cybersociology
nettime-lat
webartery
nettime nettime-bold
chart

webartery webartery
artservis






From: mez breeze
Date: Tue, 18 Feb 2003 08:46:35 +1100
Subject: Re: Re: hypertext

At 10:23 PM 16/02/2003 +0000, you wrote:

>I actually do buy that form and content are one====which is why i
>insist on digital content's "painterliness"===when i create a piece,
>i want the content to be dynamic, i want it to vary...i want the
>content to be a collaboration among the user, the machine, and
>myself===


::col.lab[i]a naked, vacant concept with red M white striped [bench.]markas

::collaboration.as.d.fined.via.static.proscribed.synergism is BLANK.


>this is why digital writing that doesn't take into account
>the computer's propensity for variability sometimes leaves me
>cold...

this is why that doesn't take into account
the com.p[erson realignment]uter's propensity for variability sometimes
leaves me
cold...

>i feel stuck outside the piece, when the point of the network
>is participation===

s[t]uck.pigged.and obtuse.frozen.




- pro][tein][.logging.txt
-
-

http://www.hotkey.net.au/~netwurker/
_
_sparks of lost hu][bris][man $cent][+re.sieved][_










Date: Wed, 19 Feb 2003 02:49:01 -0800
From: kari edwards
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: moat tory frown ten

moat tory frown ten

10, =93ich real ich real, ten four bunch fen fourteen?=94 ---, =93so coal
tan, fatso crabcakes hen peanut butler, plan door tan moor
foreplay?=9410, =93bone lip ticks, catcher chin da lie, nor ana dy cat puat
tened scream blond.=94---, =93all the or fabkeys please, tether ben nat
duck taker.=94 10, =93mate bow dow.=94 --, =93bet more don.=94 10, =93 blow=
zen,
nappy nappy per hay.=94 --, =93may in yo.=9410, =93may.=94

clober ben say, vin ma hark vest tea blond kevin more tell coach 10
bland -- cure bound head. plug vast NORAD bat buzz bird bun meter buzz,
=93sneez bleed nose cellophane.=94 biscuit above plan carnivorous pew blue
cart, cut but chen now? tall please bar teflon tis cum above who
satins; plus) tall me far haying ISBNs heath but hanse, door, pew) few
accord hospital fake clowns, chew hot blues vent ten bet.



Date: Thu, 13 Feb 2003 18:07:29 -0500
From: Brandon Thomas Barr
To: POETICS@LISTSERV.BUFFALO.EDU
Subject: 2 Googlism poems

1.

{she is not fair to outward view}

she is not a beauty even when she smiles

she is like a woman
she is moaning after anal insertion
she is up again against the skin of her guitar
she is now her father's daughter

she is e

she is pulled feet
she is not fair to outward view

she is more to be pitied than censured
she is talking up a storm

she is spoke here
she is the darkness
she is growing up
she is dying

she is beautiful sells for $9

she is sleeping

she is inserting the finger into her pussy
she is in love with herself and has made some of hollywood's worst films
she is very famous in some fetish videos
she is probably the best ever seen

she is beautiful
she is beautiful and hot


2.

{he is one of the top actors in the world}

he is not afraid to fly

he is coming
he is in love with her & wants to leave his wife
he is risen
he is us

he is pained by occupation of jerusalem
he is currently waiting for a lung transplant
he is induced or persuaded by law enforcement officers
he is outraged by enron outcome
he is consulting with congress
he is "not allowed to comment" on what happened because it is a security
matter

he is here

he is one of the top actors in the world
he is decorated boris yeltsin
he is the spy
he is not afraid to fly moscow

he is not well



{{{{text derived by searching googlism.com for "he" and "she" with
"who" argument. entry order maintained, though text was heavily edited
and lineated}}}}

Brandon Barr
http://texturl.net/
http://bannerart.org/





nettime unstable digest vol 35
Sun Feb 23 16:59:54 2003


Subject: /msg positioning. [u.r.in.the.making]
From: mez breeze
To: _arc.hive_@lm.va.com.au, 7-11@mail.ljudmila.org,

Subject: LE TEXTE ET LA MACHINE.
From: -r-W-x-R-W-X-R- x
To: nettime-fr@samizdat.net, 7-11@mail.ljudmila.org

Subject: It all begins. . . [vers 2]
From: MWP
To: POETICS@LISTSERV.BUFFALO.EDU

Subject: (no subject)
From: "[iso-8859-1] Yo=F8n Mangrel=F8aen"
To: 7-11 <7-11@mail.ljudmila.org>

Subject: narcissism (ny report)
From: Alan Sondheim
To: nettime-l@bbs.thing.net

Subject: sorted out
From: Ana Buigues
To: WRYTING-L@LISTSERV.UTORONTO.CA

Subject: Re: Re: hypertext
From: mez breeze

Subject: moat tory frown ten
From: kari edwards
To: POETICS@LISTSERV.BUFFALO.EDU

Subject: 2 Googlism poems
From: Brandon Thomas Barr
To: POETICS@LISTSERV.BUFFALO.EDU



lurking editors

beatrice beaubien
7-11 nettime-bold thingist
florian cramer
7-11 _arc.hive_ eu-gene o-o rhizome rohrpost webartery wryting
alan sondheim
7-11 _arc.hive_ poetics siratori trAce webartery wryting
$Id: digestunstable.pl,v 1.13 2003/01/26 18:51:21 paragram Exp $

_______________________________________________
Nettime-bold mailing list
Nettime-bold@nettime.org
http://amsterdam.nettime.org/cgi-bin/mailman/listinfo/nettime-bold

-------- End of forwarded message --------


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4

Urmuz Tzara

The biggest influence on Tzara was a guy named Urmuz -- he blew his brains out
after publishing about twenty pages of very strange little prose poems, and an
essay about the universe from a Schopenhauerian viewpoint. I'm working on a
book about Andrei Codrescu and hit this huge vein of Urmuz -- I think he blew
his brains out about 1919, and Tzara tried to block the publication of Urmuz
translations in France in the 1950s so as to not have his lack of originality
widely known. Ionesco and many other Romanian greats such as Cioran and
others
point to Urmuz.
**
Bisarra blad (novellsamling, h�ftad, 72 sidor, Ellerstr�ms, art.nr: 34068)
Pris:
158:-
Statstj�nstemannen Demetru Demetrescu-Buzau f�rde till det yttre ett stilla
liv
i Rum�nien vid 1900-talets b�rjan. Men under pseudonymen Urmuz fl�dade hans
penna av svart humor, morbid fantasi och logiska krumpspr�ng. Urmuz f�reb�dar
s�v�l dadaism som surrealism och k�nns p�tagligt besl�ktad med den n�got �ldre
Falstaff, fakir.
�vers�ttning och urval av Dan Shafran och Tom Sandqvist.
**
Urmuz is the nome-de-guerre of Demetru Demetrescu-Buzau. He was born in
Romania
in 1883, studied law and earned a living as a judge's assistant. His entire
literary output consists of eight story/poems, (of which Fuchsiada is the
longest) and one short absurdist poem. The story/poems were presumably written
to entertain his nieces: Urmuz did not originally see himself as a
litt�rateur.
He was fortuitously found by Romanian poet Tudor Arghezi (see "The Chiming
Man"
in Exquisite Corpse #56 and Thus Spake the Corpse, vol. 2), who bestowed on
him
the Urmuz moniker, and published a volume of his complete works. Urmuz took
his
own life upon publication of this volume, in 1923. His fame is posthumous: the
Romanian avant-garde made Urmuz their star; Eugene Ionesco credits him as his
seminal source of inspiration. Tristan Tzara attempted to suppress the French
publication of the Urmuz texts, according to noted critic Virgil Ierunca, "in
order not to blemish his own claim at originality."


__

rhsh isbn 82-92428-14-3
lumber isbn 82-92428-05-4