GRIST ON-LINE #2
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S k y
B l u e
I r i s
E y e
B l o s s o m
"...in the very ecstasy of the newness of the image."
Bachelard
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GRIST On-Line, #2 November, 1993 ISSN 1072-799X
John Fowler, Editor and Publisher
Copyright 1993 by John E. Fowler. All individual works
Copyright 1993 by their respective authors. All further
rights to works belong to the authors and revert to the
authors on publication. GRIST On-Line is published
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TABLE OF CONTENTS
ACKNOWLEDGEMENTS . . . . . . . . . . . . . . . . . . . . . . . . . 5
Welcome to GRIST On-Line #2. . . . . . . . . . . . . . . . . . . . 5
VISION OF THE FUTURE #1
Carol Berge . . . . . . . . . . . . . . . . . . . . . . . . . 7
VISION OF THE FUTURE #2
FLORA + FAUNA ANTHROPOPHOBICA 1992. . . . . . . . . . . . . . 9
CYANOBACTERIA INTERNATIONAL
j.lehmus. . . . . . . . . . . . . . . . . . . . . . . . . . . 29
to collective creativity
j.lehmas. . . . . . . . . . . . . . . . . . . . . . . . . . . 30
R U B Y C O N S T R U C T U R E. . . . . . . . . . . . . . . . . . 31
LYSOSOMAL DEGRADATION OF ASN-LINKED GLYCOPROTEINS
j.lehmus. . . . . . . . . . . . . . . . . . . . . . . . . . . 32
TERMINAL GALACTO-SIALIDOSIS
j.lehmus. . . . . . . . . . . . . . . . . . . . . . . . . . . 33
ACCEPTOR PRECURSOR
j.lehmus. . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Ode to Anonymity
S. Boxx . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
THE ANARCHIST GUIDEBOOK
Pete Winslow. . . . . . . . . . . . . . . . . . . . . . . . . 34
AT LITTLE BIGHORN
Jim.Esch. . . . . . . . . . . . . . . . . . . . . . . . . . . 35
OPERATION COMEBACK
Jim.Esch. . . . . . . . . . . . . . . . . . . . . . . . . . . 36
G R O W N O L D E R
ezra. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
HUMANITIES DATABASE
Burt Almon. . . . . . . . . . . . . . . . . . . . . . . . . . 39
Pinkqueen
Julian Bubnow . . . . . . . . . . . . . . . . . . . . . . . . 39
When I dance...
Julian Bubnow . . . . . . . . . . . . . . . . . . . . . . . . 42
THE FRISCO KID, 1963
Charles Plymell . . . . . . . . . . . . . . . . . . . . . . . 43
VIRPO
PALACE ATTACK
ezra. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
PROJECT GUTENBERG
[email protected] / Thomas E Dell. . . . . . . . . . . . 60
THE ELECTRONIC TEXT CENTER
David Seaman. . . . . . . . . . . . . . . . . . . . . . . . . 60
LOOP
The Literary Organizations Overview Project . . . . . . . . . 62
E-MAIL ART and FAX SHOWS . . . . . . . . . . . . . . . . . . . . . 65
ANNOUNCEMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . 70
E-MAIL ARTISTS . . . . . . . . . . . . . . . . . . . . . . . . . . 73
FISEA 93 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
OTHER PUBLICATIONS . . . . . . . . . . . . . . . . . . . . . . . . 78
CONTRIBUTORS NOTES . . . . . . . . . . . . . . . . . . . . . . . . 84
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ACKNOWLEDGEMENTS
Special thanks to Forrest Richey for drawing our attention
to CYANOBACTERIA INTERNATIONAL to which much of this issue
is devoted.
IN MOTION is reprinted with Carol Berge's permission from
_Zebras_, Tribal/Center Press, 1991. (These excerpts from
the unpublished novel, written 1965-1968 in New York and
Mexico, concern the life of a woman painter, Julie
Leventhal. The first pages, "Future Art," were presented as
a Lecture as part of the William Thompson Synoptic Lecture
Series at Thomas Jefferson College of Grand Valley State
Colleges, in Michigan, in 1978. The section, "The Fire,"
received a Performing Arts Company of New Mexico Award in
1979 and was presented at the KiMo Theater in Albuquerque.)
FLORA + FAUNA ANTHROPOPHOBICA 1992 [with additions 10/93
from c. 1981] The first annual report documenting the
beginning and early manifestation of the psychic germ
theory. Dreamseed visions, deathstain enveloped larvacombe.
Originally published off-line, cyanobacteria, 1992, 28 pp. +
7 ill.)
"The Anarchist Guide Book" by Pete Winslow orignally
appeared in GRIST #11, c.1968.
Project Gutenberg. Thomas E. Dell. Available from
[email protected]
The Electronic Text Center & On-line Archive of Electronic
Texts, David Seaman, Coordinator, 804-924-3230;
[email protected]
Names and annoucements for E-mail Artists and Shows from
list produced by Ashley Parker Owens with additions by
GRIST.
"LITERARY ORGANIZATIONS OVERVIEW PROJECT" ("LOOP")
reprinted with permission from "CLMPages", August, 1993,
Volume 3, Number 3. and updated by Sarah Meyer and Anna
Couey.
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Welcome to GRIST On-Line #2....
USING MULTIPLE KNOWLEDGE SOURCES FOR WORLD SENSE
DISCRIMINATION
This issue of GRIST On-Line addresses the problem of how to
identify the intended meaning of individual words in
unrestricted text, without necessarily having access to
complete representations. To discriminate senses, an
understander can consider a diversity of information,
including syntactic tags, word frequencies, collocations,
semantic context, role-related expectations, and syntactic
restrictions. We will depict the use of the entire range of
information. Reflection will embrace how the preference
cues relate to general lexical and conceptual knowledge and
to more specialized knowledge of collocations and contexts
combining cues on the basis of their individual specificity,
and are rather a fixed ranking among cue-types that compute
sense tags for arbitrary texts, even when unable to
determine a single syntactic or semantic representation for
some sentences. Many problems hinge on relating words to
other words that are different in meaning. Prevailing
approaches to these applications are often _word-based_--
that is, they treat words in the input as strings, mapping
them directly to other words. However, many words have
multiple senses and different words have similar meanings.
This limits accuracy. As an alternative use an interlingua
to reflect text content, thereby separating text
representation from individual words. Herewith we supply
such an interlingua which lends robustness to the exposition
and is possible only because of the extensive resources at
our disposal. A synthesis is impossible, but applications
of greater accuracy work on the level of word sense instead
of word strings. That is, they operate on text on one level
while preserving full-blown semantic contexts on another,
for instance: The agreement reached by the state and the EPA
provides for the safe storage of the waste. A new language
has been developed for applications involving _spoken_
language tasks which produces a highly constraining
probalistic language model to improve recognition
performance embodying an initial set of context-free rewrite
rules provided by hand and probability assignments on all
arcs of the network. Example sentences are automatically
obtained by parsing stacks of decoded search strategies
which insure top-down control flow and long-distance
movement, agreement and semantic constraints. By these
means the parser as well as the understander is able to
apply summit recognition in two application domains
simultaneously and the screening recognizer outputs are by-
passed in favor of mutual sentential levels. This gradual
paradigm shift has been facilitated by projects now in
progress which are detailed below.
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Two Visions of the Future and a Narrative of the Past--
demonstrate that a thread, once begun, never ends....
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VISION OF THE FUTURE #1
_______________________
IN MOTION, Carol Berge
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THE FUTURE OF THE UNITED STATE, AND OF ART.
The General Population.
By 2050 A.D., ninety million Americans are over the age of
65. Genetic interference has obviated cancer, arthritis and
osteoporosis; psychosomatic "diseases" and illnesses such as
hypoglycemia and allergies have been phased out. Average
life-expectancy is ninety; mid-life is set at about fifty.
With developments in out-of-body fertilization, older adults
are enabled to have second families along with second or
fourth marriages. The word "generation" has become a matter
of choice. Arizona, New Mexico and Florida have been
largely converted into Life Colonies for those over eighty.
A separate Council officiates over them as government
responsible only to the residents. Study Centers hold
seminars and experience-conferences, making The Elders
available. Special foods, called "Gold and Silver," are
geared to prolonging the lives of those at The Colonies;
they contain minerals, trace elements and hormones which
modify or nullify those effects of aging which are treatable
through nutrition. North and South Dakota have been
converted into a Cryogenic Reserve, including storage of
Genius Sperm/Ova.
Education.
Universities, called _Versatility Labs_ at the Primary Level
and Universe Preps at Graduate Level, are mandatory.
Licenses are issued at graduation and are required to
operate cars and other major machines, including computers,
biotherm regulators, medical synthesizers, dialectic
translators, hydroponic microtics, and Memory Banks (see
next section). To earn a License of Graduate Capability,
every American must have at least three areas of
specialization with which to earn: one science, one art, and
one Spectrum Language Base. City-strips extend the length
of each N/S coast with Asterisk-shaped communitas bases
dotted along them. The manufactories are off-shoots of the
central residential areas. Subterranean pneumo-tubes
transport utilities, goods and personnel. Nearby restored
and protected oceans provide nourishment and recreation.
Beliefs
There is no immigration into The American State. Religions
are forbidden, except for the state-controlled amalgam of
belief-systems. Racial and ethnic differences are rare and
disappearing due to removal of caveats about cross-breeding;
a norm has been set, and achieved at median population. The
New Adult, age 30 at maturity, has sand-color hair, light
hazel eyes, stands 5 ft. 9 1/2 in., and has no particular
distinguishing visual characteristics based on ethnos.
Housing and clothing are issued by The United State, based
on occupation, earning and productivity. Variations in life
come only through choice of art-and-media as a Life Concept.
This concept is individually arrived at.
The Art of the Future.
Artists, trained from age ten, are a separate class with its
own constructs. Nurturing creches are set up as Russia did
in the second half of the 20th Century; based on the old
idea of "art colonies" such as MacDowell and Sweetbriar,
they are the only "alternative lifestyle" condoned and
accepted in the General Population. With planned parenting
in place, artists are brought along in ten-year cycles,
together.
The Total Centers.
"The great blossom-shaped TOTAL CENTERS existed in the midst
of each of the rebuilt city-strips--four of them, one on
each north-south coast and two on the Central Country Strip
which ran from Mississippi to the Rocky Mountains. These
were set up to function complementarily with each other and
with the European and Asian enclaves. The Total Center
Master, nick-named Total See by the artists, contained work
from all collections of local Musea, as registered and
recorded by artists, genre, medium and locus, in MEMORY
BANKS, available through Senders trained for the work. Each
Total See tallied automatic requests to every major City
Strip of the world, accessing artwork as entered or
completed. The Senders, conducting auditory dialogue,
supplemented a visual extension of the works."
Artrust.
The Society of Artrust elects Members anonymously, by
nomination of eligible artists by their peers. Master
Members direct a developmental program for younger artists
in collaboration with scientists, at Matrice Units, where
the gifted young receive instruction and nurturing. Each
participating Master member and each Artiscientist gives ten
years' participatory teaching or other involvement as
needed.
Mass-Open.
These exhibits introduce new works of artists at the near
Total Center's Local See. A personal interview is recorded
for use on sterions, transmitted by the Total See. Members
of the local Sociant receive key-passes to view the works of
every other member artist, past and present, throughout the
United State and the other Enclaves of the world.
Immediate Environment.
Mediartists live individual and private lives of choice,
once they have passed through the Universe Preps. Every
artist had a Clearing Space, where one obtained respected
solitude for development and expansion of ideas/concepts
being produced. All dwellings were designed to incorporate
a Clearing as apart-space, made to both universal and
individual design. Blood-blend liquids, syntho-tapes,
fireplaces and pneumo-sensory herbals for expansion and
contraction were available. One moved in one's own design
toward visions and re-visions, and thence to one's own
center and then the Local Center and Total See.
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VISION OF THE FUTURE #2
_______________________
FLORA + FAUNA ANTHROPOPHOBICA 1992 [with additions 10/93
from c. 1981]
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WE HAVE imbricated overlapping processions of bare lids of
human craniums to form a scale field, pale and fractured,
extending out far away into the obscurity. The technicians
say, that it is well possible, with the aid of a microscope,
by reading from traces of the characteristic annual rings in
the fish scales, to determine the age of a particular
specimen of fish.
A morbid history gleams in these fractured traces.
Stale and tarnished recollections of decadence unfold. A
ruin'd empire. Glimmering visions of an artificial reality:
suppurating odour of a dissoluting body, perforated with
electroid threads and catheters, bound within a metal
framing in a blue room; distant voices of strange factories
in the blurred sunset glow; pale stares in lenseless eyes
void of colour.
Night Liquid Part
The archangels who drink. In the murk, loosing the shard
which has held back the flood of liquids beneath the Abyss.
In murky golden liquid which forms their ambience: in which
they Swim: an Avenue C of the soul, the legs all dangling
down - O, mouths cordially shaped by alum. Sweet to spend
sustenance on facing, or effacing living memory of how the
day was, in that other substance, the grey one. Winter, `my
kid with sneakers only, in snow' but I am filled inside or
out with golden flows. Not to drown in such an element!
`Bartender, mark my name in ice, my face a label in another
language': an Avenue C of the tongue. The child has no
gloves, this gold skin on my hands is enough, my back to
glass demarcates where I swim, not flesh, not fish, a ghost
entire, glass going gold against time.
The energy sources drew to a close. It became
impossible to continue living in a misshapen body of fluid-
like mass, which, the energy denied, was unable to sustain
itself. The viscid rivulets of the decomposing tissues
lapsed into the dry fissures of the grey soil.
Platinum-iridium complexes of wire remain upright in
this lifeless atmosphere; dead thread-like entanglement of
bright l u f t w r z e l spreading far away into the
horizon under the dark yellowish spectral orb of the
exhausted sun. I stalk the dimwide world where no spark of
electricity remains.
THE AMOUNT of energy contained in a closed system may
neither increase nor decrease. The energy of the system may
appear in various forms of existence: mechanical,
electrical, etc., and within the limits of the system
various forms of energy are allowed to be interchanged and
converted, but the total amount of energy remains a
constant, as long as the system in question comes into no
interaction with its surroundings and does not transfer any
amount of energy with an external system. Whenever this
occurs, the system no longer remains closed.
The energy has escaped this world. The collapse of
this system had begun long before the final overthrow. The
empire radiated the energy of the planet out into the
vastness and void of space with its strange organisms whose
function was to maintain the individual reality of the
particles of this civilization.
Now: in its frozen and abstract vacuum of energy, this
system, viewed from the outworld, has ceased its existence.
This world is irrational--incomprehensible like the idea of
black light. Now it preserves as a sanctuary for me alone.
I have not destroyed Time. I have penetrated outside,
beyond; beyond the conception of Time.
Time, Energy, Materia--the ever merging densities of
Materia--flow beneath me in an incessant flux with no limit.
I move in this universal world arrangement like a fish
advancing in a continuum of ether: in an indefinitely,
boundlessly whirling vortex of a scintillating fiery dream
of light. Strange flames line in innumerable directions,
and I feel the rush of each of these streams. I know from
where these glowing, vitreous eels (transparent like the
purest essence of mother-of-pearl) do take their rise and
where they all finally end -
EXTRAORDINARY SCENERY of landscapes embraces the banks of
these rivers. Herds of fish all of an unseen shape circle
in these waters. The gates of the dreams are opened and
nothing is true any longer and everything is permitted.
SOMEWHERE, in a gloomy quarter of the world I stalk, veiled
in shadows, along the cracked corridors of a laboratory long
since destroyed. The oxidized courses of wire systems and
[text undecipherable--illegible] cables descend from the
ceiling in dark locks of algae growth, from place to place
reaching the floor, soiled by the gross excretions of the
decaying textures of metal, and where the broken tiles have
lost the glaze in their displacement of a random arrange.
Twisted metal devices in the silent halls stand in
halted dreamlike postures, bearing only a vague resemblance
to their original forms. Generators, heavy porcelain
insulators, electric converters, control boards,
accumulators and blackened tanks of glass, narrow open
stairs ascending along the convex sides of huge metal
chambers, walking passages intersecting high in the air,
metal cages arranged in straight rows, yellowish glass
spheres of a human size, corroded meshes, rusted reels of
electric wire and torn foil films, artificial [illegible]
sinews, bronchial and lymphatic devices, electrical
indicators and control systems, drab cavities of brittle
Butadiene rubber, bacteria bowls and glass arteries,
tarnished autoclaves and instrument cases; all standing
motionless, without a sound, waiting in the unperturbed air.
The atmosphere is clear--clean, devoid of spirit.
Except for the blue-green algae extending everywhere, all
forms of life are extinct here.
The water seeped inside has drowned the subterranean
section of the laboratory. The algae grow on all surfaces
in thread cultures to the length of several feet, dancing
slowly in the weak underwater current. In the water the
human bodies connected to the apparatuses have been
preserved displaying no traces of decay. The cyan algae
grow on their faces in shivering focuses, slowly eating
deeper into the lifeless tissues.
Obscene and sallow, those corpses escaped from the grip
of the metal electrodes and cords, float slowly to and fro
along the endless corridors in the evanescent and volant
manner of somnambulists, some blurred intention dimly
translucent in their corroded eyes.
The stairs lead down below. The meshes of the
reticular metal doors obstructing the way have been
overgrown by the algae, altering the doors into strange
formations resembling living walls of green Metzgeria. The
other side, embryonic spheres of glass extend in an equal
row all the way down to the end of the corridor, offering a
scale of foetal human forms in different stages of
development, manipulation and modification. The text in
paper cards attached to the devices is dissolved away for
the most part; it is possible to discern only disconnected,
confused words.
Figur 235. Pflasterep. dargestellt halbschematisch
Pflasterep. Bindegewebe fungiformis
Pflasterep. zur unipolaren Form
Sph. Spermiogen.
Sph. Spermiogen. bis
Hst. fungiformis sieben Stadien
HI a Muskelsegmente Inokommata Sp.
Af a Samenfaden halbschematisch Ov.
I am inside a small chamber. Shelves filled with
journals and books cover the stained walls. The desk in the
middle of the room has been overwhelmed with notebooks,
forms, ledgers, logs and bound paper in heaps. The
typewriter is covered in an embroidery of rust and the cyan
bacteria stretch over the black leather surface of the desk.
The fragile photographs on the desk have long since turned
yellow, faded in the darkness.
PANORAMA
m o t i o n vitality a constant compass circumference
"IDPN" mechanic locomotion
continuous stabilized organism
calibrated tract expanding continuously
a twined helicoid kinetically tendril'd
culminated apexes tri-angular
hereditary genealog models inert functions associating
o r g a n i s m perforated mass decorated
pouring hollow apertures
rufous glow of crystalline plasm sal medulla
segmented nerve fibers in whorls rectified separated
nerve stencils spirally integrated in cellular filament
automatic visage physiognomy void of expression
solid texture concending divest'd of fabric structure
rectilinear organism solid mechanism halbschematisch
p e r c e p t i o n perspicuous expl stabilized
encoded with electric signals : cyclic pulse tri-phase
channel'd perception 11001111101100000101001
p s y c h e mass psyche gros. colloid homogenous
genotype stain preserv'd in kernel filaments
cell motifs manifold divided ad infinitum
clone cultures schemes models formats duplicated
absolute consummate sterile psyche consumale femoral
u t e r u s coil'd immobile in metal cylinder
glistening bright yellow lustre permeable and radiant
enveloping the specimen a solid nympha a chrysalis
an activated element of isolation detached and closed
zinc web embracing hypodermic warm security
attuned open a bare spiral helical metal sinew
penetrated surface film linked subcutaneously
idiomatically automaton automaton automaton automaton
THE MEN perish. The life in them halts, collapses and
dissolves. The Death has wrested them away and they remain
without.
The expired linger among the living as long as their
names are remembered. Worship: adoration, prayers and
offers change their spirits into ministering angels. The
most adored among them, anointed and perfumed with
frankincense, attain the seat of a God.
The gods decay away enclosed within their cultures.
MECHANIA. The dominance of absolute mechanistic thought.
The perfect system of the laws of nature, the absolute,
infallible order of the gods. Everything is measurable.
The perfection of its science is rotating within the task of
defining the structure and essence of matter in terms as
exact as possible. It is a closed system whose past has
been registered, charted and analyzed, and whose future has
thus been presented, a scheme of absolute authority: the
course of the past describing the course of the future.
The communion of its apostles depicted in catechisms:
Nikolaus Copernicus, Tycho Brahe (the Saint of Measurement),
Johann Kepler, Galileo Galilei, Isaac Newton with a body of
minor martyrs whose name is legion.
IN THE lost cultures of the past the name of an individual
is permanently bound to his mortal frame. The name of the
deceased remains on this earth together with the fragments
of his dead body. Perfect methods are developed to exclude
the fact of decay in the dead tissue.
I, the timeless observer, silently learn to adore the
unchanging beauty of the death. I vision the corpses
undissolved and tarnished, descended deep into the black
waters of the northern fens. I vision those enveloped
inside stone piles, lying in eternal rigidity of the tundra
ice within their coarse wooden coffins; those absorbed into
the silent obscurity of space, mute and suffocated, floating
in their serene secrecy; those cremated in the incandescent,
flowing tide of basalt; those lying in dusty Catholic
catacombs, dried, waiting in their narrow chrysalides of
leaden glass.
Their perfectly embalmed bodies placed within golden
caskets, the four organs preserved in delicate bottles of a
daemonomorphic quality, enclosed within wooden coffins one
inside the other, and lowered into gigantic stone troughs,
the Pharaohs of Egypt extend their repose unto all Eternity.
Perfect is their scripture. Perfect is their science.
MEN-KAU-RA Inside a stone pyramid; beyond a long,
descending corridor, ante-chamber and three doors of heavy
granite, the Pharaoh lies concealed, in inviolable and
sacred silence, unperturbed.
Hail Osiris
King of the North and South, Men-Kau-Ra
Living for ever
Born of Heaven
Conceived of Nut
Heir of Seb, his beloved.
Spreadeth she thy mother Nut over thee
In her name of "Mystery of Heaven"
She granteth that thou mayest exist
As a god without thy foes
O king of the North and South, Men-Kau-Ra
Living for ever!
1837: We have succeeded in forcing the entrance. On the
29th of July we commence operations, and on the 1st of
August we make our way into the sepulchral chamber, where,
however, nothing can be found but a rectangular stone
sarcophagus without the lid. The large stone slabs of the
floor and the linings of the wall have been in many
instances removed by thieves in search of treasure. In a
lower chamber, connected by a passage with the sepulchral
chamber, is found the greater part of the lid of the
sarcophagus, together with portions of a wooden coffin, and
part of the body of a man, consisting of ribs and vertebrae
and the bones of the legs and feet, enveloped in a coarse
woolen cloth of a yellow colour, to which a small quantity
of resinous substance and gum adhered.
A note concerning the sarcophagus: "With considerable
difficulty this interesting monument was brought out from
the pyramid by Mr. Raven, and having been cased in strong
timbers, was sent off to the British Museum. It was
embarked at Alexandria in the autumn of 1838, on board a
merchant ship, which was supposed to have been lost off
Carthagena, as she never was heard of after her departure
from Leghorn on the 12th of October in that year, and as
some parts of the wreck were picked up near the former port.
The sarcophagus is figured by Vyse; "Pyramids", vol. ii.,
plate facing p. 84."
HAIL, YE who carry away hearts, hail ye takers away of
hearts. Ye have done. Do not take away this heart of
Osiris with your fingers, and this heart this thither. Let
not this heart be taken away; let it not be wounded, and may
no wounds or gashes be dealt upon me because it hath been
taken away from me. May I exist in the body of my father
Seb, and in the body of my mother Nut. I have not committed
evil against the gods, I have not sinned there in triumph.
THOU ART lifted up, O sick one that liest prostrate. They
lift up thy head to the horizon, thou art raised up, and
dost triumph by reason of what hath been done for thee.
Ptah hath o'erthrown thine enemies, which was ordered to be
done for thee. Thou art Horus, the son of Hathor, who
givest back the head after the slaughter. Thy head shall
not be carried away from thee after the slaughter, thy head
shall never, never be carried away from thee.
I--They inhabit buildings which become pyramids to nameable
gods. Not a machine among them. Having been identified as
satyrs, as blackguards, they are content not to argue. Two
of them were found atop the Boboli Gardens in Florence; the
chase took them down the long marble steps, past the pines,
past the occasional statues. No one thought to examine the
statues more closely; they escaped in the sunlight. Con-
demned once to Florida, they went out like old cigars. It
is a different scent when a thing is put out, cut out,
stamped out. Visualize the earth underfoot turning to stone
where they walked. Or the marble melting, wind whistling
through until all was dairy country. On the rude country
bridges to have to break rank in a season of figs and
pockmarks. They have remarkable, long memories; they are a
group whose effigies are burned before mobs who have the
same faces. Like moons whose tides continue without the
sea, they become whole by being seemly with the nature of
the planet.
THE SCIENTISTS have classified death into subdivisions.
They distinguish, for example, the c l i n i c a l death,
from which condition the patient possibly may be restored
back to life, and the conclusive, b i o l o g i c a l
death.
A certain doctor Hamlin has insisted that the moment of
death should be declared as the very moment of cerebral
death, and that the definition should be ascertained by
means of an electric current indicator device. When the
cerebral tissue of a patient is terminally defunct, it is
possible to sustain the action of the heart muscle and the
lungs by external, mechanical means, but the patient no
longer is alive. As the medical inventions and developments
continually offer fresh energy for the decaying system and
miraculously restore individuals from the condition formerly
mentioned as "death", the question of dying poses itself
more obscene than ever before.
The development is striving towards physical
immortality. Professor Ettinger has presented a suggestion,
that instead of burying or cremating, the bodies of the
deceased should be preserved in a deep frozen condition.
This freezing process ought to be rapid, in order that the
body tissues would not disintegrate on a large scale. The
bodies would be sustained in their "cryonic" state inside a
cold storage hall.
HAVING ASSEMBLED around the body, one of these men puts his
hand into it through the cut that has been made, and draws
out everything that he finds inside, with the exception of
the heart and the lungs; others clean the intestines, and
wash them with palm-wine and balsams. Finally, having
treated the body first with oil of cedar and other materials
of this nature, and then with myrrh, cassia and cinnamon,
they bring it into such a state of completeness that the
eyelashes and eyebrows remain uninjured, and its form is so
little changed that it is easy to recognize the features.
They enjoy the sight of those who have been dead for several
generations, and they feel great satisfaction in seeing
these bodies.
"GLOVES, INSTRUMENTS! I must examine this heart myself."
Fibrillation. Powerful lamps flood the area with
bright, shadowless light. Twenty-three degrees Celsius.
Iodine. Sever the skin. The incision extends across
half the thorax.
Expose the thorax, prying the ribs apart. Underneath,
the rosy-grey living membrane throbs with the irregular
contractions of the heart muscle. Slit the membrane.
Ligature threaded to the edges of the incision and then
pulled back. The naked heart.
Faint incense of ancient myrrh and honey. The scarlet
fist crushed open to reveal a sacred stone beetle--an
amulet, a human-headed scarab of green basalt.
MY HEART, my mother! My heart, my mother! My heart whereby
I come into being. Turn thou back. Is it that thou art
come to carry away this my heart which liveth? My heart
which liveth shall not be giv'n unto thee. As I advance,
the gods give ear unto my supplications, and they fall down
upon their faces wheresoever they be.
WIE TOT IST EINE TOTER?
Seit Professor Barnards erster herzverpflanzung (Tx)ist
unter der Wissenschaftlern in aller Welt eine alte
Streitfrage neu belebt worden: Mit welchen Methoden kann man
den Tod eines Patienten sicher feststellen, wann darf ein
Herz oder ein anderes Organ zur Transplantation verwendent
werden?
Bis heute gilt als sichersten Merkmal fur den
eingentretenen Tod das Fehlen von Hirnstromen, Elektroden,
am Kopf eines Lebenden angebracht, registrieren standig
elektrische Potentiale, ob nun der Patient schlaft oder wach
ist, ob er gesund oder krank. Der Tod gilt als eingetreten,
wenn das Hirnstrom-diagramm leer ist, wenn der menschreiber
des Getrates keine Kurven oder Ausschlage mehr registriert.
Zweifel an der Endgultigkeit des so festgestellten
Todes haben jetzt amerikanische Wissenschaftler angemeldet.
Ihre Esperimente mit Hunden haben das seltsame Ergebnis
erbracht, das man vollstandig tote Tiere wieder zum Leben
erwecken kann. Die versuchstiere waren uber 80 Minuten lang
nach allen Merkmalen der Medizin Klinisch tot: sie waren
ohne jeden Sauerstoff und andere Nahrstoffe und hatten
keinerlei Hirnstrome mehr.
Die Unde waren einer besonderen Behandlung unterworfen
worden. Den Tieren wurde das gesamte Blut anzogen. Damit
waren die Korperzellen von jeglicher Sauerstoffzufuhr
abgeschnitten; ein Zustand der allein schon bischer als
absolut todlich galt, Gleichzeitig aber wurden die Tiere bis
auf eine Temperatur von 5 bis I0 Grad Celsius abgekuhlt.
Durch diese abkuhlung sollen Korperzellen in einen Zustand
geraten in dem sie zum Uberleben keinen Sauerstoff mehr
brauchen. Die vollkommene Blutleere verhinderte au erdem
die Bildung der so gefurchteten Blutgerinnsel im Gehirn.
Mehr als 75% der Hunde erwachten zu vollig normalem
Leben.
THE CABINET. Herein, in a collection confined within halls
of black granite behind heavy doors of ebenholz, are
preserved the fruits of an unspeakable experiment of my
father. Herein: dried, flayed, embalmed or cast in glass,
stand exhibited all the confused hallucinations of a tangled
mind, all those to whom it managed to create a physical
form.
Coffins, crates, metal caskets, steel troughs and
copper welt'd glass cubes of green, dead water--thousands
and thousands piled one over the other, these relics cover
the walls up to the ceiling. Several specimens, due to some
special importance attached to them, lie on display in their
glass-paned cases, suspended with silvery beams of metal
chains lowering down form the arches of the vaulted ceiling.
In some of the greater halls, the dim and narrow passageways
writing between these show-cases have grown so confused,
that for days one may wander in these chambers, lost in the
grotesque labyrinthine system, a never ending exposition
tour with no exit.
For entire passages of months we linger here, a loving
young couple, examining the boundless variety of this
strange collection. Impossible it would be to name the
number of these embalmed figures. Innumerable, they have
been selected from all ages of the history: many a specimen
among them, fossilized, has been preserved for scores of
millennia. Some of them crumble away from the slightest
movement of the dry air. A few sights of the most
fascinating quality cause us to return here ever and anon.
There are several of these works I never could forget.
The shrill voice of their beauty has penetrated deep inside
the contexture of my soul. I stand silent: rigid and mute
in respect--for this is art, pure art.
II--You are like old ladies riding endless Sunday afternoon
buses, unable to share the box lunch. The country is
indeterminate, you seem western in an oriental country,
indelicate, unaware of the subtler things occurring around
you as the driver lurches. Yes, you appear perhaps as a
querulous old Frenchman, hunting for food bargains with a
net shopping bag in the mountains of Japan. Blind to the
difference of faces, you hear only your own language, taste
only your mouthful of strange. In some villages, they say,
all the adults are blind; they say a disease. I can see how
it was through your blind eyes, how it felt to you, the
grandparents returning to the clearing, asking not about the
weather but about orbits of the sun. A surfeit of sundials;
an absence of watches.
A m b l y s t o m a. Vast and obscure pupils of pale dead
yellow salamander eyes gaze upon the spectator from beneath
the molten surface of a glass container. Shrunken, coiled
and devoid of its living colour, this small body is
preserved in fluid as a relic reminding one of the most
obscene beings of a quasi-human kind ever created.
This black stain in Darwin's logic was discovered from
an incredibly expanded cerebral cavity of a stillborn case
of hydrocephalus internus. The embryo, four inches long at
its birth, had engaged itself with the host's arbor vitae
through its venous nabelstrang. The sustaining of this
large and very uncommon parasite had destroyed the nervous
system of the host foetus close to a terminal degree. The
Amblystoma developing in its cerebral womb controlled the
automatic functions of the foetus' organism.
At the moment of birth the arachnoides embracing the
spinal marrow tore open, and the cerebral fluid, its stasis
discharged, gushed into the foetal tissues. An instant
death, pia mater damaged: luminous, flash-like. Inside the
cranium, the cerebral substance was compressed against the
cortex--a thin, transparent layer: an excruciated membrane
itself.
This parasite was sustained in a glass cylinder filled
with amniotic fluid of an artificial origin for a period of
eleven years, attaining the total length of three feet. The
shape of this monstrosity was not unlike that of a human
embryo, aged seven weeks counting from the hour of
conception. The neotenic being had developed external,
feather-like gills of a kind observable in various animals
that develop through a process of metamorphosis. Mature,
undeveloped, the larva left its mother's body.
References to the developing stage of certain species
of Salamandra were made by the zoologists of the day.
M a g n e s i a. The perfect exemplar of her serie, a most
precious gem of the harem of my father, here stands the
embalmed body of Magnesia in a sarcophagus of crystalline
glass. Her green skin (C55H72O5N4Mg) has withered into the
delicate autumn hues of yellow and russet, morbidly black
its stains and the dark frail web of its hypodermic lace.
Her arms, descending down her sides, are thinned and dried,
brittle to touch upon like two twigs of a dead willow. The
yellow, algaeous fungus extends upon the skin of her breasts
and neck, modestly covering the sad scars.
On her side stand the rest of the dark blossoms of the
bed-chambers: aquamarine stain'd with glorious phycocyan,
ferrid astral gleaming of fucoxanthine, olive longvein'd
dark nerve streams branch span lamellose. Bruis'd
courtesans, each of them still faintly secreting an
intoxicating perfume--orchids, lilies, water arums,
florescent Wasserblute of fens.
Calla Callitriche Zostera
Spirodela Elodea Sagittaria
Acorus Lemna Scheuchzeria
L y m p h a g o r g i a. The mycelious vein coral
protruding out from the lymph nodes of neck, axillae and
inguinal folds imbibed nutrition, penetrating deep inside
the tissues of animal and floral specimens disposed in the
vicinity of the being. The exemplar was lost due to uncouth
treatment. The minimal, rudimented body has withered away
into nonexistence, but the keratinous growth of webbed
lymphatic ducts is still preserved, beauteous like an
unearthly Euplexaura.
D i f f l u e n s. On a weighty pedestal of granite, inside
a circular glass globe, slowly pulsating; everything makes
its appearance devoid of order -
mucin
rheum gelatine
cytoplasmic congealed
yellowish vitreous void of colour
neuter
an encapsuled cyst
waiting silently forbearant
silent
dormantly detained
devoid of cartilage / devoid of skeletal structure
surging slow
quivering translucent (epiderm. film)
capillar: translucent
heart thin arteries
plasm pale blood
enormous brain a cell kernel
ganglia
nerv fasc.
devoid of cartilage / devoid of mechanic structure
apertures open pores
opened: pervading outside
breathing cold air on the surface
thin extremities stretch ramifying
perceiving our presence
bluish
opened: uncovered itself
dividing
MARIA AURELIA CALLA. Medusa's voice flows out from the
mouth of an ageing female professor in the bleak auditorium
of a university long forgotten. Her words are like a
procession of grey, shadowy mist.
"Somewhere in the melancholic time, as you place your
steps by the side of your beloved when you are walking in
the sad, stagnant air of an autumn evening, as the limbs of
the arching trees, undress'd of their leaves, outline upon
the pale opaqueness of the white sky, those dark patterns--
at this very hour, there rises within your mind, unexpected,
an idea, a feeling, without your being able to understand
its seed, the primal source, the very spring whence it
outsprang; i.e., that thought, or incident, sensation from
which this particular, unexpected--detached and irregular--
conception would lead its root: then, at that very moment,
when the odd idea is still glimmering before your mind's
inward eye, have you thought, that this very feeling, that
it not necessarily had its source within your own mind; that
you, with your beloved, experienced this very feeling at the
one, at the same passing moment--that this feeling,
advancing through the vortex of the soft ocean of ether,
extended out from one mind into the other. Or that this
idea, that it did not generate itself in your or your
beloved's mind, that it, suddenly, and all unexpected--
irregularly and without the reach of all attempts of
definition--that it, in that sad autumn's eve, it came from
somewhere, from somewhere outside this material frame and
its..."
M:me Calla takes a seat, slowly, her jaded head slowly
descending upon the black satin of her bosom. Grey locks
flow upon her brow. The gas light in the middle of the
ceiling of the hall has suffocated in the damp.
"Never"
Medusa is smiling and the chain of her teeth---
DR. VON BLUTBART, KONIGSTRASSE 232, BERLIN.
I am approaching you, most rev. doctor--your name grown
famous on account of your remarkable skill--for I have
sought for a relief to a personal problem--sought in vain,
alas!--a problem that has accumulated the burden of my life
to an extent almost insufferable to bear:
I am about to lose my grasp on the sharp picture of
reality. I am anxious'd and there is nothing I could do to
release this situation. Sinister dreams continuously and
with no bounds intertwine with my hours of wakeful activity,
possessing my mind and irrevocably trailing it ever closer
and closer to the black brink of unspeakable insanity. It
is not very often that I manage, through intense mental
effort, to discern the delusions of dream, hallucination and
distorted remembrance from the present moment of reality;
and this narrow limit betwixt things true and untrue day
after day flees farther away, even oft entirely out of the
reach of my bloodless hands that cramp in vain to grasp upon
the shred of the disappearing colours, an extent almost
insufferable to bear, (strangely, in a strange light, not
unlike enlighten'd from beneath upon a map plate depicting
the continent of Europe, placed in triangular arrange thee
white glistening stare me the bright portraiture staring
eyes at me pictures three the great men C. Baudelaire, F.
Nietzsche, Aug. Strindberg veil'd, unfathomable, probing and
all shrouded calmly in unfathomable silence they examine me
stare their bright penetrating eyes probing strangely like
upon a map lighted from beneath a Roentgen processed and as
if stretch'd upon the texture of the picture and devoid of
any human arrange, depicting pale) Dream. After awakening
from this agitated slumber, I lose the picture out from the
scope of my mind's eye, only to stare at the sight of it
again as I examine an Io crown note against the pale orb of
the morning sun.
DEAR SIR : (diag) you are ill you are ill perforcily and
inevitably/ referring to the said letter you are in need of
medical treatment perf. carried out by those in a sit. of
the authorized.
Exaggerated, hypochondriac persuasions have torn your
psyche-mind in a state pervert a reversed and blind your
eyes. An acute danger of being stranded into the obscure
and unilumin fissures of the psyche-mind where the wrest
black powers ceaseless do fix their unfailing eye upon the
prey a human--alas!--alluring and enticing him a tempt to
commit horrid acts and sickening deeds: you are ill,
representative you are a jeopardy a peril for your very self
and the ones of charity. Aimed at and calculating, the dark
devils are observing your actions and awaiting for the
moment.
An asylum you could find in an established manger of an
authorized nursery under control where you would be guided
firm upon the tracks of the NORM/SANE human life: lacking
interruption, seeming hopeless cases and beings cured
success in attempts of re-orientation; these institutions
through the virtue of the modern methods p s y c h o l o g
i c a l, c h e m i c a l, p h y s i c a l, m e c h a n i
c a l. Wondrous achievements and attainments in the battle
against the possession of the psyche-mind. In the
resistance of the morbid illusion have the Medicine eff
proven to be effective in an early stage of the procedure.
Evipan Psykosedan Amytal Randolectil Phanodorm Veractil
Triptyl Bromvaleryl Plexonal Trioxasin Calcidorm Valium
Saronten Dominex Klorpormazin Dorminal Neravan Barbilettae
Amitriptylin Holodorm Equanil Hypnox Tensonal Psykosedan
An individual with no reliable ext guidance cannot struggle
the side of the forces safely oriented. You are ill: sir
you are possessed, possessed by an excruciant persuasion a
sick belief. I oblige you.
GEISTESKRANKER GALERIE. Als in Jahre 1928rn Zeichn.ngenst
das ganze Publ. Frende zu bereiten ihre Studien die Art von
Geisteskrankr Galerie am linkee zu schon gewohn Erinnerung
an daacht sie, pflegt sie, man die Dinge dargest aber hier
ein scheilbar Irren gemalt war Menschen ein wenig a nicht
alle unheilt einen Wunsch begreif. Wahnsinns aus der unbar
sind. Man bewverhilft ihnen zu hielt das Arbeiten waren
stalten, die Gelegennt waren, erkannte. Damals ein scharfer
in einer Gruppe nur Arbeiten der helfenen Art, die Bilder,
die von Gegensatz zwischevenarztes kam eine Leichtkranken.
Genossen in der Arbeiten von Geisteskrank darunten, um
diesen Arme diese mit Riesenkranker hatte. Die ausgestelle
Austellung, zu ist.
Die Kunstler ignis, das in Seinefer ausgestellt, die
sehr lustig war das man sonstrkten. Man darf nie
veranstaltet wurde es wieder Bilder die beunruhigend ganze
Ausstellung Bemuhen eines Nerv 31. Mai 1929 gezeigt wurden
ausgedechntes Feld fur warenlich war, eine ahnlichslosten,
dann neben anderen Montmartre.
1. Portrait of M:me S. 1926
2. Untitled 1915
3. Untitled 1916
4. Untitled 1919
5. Marius
6. Untitled 1927
7. Untitled 1923
8. Untitled 1923
9. Self portrait 1922
10. Untitled 1910
11. An unrival'd Renaissance beauty 1921
12. Untitled 1908
13. Calvin's member. An unexampled relic.
TUNGUSKA June 30. 1908. With enormous peal of rumble an
orb of fire flares in the blueness of the firmament,
blinding the sun with its intense white burn. Descending
from the ocean of blue vastness it flies through the dry
atmosphere, pouring its searing, piercing light over the
forest.
The orb explodes. A radiating column of light, as it
extends, a bright cloud; a celestial toadstool of energy, of
a seminal substance. The hypotheses in a discord.
a. an explosion of a meteorite
b. a nuclear explosion--the ice nucleus of a colliding
small comet or a clot of cosmic dust
c. an explosion of a celestial body or vehicle of an
artificial origin
d. a sinister energy/gravity/materia condensation
e. other unknown form of energy discharged
f. two locations of the Time/Materia continuum inter-
merging: an energetic phenomenon of deja vu
Horrible, thunder-like roar hurls over the earth and
can be heard even in Kansk, six hundred miles away in
southwest.
Then, like a terrible storm wind, sweeps the rage over
the forest, felling trees, ripping off roofs and shattering
window panes. The wave of air circles the globe twice, say
the scientists of London. Huge waves on the Angaria and
other rivers roll ominously, destroying large rafts.
Seismological stations in the Far East, Europe and elsewhere
are registering earth tremors.
Some days after the strange appearance wonderful
morning glows and unusually luminous nights agitate the
minds of the world. In Paris it is possible, on a moonless
night, to read a newspaper in the street. In Moscow the
habit of photographing is now carried on all through the
night.
These strange events rapidly pass into oblivion.
Weird, mysterious legends intertwine with blurred memories.
A BITTERLY cold day of February in 1927. Having covered
thousands of miles of tundra and ice on foot, Mr. Leonid
Kulik stands on the lofty slope of Mt. Shakhorma, observing
the fantastic scenery unfolding beneath him.
To the north there is an abrupt break in the virgin
forest surrounding the mountain. As far as the horizon, the
trees have been felled as though by a sweep of one gigantic
axe. Huge pines, fir trees, larches, all broken and
uprooted, lie pointing south-west. His guide, seized with
superstitious awe, refuses to advance any further.
Kulik believes that the catastrophe was caused by the
fall of a giant meteorite.
But neither debris of the meteorite nor a crate marking
the point of impact can be found. The search brings almost
no results. The tons of excavated earth do not yield a
single splinter. Furthermore, instead of a crater, there is
just an ordinary swamp of a common type in the Siberian
forestland, with its permafrost.
CONIFEROUS FOREST in the vicinity of Lake Baikal destroyed
13 years before gradually overgrown at the very epicentre
of the explosion dead trees standing rudiment telegraph
poles without branches or bark a similarity utterly
refuted dispersal trajectories residual radiation lines
radial annual concentric circles continued reached remain
silent aerial explosion barogram obtained at Greenwich
Observatory seismic wave Gravimetry theoretical
conclusions still being debated improbable estimates no
scientific data ref. A. Kazansey F. Siegel V. Fesenkov
Y. Krinov A. Zolotov K. Florensky K. Stanyukovich La Paz W.
Libby V. Mekhedev C. Cowan K. Atluri Academician Konstantin-
ov el al.
IN A critical temperature of the class of 3.5 x 10(7)K the
collisions of deuterium nuclei result in a mutual rearrange-
ment of the protons and neutrons. When the isotopes fuse,
the result is a release of energy and radiation. A portion
of this radiation consists of fast neutrons. The energy
released in the reaction maintains the temperature and the
explosion chain proceeds self-sustained and uncontrolled.
At first the explosion generates considerable amounts
of radioactive dust, which, be the weather conditions
disadvantageous, may drift far away from the location.
The amount of energy a material receives when absorbing
an intense flux of radiation, may inflict a variety of
different chemical and mechanical alterations of structure
within the material.
The direct effect of radiation bears upon living cells,
which suffer damage. Certain cells expire instantly, others
suffer disorder in their function and development. Dif-
ferent cells have been proven to be rather varied in the
degree of their susceptibility. The most sensitive class is
the tissue generating blood corpuscles, but also the
membranes and the mother cells of the gamates are very apt
to damage.
Radiation sickness is an illness produced after
exposure to ionizing radiation. With heavy exposure it is
characterized by malaise, nausea, emesis, diarrhea, and
leukopenia. The mean survival time of mammals, including
humans, is dependent on the radiation dose. At doses of
10,000 R or greater the exposed individual dies in a matter
of minutes to a couple of days, with symptoms consistent
with pathology of the CNS. From 1,000 R to several thousand
R there is a constant mean survival time. Below 1,000 R the
individuals die with symptoms of bone marrow pathology. The
radiation dose producing LD.50 (lethal dose 50%) varies
computed during a 30-42 day period. Human LD.50 is given
approx. 300-400 R.
base change...............................deletions
deletions............................translocations
single-strand breaks.....................inversions
double-strand breaks.............acentric fragments
crosslinks....................dicentric chromosomes
abductions.........................ring chromosomes
2----------------------------------------------------------3
genetic chimaerae/manifold mosaics......somatic cell hybrids
polyclonal antibodies....................antibodies mediated
transplant..............host specimens transferred displaced
retroviral.........vectors retroviral gene cluster mutations
manipulated: strings table screens processions circuits
translocated: shifted erased 1200 bp multiplied evaluated
chain cell hybrids....decorated malformed saturated satiated
chimerism.................Chr 9 yy sexually mediated hybrids
somatic clusters......copies: triplicites pseudogenes clones
in situ hybrid..........Chr 21 retroviral recordings charted
mutagenic factors............exposures of ionizing radiation
experiences from gene mutations induced in various organisms
processions.....sentinel phenotypes/fallacies/transparencies
frequencies................spontaneous alteration and change
an unseen variety bounds opened dissected wounds opened
dissolving apertures in natural order deletions gaping open
23 23 xx 23 23 xy 23 23 xy
23 23 xx 23 23 xx 23 23 xx
23 23 xy 23 23 xx 23 23 xy
23 23 xy 23 23 xy 23 23 xy
23 23 xx 23 23 xx 23 23 xy
23 23 xx 23 23 xy 23 23 xx
23 23 xy 23 23 xy 23 23 xx
23 23 xy 23 23 xx 23 23 xx
I AM a morbid cell in this organism: a cell of ruin'd
qualities: I loathe these contextures: cells seemingly
enveloping: rectified mediocrity: homogenous mediocrity: and
though they are unable to admit any meaning for my
existence: void of purpose: void of direction: my hatred is
tender: for I have my function: my task: the most important
function in this organism: in this stage: and these
contextures: cells seemingly enclosing: suffocatingly
embracing: unable to understand my function: impossible it
is to understand: and I am the terminal disease.
For I am a fungus of decay, an autumn spirit. Like a
strange odour in the air I drift through the livid forms of
this world, immersing my hands into each of its suppurating
sores. I do proceed: silently and slowly, laying my fever'd
palms upon your forehead.
I am preaching Death, the love of Death, like the Love
of Life--Oh! If you could understand that!
I am preaching Death: destruct--and my words are germs-
-germs of bacteria, germs penetrating into the decaying
tissues of this organism. For the life of this form is at
its end and this is the time of dissolving and change.
My disease dissolves holes in the rigid surfaces of the
society. My disease drives the individual to bite the metal
limb that feeds it. My disease drives the individual to
bite its own rigid limbs.
I am preaching Life: and my Life is the destruct of the
metallic structure: the society.
I am preaching love: and my Love is mental disorder,
perceived and analyzed by the society. My freedom and love
are chaos and destruct, perceived by the society.
ANTHROPOS: man, human: I wish to destroy you: carnal:
destroy your false images: mortal: human images: exclude: I
wish to destroy you: decompose: to give a birth to a new
human: perceiving: understanding: human standing alone: new
would be born: banishing all forms of the authoritative
power: a free man upon the earth.
The Holy Father in the Heaven, the Ruler, the
Dominator: the highest dream of the masculine power,
Almighty lord--over the Mediators of your power I pour my
bane! I hurl it for the blind men who, an insensible
procession, are following these: doctors, politicians,
religious men, scientists and educators.
I am standing alone. Invincible. Flaming currents of
electricity can not force me to step aside. My bacteria
will find ground to live in small fissures invisible to the
naked eye.
In my hands I hold the seed of destruct.
BY CREATING imaginary complexes of thought patterns it is
possible to assemble models of analogy that operate in the
mental sphere. Observing the function and behavior of these
mental models offers the student a method to trace infor-
mation upon the nature and function of other analogous
systems and organisms that exist in different spheres, or in
different locations of the Time/Materia flux.
Different laws and truths are manifest in topograph-
ically different locations of the Time continuum. For
example, in the mental-physical sphere of the World Mechan-
ics, the wide variety of earth-centred and sun-centred laws,
laws of radiation, light, gravity, magnetism, relativity--
all have their own areas of influence in the continuum. An
individual violating, trespassing against a particular law
that is official in the location he himself is manifest, in
case he possesses enough energy, causes that particular law
to change. In any case, no matter how minimal the quantity
of energy he has spent, the least he can achieve with his
actions is to leave a latent seed of revolution against that
certain law.
A system of thought patterns, an ideology manifest
within an individual mind may, be it assimilated by the
surrounding beings of the individual, become a very powerful
institution functioning in the mental sphere and thus,
becoming the core force of the multitude, may cause drastic
changes, or, if you like, mutations. In the face and gene
of the human community.
Spoken and written word, visual and aural signals,
gestures and physical contacts are all important mediums for
the propagation of the thought pattern seeds, but it has
been proved that the mental impulse does not necessarily
need a medium in the physical sphere in order to move from
one ego into another. The scientific name for the
phenomenon has been already defined as "Telepathy", but the
"modern researchers" fail to understand many of the vital
characteristics of this function. Like perfumes in the air,
or microscopic protozoa beneath the ever changing surface of
a slowly flowing river, the mental and astral-emotional
forms flow and move in the all-pervading ocean of ether,
infecting like bacteria those entities they come to and are
able to penetrate into.
****************************************
CYANOBACTERIA INTERNATIONAL
j.lehmus, Nuotiokj 2 E N:o 62,
70820 Kuopio, Finlandia
Manifesto 10 iii 1993
C.I. is an unstructured body of Artists. C.I. perceives and
exalts the true aesthetic quality as the highest value and
meaning of all information. This sublime quality is the
hidden spirit seed of information : the veiled Meaning
through which it is possible to find a contact with the
sphere of Ideas. The Art of information is the science of
change : Art Magic.
Primordial Ideas : poetical translations of the Book of
Changes, stellar mechanics, dreamwebs of the Sephirothic
correspondency.
The purport of C.I. is to experiment with new mediums and
languages for propagation of the poetical message. This
study is extended to embrace forgotten, neglected, abandoned
or otherwise unknown territories of expression and logic.
C.I. is a research for Alchemistic connection, corres-
pondence, transmutation and dislocation. Flux transmit :
shadow Idea, dream image, confluent analogy.
C.I. stays away from all scientific and religious orders.
C.I. is a quest for implicit freedom in thought and
expression.
C.I. is an oscillating, transreal ectoplasm, its nucleus
centered in creative chaos : change, vitality, instability;
C.I. is a living germ, mental disease seeking continuously
new forms of expression : new symptoms, new hosts, new
surfaces to infect. C.I. is an uncontrollable revolt
against the rigidified form. C.I. is a see embryo for new
aesthetic perception.
This revolt delves its rudimentary roots into the works of
the Symbolists and the Decadents, the experiments and
methods of the Dadaists, and the vital correspondence and
interference of the worldwide Network.
New members are invited to enter the collective. All
members receive information about the proceedings of the
collective. No membership fees are set : the only requisite
demanded from a member of the Cyanobacteria International is
activity.
Upon all requests for information and contact, please
address the Archivist j.lehmus.
Illustration.
Fragmentierung. Blau Zelle, Kreiselwelle : spinning,
spinning.
Chromagens microspheres, radiating Schizophyta : they
destroy enemies at a distance
**************************************************
to collective creativity 7 vi 1993
j.lehmas
l e m n a p i s t i a
lemna pistia is documenting a gyrovague experiment operating
upon the chromosomes of beauty and perception : muses and
daemons of beauty and information : chaotic information :
chaotic evolution , mutation : rebirth through destruction.
lema pistia is a salamander, omniplasm protean chaos
diffluens, striving to live in the streaming flux of
continual creation and destruction, in the fiery ether of
irrationalism, in the sphere of lucid inspiration. lemna
pistia is a procession of muses constantly altering their
glistering robes, veiled, veiled, shifting through burning
chambers of fevered logic : dancing, dancing, matrix-step
and hallucin.
The Artist is invited to participate in this uncoordinated
project. Please submit, a) visual material for publication,
no restrictions of size ; or, b) 100 copies in size of 149 x
209 mm. lemna pistia is published upon an irregular basis,
three numbers composing one volume of approximately 200
pages. All collaborators receive a copy of the journal.
THE C.I. INVITES DISTORTION OF THE PUBLISHED DATA. ALL
METHODS OF ALIENATION, ASSOCIATION, DESTRUCTION, DISLOCATION
AND DUPLICATION ARE ACCEPTED. THE PUBLISHED WORK SERVES AS
SOURCE MATERIAL FOR FUTURE EXPERIMENTATION; EVERY NUMBER OF
THE JOURNAL WILL THUS BE A DEPICTION OF A SUCCESSIVE
GENERATION IN ONE CONTINUOUS MUTATIONAL LINE.
WITHIN THIS PUBLICATION, THE C.I. ATTEMPTS TO BANISH
ALL FORMS OF COPYRIGHT IN ORDER TO REVERSE THE FUNDAMENTAL
CONCEPT OF "ORIGINALITY".
****************************************
R U B Y C O N S T R U C T U R E
R u . b i . c o n (roo'be kon'), n. 1. the entry into this
ancient mi. long crossing Adriatic. Marcaeser Cisalpin Gaul
and yin between Ch. comcross and 49 B.C. ; Julius 'nquerdom
vocable. 2. Rubicon decisive (perish), irre-ar entry into
the west, must cross for ever.
c o n . s t r u c t ( v. k form'strukt), v.t. 1. to enstruct
n. CON. 2. Geom. to wield ; frame ; devise together parts ;
BA drawditions. --n. 3. certain given structured figure ; a
fulfilling image or idea (L c STRUE), simplified images from
numbonstruct equiv. to build + struere to CON- ptp. (s) ptp.
O con-tus--con.struc'tor s. of struere to n. CON- + struc -
-ptp. Syn. 1. erect, struct'i.ble, adj. suffix --co, con.
struct'er, n. form.
s t r u c . t u r e (stru'l.ed, -tur.ing. --. r k'cher), n.
v., 1. mode of buildrangement organization. 2. a building
constructed as simplex E. sid. eystem. 3. pyramort elements
of icons. 4. Isel C.O.-e Anyx. lecomsome. 5. eaganization ;
iconsparts, arrangem for the internal socia between the icon
lustre. 6. Biol. a. mode of arrangement, component parts or
organ strata in ophthalmic tissues. b. a ring construction
of paridal structure. c. strata of lecule. d. the aeds by
ea. other white, esp. in components texture. e. complex of I
in organic c-a diagram. 7. Phys. the sysormod as a ment.
belief held by the mistry where it contrasted with the Ch.
theory of relations, molecular atoms in a moacially. --Syn.
1. systematic sociure organization. a.iage.ture.less, ad uc-
(var. s. to give a structure to : of struere ura.ure)
construct as uctura --struc'-ness, n. (a), equiv. to str.r.
+ -t- ptp. suffix + j. --struc'ture.less.
Structurization of literature, depuncture of a poem
indicated.
****************************************
LYSOSOMAL DEGRADATION OF ASN-LINKED GLYCOPROTEINS
A.
enzymes bound (complexes) primary phosphate
- receptors carbohydrate hydrolases initiated
- lysosomes molecular incorporation produced
- lysosomes proteolytic Figura lysosomal
B.
studied linkage (review) degradation process
- mechanism cleavage mechanism
- pathway catabolism scheme
- pathway linkage pathway
C.
process catabolism (scheme) linked removal
- series followed residues
- linkage chain initiated
- biochemistry nomenclature degradation
j.lehmus
****************************************
TERMINAL GALACTO-SIALIDOSIS.
organelles degradation compounds
lumen structure macromolecules
nucleases intracellular phospholipases
functional residues biological
structural moiety restricted
membranes treonine compounds
connective body degraded
linked chains linked
linked chains linked
j.lehmus
****************************************
ACCEPTOR PRECURSOR.
complex organisms terminal
accumulation substrate excretion
norvaline mutations sequenced
hybrid apparatus reticulum
lumen structures processed
disorders accumulation disorders
j.lehmus
****************************************
Ode to Anonymity
by S. Boxx (
[email protected])
Flailing from the shadows,
behind a face of black,
valiant, dazzling prose flows,
or scurrilous attack.
Prior to the byte and bit
did they truly have it?
Publius, or Voltaire,
underneath: naught but air?
Reminds me of cryptography--
or all superb technology--
This grandiose identity,
this startling anonymity.
****************************************
THE ANARCHIST GUIDEBOOK
by Pete Winslow
After you pay your taxes, buy all your licenses,
submit to the draft and spend 40 hours a week at the
office, you've still got maybe half an hour a day for
anarchy.
Some of the things you can do are
not read the newspaper
not buy any advertised product
jaywalk
play the accordian badly on street corners
write a subversive children's book
eat something inedible like treebark erasers or
dynamite
go into a supermarket with various obscure items and
place them on the shelves
paint meat different colors
organize protest marches at classic music stations
to demand top 40 tunes
and enlist support for all candidates who campaign
in Uncle Sam costumes.
After you have more experience with anarchy
you can improvise.
****************************************
AT LITTLE BIGHORN
[email protected]
"Know the power that is peace"
Black Elk said that.
A piece of what? A separate peace.
A book I read in high school.
It kinda sucked; maybe I'm being too hard on it.
All I know is Custer had it coming.
Many Indians said they were the one who rubbed him out.
No matter, it came.
Now there's markers for the U.S. soldiers who
fell in little clusters
on the gentle slope above the Little Bighorn.
And where are the Indian markers?
They probably left more on that field on that day in June.
There is nothing to remind you but silence.
You see the tall grass hiding the white markers,
and it makes you think, I don't really belong here.
And there was this Indian child,
girl with black pony tail, violet tee shirt.
She chased her brother around the museum,
her mother selling jewelry in the parking lot.
It was near 6 o'clock. Ghosts were near.
And I tried to take her picture,
running up the hill towards the last stand,
the heaviest cluster of markers, I tried to zoom in
and shoot her. A child victorious in play.
General Custer, you stupid, lame fuck,
you lost the battle, your army won the war.
And I couldn't capture her.
She fled up the hill and sunlight was sharpening
like aged cheese over the Little Bighorn.
Tame river, your people's spirits dance;
your dry winds carry powers I have
no right to name.
****************************************
OPERATION COMEBACK
[email protected]
From the depths of understanding
to the shores of Omaha beach
I have wandered.
Conceived by fires explained jovially as
youth running rampant, singing to clouds
basking in deep blue bath water soft to touch,
a supple mind without much luck.
From this cotton couch I hear a singing
in the murmur of heat lightning on subdued evenings
through the screen of a half open window.
you could have danced all night
you could have travelled straight
as none before or ever since
have smiled.
Carve a niche of what is supposed to be.
Master innuendo and the extremes of tradition
with hidden gestures. Perhaps subtle for a kite
on a windy afternoon but the clouds,
the clouds break and form different gestures.
Ask is it cloud or image of cloud.
yes, did you catch her eye?
Drive into last night waged in half open moonlight
and the moon is more perceptive than the sun
but when it rains
it rains and the wipers fall behind
and different pairs of eyes
watch you as every corner turns.
Open the gates to explore the act of the mind's blue flame
burning
and watch the match run away on summer evenings.
they unfold like loaded guns before attack.
Repeat, "the process counts for something."
and the myriad plastic signs deafen my eye
and my lower back yearns for horizontal foreplay.
Come back.
Comeback.
****************************************
G R O W N O L D E R
E L D E R F E L L O W
T I N Y F R I E N D
G R O W N
I N
F A L L O W
G R O I N
G O L D E N
F R I E N D
O R
L O I N O L D
E L D E R
FELLOWGROINFELDER
FLEEFOLD FUNDED
PHALLIS TRIPPEDUP
TIKE
ezra
****************************************
HUMANITIES DATABASE
Burt Almon
Frugality is waste
so the computer does what it can
reads out collected entries three times
for T. S. Eliot
Thomas S. Eliot
Thomas Stearns Eliot
and corrections would be too costly
when waste is frugality
but scan computerspeak in vain for
The Love Song of T. Stearns Eliot
****************************************
Pinkqueen
Julian Bubnow
Being with ya at this moment
I forgot to use tv-set
I'm so happy w ortalionie
Lion tiger and three swonie
Swon is a car animalis
With him swontze at afternoon
Canine sex by my kapeloosh
A kapela plays banale
Arie dances my hysteria
Stress at penthouse
Book i diabew
I love the anal penetration
This October Lenin's garden
Stood by meine hohschte Platzen
Zen ist eine kein Philosoph
Suchen Freide machts die Kleite
Eins drei fuer und dvanastzie
Stupid ass hole dirty place is
He must fuckin' like the sorrow
I'm your sunshine and tomorrow
Will b' my first the crazy smaletz
Countus office lich lichydwo
Pope my hero nationalist
My mom's hand she licks his hand-ly
At cathedral esti mogos
Sit and vicius
Balticalis countr of sunsets
And oralis
Siew adnagdy saw his armchair
I'm the witness shouts the Pingkong
Eat my pussy leave my backbone
Backstage party in The Frisco
Lick'n'roll I'm beginning
Let me sunshine manevrowatz
My hooy penis w(?) polish movya
Eine xiontze dva podpaskas
The same said it and selfserviced
At the party had election
What a shame you have to know this
Naked bare a nude clip sextion
Landscape catches me in the cuntplace
Man Materna englishcratics
Had her under...
Circumstances
Mad Max hero yest nie nashe
Whoop sevodnya praznik maya
Praznik maya is a bathroom
Kind of sex or rastamanan
Banal banan and paravan
So say love ya
My good president
Lich valizy if you can this
I hear voices please forget it
Kill veneris und soldaten
Cancel moozgy polish owls
Kick the headbird
Kicky ricky
Alice mutha pierestroyka
Lick my tzipka or die here
I'm the soldier of sabacka
Balls have a fly or The billy
My rozporka hrypka zadka
Pederasty cage it's krata
Ich satiren
Ha Ha Ha Ha!
Glossary of Polish Words
w - 'in'
ortalionie - 'raincoat'
swonie - (org. sl/onie) 'elephants'
swon - (org. sl/on') 'elephant'
swontze - (org. sl/on'ce) 'sun'
kapeloosh - (org. kapelusz) 'hat'
a kapela - 'and the band'
banale - 'banalites'
book i diabew - 'book' being read in English means
God in speaking Polish
i diabew (org. diabel)- 'and evil'
dvanastzie - (org. dwanas'cie) 12
smaletz - (org. smalec) 'lard'
lich lichydwo - (org. licz liczydlo) 'count counter'
esti mogos means nothing as the whole poem does
adnagdy - 'one day'
manevrowatz - (manewrowac') 'operate'
hooy (org. chuj)- 'prick'
movya - (org. mowie)'language'
xiontze - (org. ksiadze) 'priest'
dva podpaskas - (org. dwa) something like a tampax
Man Materna - Polish radio & TV presenters
yest nie nashe - (org. jest nie nasze) 'it's not ours'
sevodnya praznik maya - (org. it's a russian sentence)
'today is the first of may - The Labour Day'
paravan - (org. parawan) 'screen, cat's-paw'
Lich valizy - (org. licz walizy) 'count the valises'
moozgy - (org. mo'zgi) 'brains'
tzipka - (org. cipka) 'pussy'
rozporka hrypka zadka-(org. chrypka)'my zipper's hoarseness
bum'
krata - 'iron bar'
*****************************************
When I dance...
Julian Bubnow
When I dance use my hands
Shaking legs breaking eggs
Give me breath on this earth
Getting sick with my dick
Swallowing cum chewing gum
What's the taste you're the one
And my head full of dead
Empty dreams of my sins
Where's The Lord gone 'th my Ford?
What am I without car?
Wave goodbye call and die
"It's the end" plays the band.
****************************************
THE FRISCO KID, 1963
Charles Plymell
He turns into the driveway at 1403 Gough St., San Francisco
in his 1939 Pontiac. Anne was always mad at him for
something. He grabbed her and carried her across the doormat
which i-r-o-n-i-c-a-l-y (as he liked to emphasize literary
words) had a Swastika and Star of David superimposed on it.
The flat had always been a little strange; the seemingly
very respectable live downstairs, like in a world detached,
as if not noticing that the flat upstairs had been a
notorious meth factory. Everyone had lived in the large
upstairs flat and the two apartments above it. I, myself, in
the back one on several different occasions, and in the
front, two dykes who typed all night---or was the sound
coming from the other room? Was someone putting down
everything that was said? No one knew. Except years later,
the last occupant who threw a fit at redevelopment when the
meth-head souvenir collectors stole the front door--HE
scored a new house on Post St., and in the basement was a
lot of holes in the walls like telephones had been yanked
out and the words I had written at Gough St. were painted on
the walls--The poem I thought was going to be another "Howl"
began like, Hey man when you're swinging, way out there
alone doing the bip de bop in wilderness.
After depositing Anne and the brown grocery bag full of
black mota weed in the kitchen and ordering her to make
coffee, he was back to the car in a flash.
"Charley, watch the car for me, you know there's dopesters
in the area. I don't want them to steal my car. It has no
brakes, ha, ha, they might scoot down one of the hills, if
you know what I mean."
"Sure Kid. You need some help?"
"Na, I'll be moved in in a minute, but my starter's out, so
I'll shut off the car and put this block under the wheel,
and later, after coffee and we toke up a little and uh umm.,
I got some little goodies that will keep us up all night, we
can back it up and push it around, I'll shove it in second
or high...high gets the compression going. It's a good steep
hill. We'll move it later."
Jock they called her, the cowgirl upstairs, who also fucked
some trade when money was gone, leaned out of her window and
whinnied like a horse which shocked two fairies walking
beneath the window holding hands in the San Francisco fog.
The Kid unloaded his belongings which consisted of two large
boxes held under each hand. From them reeled tapes of his
past lives that the fat medium in Palo Alto told him he
lived, and several belts he used on Anne when she got out of
line...well, only in sex, he claimed if she sunk her
fingernails too deep, then..he'd have to get out the belts.
"Just like Lash Larue, eh Charley. Here pick up that tape
that's unreeling, would you please? That's where my medium
says I was running along side Christ when he was carrying
the cross. I tried to help him but the fuzz pushed me back,
actually I wanted to tell him I had stolen something, and I
wanted to return it, you know, got to settle all the scores
while we're here."
We got the boxes and a pair of extra penny-loafers and jeans
out of his car and parked down the street. In the long
hallway was a stepladder where I had been painting the
ceiling. Anne occasionally wore a dress or full skirt,
cotton print, or sometimes pleated. She was one of the few
"sweater-girls" left. She used to be a cheerleader and
wanted to become an actress, but her career was always
thwarted, of course, by the Kid. He was always two-timing
her, sometimes going back to his wife, or Jack, or Ginzy, or
dozens of other women. Somewhere in her mind she had the
typical girl and boy next door relationship. She THOUGHT
that everything was the way she imagined it. In fact, she
thought the Kid was her husband to be and she was always
talking about the wedding bands, and the date of the
marriage, and how that would interfere with her acting
career. In fact one time I went to the S.F.V.D. Clinic with
her because she thought she had the clap. In one of the
great understatements of the generation, she told the doctor
that she thought her husband was promiscuous.
She had meanwhile quite naturally perched herself atop the
stepladder in a cover-girl pose exposing her legs. She had a
perfect firm cheerleader butt and nice skin and thighs she
tried to keep tanned and smooth. Her pubic hairs were a
perfect V and she didn't wear panties so she held her skirt
between her thighs so as to not expose everything at once.
The Kid skidded under the ladder like a slapstick clown
making the motions of jerking off.
"Just like Playboy Magazine, eh Charley?"
The ceilings were very high at Gough St. He saddled Anne's
thighs around one shoulder and carried her to the kitchen.
She plopped in a chair with her legs outstretched and her
hands cupping her crotch, reprimanding the filthy-minded
guys.
The Kid took out a shoe box and put a couple handfuls of
weed from the grocery bags in it.
"Yes, I had a couple of these bags full when they busted me.
I used to sit over there at Foster Fuds and roll 'em before
I went to Quentin. Foster Cafeteria, you know a couple
blocks over. I lived above it in the Hotel Wentley. Anne
used to fuck sailors in my room."
"MY ROOM, and he was a friend, and I was not fucking him.
Besides You were out with Allen and all those poetry
people."
"Well Ginzy's gonna help me with my book and we're going to
take a ride up to Bolinas tomorrow to see some of Charley's
friends, and I want you to be nice. Where is Ginzy?"
"He went down to Fosters with his painter friend who just
won some kind of prize. He said he'd be back after supper.
We had a long day yesterday. We went down to Baez's ranch in
Monterey. On the way Ginzy wanted to stop at this person's
house he had known in Tangier. He was supposed to have known
something about a hex that was put on Bill B. He had to get
all that straightened out and that took a half day of mental
shit in La Dolce Vita venue. There was plenty of weed, good
booze, and lots of young ass around. I stayed away from it.
Jack said he had a dark mind. You know how he likes to get
mental behind those big horned-rimmed glasses. He likes the
spook business."
"You know his mother was out there too. His father is a
normal old guy, a poet too. But you know, they're New Jersey
urban/provincial- -fucked their kid up too when he brought
home a black pussy on a date. Flipped 'em all out. The
mother thought the FBI was watching, the old man probably
thought his teaching career was in jeopardy, you know the
New Jersey types. Bugged out. I mean all the lad wanted was
a girl, he didn't know black from white. He didn't know
everyone would go crazy. No wonder he had to come to S.F. to
howl free."
"Well what can you expect from someone whose MENTOR is
William Carlos Williams...anyway? But he's anal oriented you
know, you got to watch him."
"I even have to compete with HIM," Anne pouted. "And you
only go with him when you need money for grass."
"Now, now, I was taught to be good. I was a choir boy in
Denver y'know after the fathers took me in."
"Yeah , that's probably where you learned it."
"Hey Kid, I got this book here on Butch Cassidy. He looks
just like you. You sure you ain't his kid, or grandkid? He
used to be around Denver?" The Kid never answered. I knew I
had intruded in an orphaned world. Neal's fierce blues eyes
turned gray.
"Aw Hell Neal, we're all orphaned in this world, and you got
family everywhere."
Neal started smoking and talking about his favorite subject:
race car driving. It was hard to get a word in now. His
words were like race cars. Fast associations making the
quickest time, jockeying for space, almost defensive, but I
managed to wind up the events of my day by referring to
Baez's Jaguar. Now there's a car.
"But there we were, arriving in a ragged green '51 Ford
Convertible that Peter had scrounged up. It was a dusty
trail to her Ranchero, and there she was perched on the
fence like the dark lady of Shakespeare, except she acted
like no court musician, but rather the Queen herself, queen
of song, queen of the hacienda, the shrinks, the Sephardim,
and leader of the cause. There was supposed to be some kind
of peace meeting. She looked down from he perch and referred
to us as the "entourage." We had to sit for 20 min and
meditate before we talked. Then lunch was served and we were
asked to pay 65 cents for a half a sandwich. Was this so
that she wouldn't feel people were taking advantage of her?
I didn't know the reason, but a with shrink on each of her
arms, a walk around the grounds was proposed. Everybody
seemed to like this kind of goony mental ordered activity
except me. I embarrassed everyone by being unpeaceful and
got in Peter's Ford an revved it up telling her to move her
Jaguar, because Peter was taking me to town, where I could
jump on a "Hound to get me back to my cheap room in Frisco
around some winos, where everything was real, but not
beautiful."
Ginzy came in late with his painter friend and they talked
for hours about how they used to live at this flat and were
both onto Peter. Ginzy, of course, had the most to offer and
won over the manly Peter. His friend, the painter, called me
into a room and swore that a certain psychiatrist had told
him that Ginzy had told me to make a reference to his (the
painter's) nose. Somehow this had something the do with the
love triangle, diluted greatly from Shakespeare's problems;
I knew that I was living in San Francisco.
Activities never ceased, the ghost typewriter kept clicking,
perhaps Jack's; the nights were long. Ginzy asked me onto
his mattress. He said he had seen me in bed with my Ann.
There were two Anns, Neal's Anne, with the nice round ass,
and my Ann with the boyish ass. His Anne pretended that Neal
should never catch her and me fucking because that would end
her long-awaited marriage to him should he ever get a
divorce from his wife. My Ann didn't care who I dragged in
bed with us as long as she got as much sex as possible. Both
of them were insatiable. This lead to Neal's claim that he
had to carry whips to beat her off him sometimes when she
got too demanding.
"Look at her Charley!" He would point out to me her
expression many times. "That's how she looks when she's on
top of me fucking me. Her mouth starts becoming lupine. Her
lips become white and tighten around her teeth. She draws
blood with her sharp nails. And her eyes get very dark brown
and glazed. I have to hit her, and sometimes I have to use
my belt."
Ginzy was telling me that he had watched me fuck my Ann and
was wondering what we were doing since neither of us was on
top of the other. I told him you didn't have to do it in any
particular position, and asked if he had never done it with
the black girl he brought home for his folks to meet. I said
I liked to fuck girls from behind. He understood how the
penis can engage the asshole from behind, but how could it
reach the vagina?"
"Can you really fuck girls from behind?" he asked.
"Sure, I'll show you next time."
The we heard loud cussing and fighting from Neal's room. We
went to the door and tried to peek in the keyhole, but we
couldn't see much. The slapping sounds grew louder.
"Is he actually HITTING her?"
"Sounds like it."
We retired back to the mattress.
"Would you like some caviar?"
"I hate that stuff."
"Have you ever had sex with a male?"
"Well it was pretty common back where I came from. We used
to call it cornholing or buttfucking. Adolescent boys are
afraid of girls you know and they stay over night with each
other and get a hard-on and try to poke each other."
"Well I mean as a grown-up."
"Well there used to be this queen back in Kansas who'd take
on the whole basketball team. Actually there were always men
who were trying to get boys to fuck them or let them suck
them. It was, I guess normal in the sense that the priest,
the coach, the babysitter, the person who had money and
position to lure the young and horny into some kind of sex.
This guy back home had a whole in his shorts. He was an
actor sometimes in Hollywood. Very rich. His father was an
oil man. In fact I saw him here in San Francisco not long
ago. He came up from Hollywood--was staying at the Y...said
he had a place in Palm Springs. He was still very handsome
in the old glamour ways. He resembled Victor Mature. He may
have been him. Who knows, plastic faces and all..sometimes
it's hard to tell the composite from the companion."
I could see he was getting an erection but he was very small
and not circumcised.
"Let me try to put it in. It won't hurt. Just relax and make
like you going to move your bowels."
"I don't think that's going to get in far enough to hurt
anyway, maybe you could just suck on this."
He got very exited with the task at hand and forgot about
the ass; he finally made grunts of satisfaction and put his
head on my chest and took deep breaths and went to sleep.
I slipped out of his arms and crawled onto the mattress with
Ann who sleepily curled her ass up against me. Her's was a
perfect back door.
The next morning Neal was up early and had begun smoking and
rolling enough weed for the trip, and Anne was fixing him a
big breakfast. He counted his little white pills and told
Anne she might have to score before we left because he was
getting low. I checked my shelves to see what I had in
stock. It was a typical San Francisco morning. The landlord
and his wife were getting ready for church. The dykes or
whoever typed all the time were hitting the keys. Maggie, a
woman I had known in Kansas had moved into the back upstairs
apartment and was hanging out her clothes. The odd thing
about the house was that it seemed totally stratified. Since
the days of the famous "Howl" reading and the painter living
there with Allen fighting over Peter, to the days it was a
Methedrine factory, to then having been occupied by a
filmmaker from Kansas whose housemates had just got back
from Mexico with a suitcase full of Panama Red. I told him
just throw it in Maggie's VW and drive across the border
with her and the baby; they'll never check you. They don't
have enough resources to keep families in jail in Mexico. I
had plenty of weed to keep all the visitors high, since by
now, it seemed all of San Francisco was showing up at the
door, some now from L.A. too. Filmmakers, artists, artists'
and poets' old ladies trying to score for money for their
old men, poets, publishers, etc. I checked my cupboard. Two
bottles of pure Mescaline from Light Laboratories in
England. I'd have to re-order soon. It took a long time to
get a box of six bottles in the mail. There was partial
carton of vials of Lysergic acid from Sandoz
laboratories..hmm those were going fast. I'd have to
scrounge up some money to re-order soon. Those fucking
shrinks coming around wanting some for their
experimentation. They don't have enough smarts to order it
on their own. Then that fucking dumb-ass academic, Leary,
was soon to hit town and spread word, knowing nothing,
having these flocks of culture vultures and stupid flower
kids following him around. Let's see.. a few Owsley vitamin
pills..just as good as Sandoz, but ugh bad taste... much
better to just snap the top of the vial and drink it down.
It was getting hard to figure out the supplies. Neal's
reefer smoke was bellowing down the hall.
Neal and Anne were already arguing about something. The
usual argument was about his slipping into bed with Allen,
or making up stories to get away for part of the night to
fuck some of the society women out to get down, or the old
standby of his getting a job and leaving his wife in Palo
Alto. How else would they live a normal life, she would ask,
and when would she be able to devote more time to her
theater career? After the landlord left, Neal had gone to
get his car and leapfrogged over a couple parking meters to
assure everyone he was in good shape. He then pulled into
the driveway in his old grey 1939 Pontiac 4 door and opened
the doors making sweeping comic gestures like coachman to
royalty.
"This is one of the first overheads. It'll outrun most of
the cars today, but I think the master cylinder is going and
I don't have any breaks...watch..I put the brake clear to
the floor can't get up.. up..maybe an inch..shouldn't
complain though Charley..any inch you can get eh?"
"Do you know the way to Bolinas?"
"Yeah, go over the Golden Gate and down the shoreline. We
have some rough curves but this Pontiac can take them. I can
downshift to second at 45, but over that it's just me and
the steering."
We got on the mountain road and started downhill about 60.
Anne was bitching about last night, saying that's all Neal
wanted her for, just a lay, and that he didn't have a job,
etc. Neal was saying how he had applied at the tire place on
Van Ness Avenue for a job. Finally Neal slapped her across
the face and as he hit her he missed second gear. She began
to cry and Allen put his camera away as we started flying
around in the back seat...the tires squealed around the
curve, Neal grabbed Anne with one hand and then the wheel to
keep us from going over the ravine; finally a rise in the
road and he was able to hit second. We finally rolled in to
the flat land at Bolinas at my friend's house. Neal stopped
the car by jerking down to first gear and pulling on the
emergency brake. My old love from Kansas who played us Dylan
for the first time any of us had heard him, fixed us lunch.
Neal saw a copy of "On The Road" and began reading to us the
parts about himself, and then started reading some poetry
from magazines that were lying around the table, impressing
everyone with his dramatic reading. We went back into town
at a little convenience store to buy some more beer.
Everybody was feeling better, and I asked Neal and Anne to
stand at the cash register while I took a snapshot. Allen
and I went down to the beach and he lay there reciting some
Whitman and wanted me to put my head on his chest.
A week or so passed and Neal got the job at the tire place.
The Pontiac was getting fixed and I took him to work on my
Honda, one of the first models to be imported. He carried a
pocket watch and had it down to the minute at what time to
leave the house to be at work at the exact time. This was
practiced down to the second with Neal warning me against
any pot holes or railroad tracks that might slow us down. He
had the stop lights timed so that we wouldn't be late, and
he always pulled out his pocket watch to check the time. He
said, Once a railroad man..always a railroad man. He worked
for a while, then asked me if I wanted to drive back to
Kansas with him because he was making a run back to New York
to see Jack for a few days. He was gone for about ten days.
Allen and I got on my motorcycle and went down to the
Monterey Jazz Festival. He was practicing his calming OMM
and we were making up jazz poems from found words on the
signs we passed, yelling pieces of scat, riff and bop making
poetry as we rode. When we got down there he said we should
go see Monk. We went back into his dressing room and Allen
asked him if he remembered him at a party. Monk was way out
in space and answered in sounds rather than words. Allen
said you remember, I gave you my book. HOWL. Monk made a
little more gracious sounding sounds. He introduced me, and
I shook his large warm hand. Then Allen said you know, I
gave you that LSD. Then Monk lit up and said, "Yeah Man! Hey
you got anything stronger?"
Neal returned from his marathon trip driving a red and white
Plymouth Fury. He said he had it up to 120 MPH and made the
round trip in record time. He went to find Anne to score a
script for speed and pulled up in front of Gough St. where
he showed how fast he could speed shift, though he was
pissed because the car had a push-button shift. Later in the
week I was tripping and went over to Phil's. He held my head
toward his flowers and made me look a them until I came
back. Neal wanted me to go to the MVD with him to straighten
out his driver's license. He was very paranoid about the
bureaucracy. Later Phil asked Ann and I to come up to North
Beach and have some Cappucino with Larry. I had some
drawings of Bob's and Dion's to show Larry in case he wanted
to publish them. We went back down to the bookshop where
someone took our picture. Later Allen took me up to Larry's
house to ask him to publish some of my work. Allen said he
was a great friend but not that great a poet. I started to
say neither are you, but held my tongue. Larry was in bed
when we arrived, and we sat around the bed, them talking
about literature. I suggested Larry come over sometime and
listen to Neal read from his autobiography, which he did,
but Neal couldn't get into reading as well as he usually
could. Instead, he started bitching about Jack and everyone
using him as an errand boy to go get beer and cigarettes
while they discussed literature. Neal didn't have a literary
background and was sometimes mocking when he talked about
them or literary or textual material.
I was sitting around the front room of the Gough St. flat
when Neal and John, from the L.A. Free Press came running
in. "Charley, turn on the tube, the president's been shot."
We watched the happenings and Neal and I said
simultaneously: "Oswald's a patsy. It's a conspiracy. Ann
and I went for a walk. San Francisco was dark and gloomy for
several days. Lew came by in a limousine one day to take us
to some kind of happening across the Bay put on by a
filmmaker. The chauffeur had a pack of Bull Durham tobacco
he rubbed on the windshield saying that it would keep the
fog and film off of it. Lew was paranoid and said he had to
get out of S.F. while he could. There was only one way out
by land and if they blocked that....
(c) copyright 1993 Charles Plymell
****************************************
VIRPO #1 (continues)
virtualpoetry
"The long standing process of trading texts back and forth
becomes transformed into a process of merging texts into new
wholes...."
D. Brent
This is/will be a regular, monitored, *department* of
non-dead-ends where x-plorations may take PLace and
comParison of the livin' end-RESults may be made or not.
_#1:_
CREATE A NEW TEXT THE NOUNS OF WHICH ARE ONLY ALL OF THE
NOUNS IN THE TEXT WHICH FOLLOWS. SEND IT TO THE EDITOR,
[email protected], FOR PUBLICATION IN A FUTURE ISSUE OF
GRIST.
Use all and only the nouns from this text:
"Coco drug zero! highest security grade! moles on the move!
double you see! snakes in the grass! rabble! riot! unlawful
assemblies! communal insurrection! mutinous masses!
turbulence! panic! goundless phobia! wide of the mark! right
of the track! hypochondria! march target! direction! prince
your palace! royal palace! ...password! goglach!
demonstrations! protestations! provocations! much
discretion! close observation! take precautions! that's it!
not a word! deadly secret! ... one more thing! bear in mind!
silence is golden...
What's the matter now?
code names! Lochness monster! comet in sight! red
light! burning bright! sit tight! no fright! Yes! No! Beyond
all doubt! satellite! asteroid! planetoid! Polaroid! coming
fast! hostile! perfidious! menacing! momentous! fatal!
stern measures! Cockadoodledoo! He's coming!
completely mad!
coming! look there! He's getting in! where's the guard?
call the guard!
Da!"
from "Mysteries of the Macabre" by Gyorgy Ligeti
as translated from the German by the publisher
Program notes,New Juilliard Ensemble Concert, Sept. 21, 1993
****************************************
PALACE ATTACK
ezra, virpo #1
"You monster!" s/he replied, "zero grade turbulence misses
the target; no doubt your mind rests in matter, making
snakes panic, creating double phobia."
"Up, up!" they cried again, "the palace secret guard
measures only one thing: drug security; and this rabble must
cease their assemblies!"
Seeking direction, Goglach passed the grass and, in a fright
ducked the guard. Without the password what else could he
do? Names would not help; a code? perhaps--but provocations
in sight of the asteroid masses surely would produce
protestations of palace riot.
"Move the mark! Mark the move! March the track! Track the
march! Let not Lochness comet bring insurrection by word,
light, observation, or the sight of Cocadoodledoo!"
"Coco," cried the moles, "you have a right to your
hypochondria but not to your silence. You must rise up in
demonstrations, observing discretion, of course, snapping
bright Polaroids of the Prince as he passes beyond the
satellite."
****************************************
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To:
[email protected]
Subject: Online Books FAQ (draft#2)
Online Books FAQ :: 6/1/93
This FAQ addresses mainly the availability of PUBLIC DOMAIN
sources of Etext available on the Internet. By "public
domain" we mean text that is unencumbered and free from
copyrights.
1. ARCHIVE SITES FOR BOOKS AND ETEXT
PROJECT Gutenberg releases approximately four high
quality etexts per month into the public domain, and have
been releasing texts since 1991. Texts released by Project
Gutenberg are available by anonymous FTP on
mrcnext.cso.uiuc.edu in /etext; please restrict transfers to
times other than prime time.
Project: Project Gutenberg
Host: mrcnext.cso.uiuc.edu
Directory: /etext
Size: 35MB
Format: ASCII
Contents: Released Books
Access: FTP
A mailing list is available, GUTENBERG-L, though it is
not currently accepting new subscriptions. Please use the
bit.listserv.gutenberg-l newsgroup instead.
ONLINE BOOK INITIATIVE
The Online Book Initiative, or OBI, collects and
distributes text to the Internet. Many books and other
materials are available for FTP and Gopher at
world.std.com, in /obi. Generally these texts are arranged
by author. Size, approximately 200MB.
Project: Online Book Initiative
Host: world.std.com
Directory: /obi
Size: 200MB
Format: many
Contents: Public Domain Text
Access: FTP, Gopher
INTERNET WIRETAP
Internet Wiretap also collects and distributes text to
the Internet. Additionally, texts are prepared for the
public domain on a somewhat regular schedule. Wiretap's
archives are limited to ASCII text, and are available for
FTP and Gopher on wiretap.spies.com, in /Library and /Gov.
Texts are arranged by subject; size, approximately 150MB.
Project: Internet Wiretap
Host: wiretap.spies.com
Directory: /Library, /Gov
Size: 150MB
Format: ASCII
Contents: Public Domain Text
Access: FTP, Gopher
PROJECT RUNEBERG
Project Runeberg's intention is the free distribution
of literary and artistic works in Scandinavian languages,
much like Gutenberg exists for English. One of the major
works in progress is a Swedish edition of the 1917 Bible.
Project Runeberg is a distributed, grassroots effort. Also
available are approximately 12MB of medieval Swedish texts
donated by Gothenburg University.
Project: Project Runeberg
Host: ftp.lysator.liu.se
Directory: /pub/runeberg
Size: About 1MB
Format: ISO 8859-1
Contents: Scandinavian Etext
Access: FTP, Gopher
PROJECT LIBELLUS
Several works (both Latin and Commentaries) have been
produced. Like Runeberg, this is a distributed effort, and
all texts are placed in the public domain.
Project: Project Libellus
Host: ftp.u.washington.edu
Directory: /public/libellus
Size: About 1MB
Format: TeX
Contents: Latin Etext and Commentaries
Access: FTP
OTHER HOSTS CONTAINING SMALLER AMOUNTS OF ETEXT
archive.nevada.edu FTP Religious Texts
black.ox.ac.uk FTP Oxford Text Archives
ccat.sas.upenn.edu Gopher University of PA: CCAT
ftp.uu.net FTP Mirrors in /doc/literary
info.umd.edu Both Maryland INFO Server
nic.funet.fi FTP Funet NIC, (in Finland)
DIALUP BBS'S WITH ETEXT
BBB BBS Washington +1 503 620 0307
Darkside California +1 408 245 7726
Central Neural Washington +1 509 627 6267
DPA BBS Alabama +1 205 854 1660
2. List of known books freely available
This is a partial list of full length books that are
available via FTP or Gopher somewhere on the network.
* 1. Aesop: Fables, Paperless Edition.
* 2. Aesop: Fables, Townsend Translation.
3. Albert Hoffman: Problem Child.
+ 4. Ambrose Bierce: The Devil's Dictionary.
5. Anthony Trollope: Ayala's Angel.
6. Artephius: The Secret Book (Alchemy).
* 7. Baroness Orczy: The Scarlet Pimpernel.
8. Bible: Elberfelder Ubersetzung Bibel/
* 9. Bible: Holy Bible/
10. Bram Stoker: Dracula.
11. Brendan P Kehoe: Zen and the Art of the Internet.
12. CIA: Psychological Operations in Guerilla Warfare.
13. CIA: World Fact Book 1990.
14. CIA: World Fact Book 1991.
15. CIA: World Fact Book 1992.
16. Chaos Industries: The Big Book of Mischief v1.3.
* 17. Charles Dickens: A Christmas Carol.
18. Charles Dickens: The Chimes.
19. Charles Dickens: The Cricket on the Hearth.
* 20. Charlotte Gilman: Herland.
21. Dale A Grote: Study Guide to Wheelock Latin.
22. Daniel Young: Scientific Secrets, 1861.
* 23. Decartes: Discourse on Reason.
24. Doyle: His Last Bow.
25. Doyle: Hound of the Baskervilles.
26. Doyle: Sign of Four.
27. Doyle: Study in Scarlet.
28. Doyle: The Adventures of Sherlock Holmes.
29. Doyle: The Case Book of Sherlock Holmes.
30. Doyle: The Memoirs of Sherlock Holmes.
31. Doyle: The Return of Sherlock Holmes.
32. Doyle: Through the Magic Door.
33. Doyle: Valley of Fear.
* 34. Edgar Rice Burroughs: A Princess of Mars.
* 35. Edgar Rice Burroughs: The Gods of Mars.
+ 36. Edwin Abbott: Flatland.
37. Emily Bronte: Wuthering Heights.
* 38. Federalist Papers.
* 39. Frederick Douglass: Narrative.
40. HG Wells: The Invisible Man.
* 41. HG Wells: The Time Machine.
* 42. HG Wells: The War of the Worlds.
43. Hakim Bey: T.A.Z. Temporary Autonomous Zone.
* 44. Henry Longfellow: The Song of Hiawatha.
45. Herman Melville: Moby Dick.
46. JM Barrie: Peter Pan.
47. Jack London: The Call of the Wild.
48. John Cleland: Fanny Hill.
49. John F McManus: The Insiders.
* 50. John Milton: Paradise Lost.
* 51. John Milton: Paradise Regained.
52. Joseph Conrad: Heart of Darkness.
53. Joseph Conrad: Lord Jim.
54. Joseph Conrad: Secret Sharer.
* 55. L Frank Baum: The Marvelous Land of Oz.
* 56. L Frank Baum: The Wonderful Wizard of Oz.
* 57. Lewis Carroll: Alice's Adventures in Wonderland.
* 58. Lewis Carroll: Through the Looking Glass.
59. Louis Leclerc: Does America Say "Yes" to Japan.
* 60. Lucy Montgomery: Anne of Avonlea.
* 61. Lucy Montgomery: Anne of Green Gables.
* 62. Lucy Montgomery: Anne of the Island.
63. Lysander Spooner: No Treason.
64. MIT: Jargon File v2.9.10, July 1992.
65. Malaclypse the Younger: Principia Discordia.
+ 66. Mark Twain: A Connecticut Yankee in King Arthur's
Court.
+ 67. Mark Twain: The Adventures of Tom Sawyer.
+ 68. Mark Twain: Tom Sawyer Abroad.
+ 69. Mark Twain: Tom Sawyer, Detective.
* 70. Marx & Engels: Communist Manifesto.
* 71. Mormon: Book of Mormon.
72. Mormon: Doctrine & Covenants/
73. Mormon: Pearl of Great Price/
* 74. Nathaniel Hawthorne: The Scarlet Letter.
* 75. Norman Coombs: The Black Experience in America.
* 76. Norman F Joly: The Dawn of Amateur Radio in the UK
and Greece.
77. Paul Tsongas: A Call To Economic Arms.
78. Quran: Quran/
* 79. Roget: Thesaurus of 1911.
80. Saki: Reginald.
81. Saki: Reginald in Russia.
82. Saki: The Chronicles of Clovis.
* 83. Shakespeare: Complete Works/
* 84. Sophocles: Oedipus Trilogy.
* 85. Stevenson: Dr Jekyll and Mr Hyde.
* 86. Thomas Hardy: Far from the Madding Crowd.
87. Walter Scott: Chronicles of the Canongate.
88. Walter Scott: The Keepsake Stories.
89. Wasserman & Solomon: Killing Our Own.
* 90. Willa Cather: O Pioneers!.
* 91. Willa Cather: The Song of the Lark.
92. William James: Essays in Radical Empiricism.
* Indicates release by Project Gutenberg
+ Indicates release by Internet Wiretap
Most texts here are available either on OBI or Wiretap.
3. Which texts are copyright?
In the United States, any work published 75 years ago
(before about 1917) has an expired copyright and has entered
the public domain. Although the US has ratified the Berne
Convention, all works created prior to ratification still
have the 75 year rule. The above is actually a simplifi-
cation of the actual law. Before 1978, copyrights lasted 28
years and could be renewed for another 28. Any work still
copyright in 1978 had its copyright automatically stretched
to 75 years. So, some works published after 1917 whose
copyrights were not extended are in the public domain.
However, you must research the copyright applications to
determine if this is the case.
In Europe, works lose their copyrights on January 1st,
fifty years after the author's (or translator's) death. Thus
some published before 1917 may still be copyrighted, and
some works published in 1942 may be in the public domain.
It should be noted that publication of a work without a
copyright notice does not necessarily indicate a work is
without copyright. (This used to be the case in the US, but
it ended with ratification of the Berne Convention.)
4. How to submit texts
If you have scanned or typed in works that you know to be
in the public domain, you can make them available to others.
Both OBI and Wiretap will accept submissions. We recommend
you place copies on both if you consider the work "finished"
(ie, proofread and acceptable.) Wiretap will also accept
rough works for comparison to others. To submit, use
anonymous FTP to the appropriate directories:
OBI: /obi/incoming
Wiretap: /incoming
There is no guarantee a work will be made available once
you submit it (eg, if the copyright is in question, or it is
too raw to be made available to the public.) If you do
this, please place a label at the top of the text, something
like "This Text is in the Public Domain". If possible, place
also the date of the publication, and whatever other details
you think will be helpful in ascertaining copyright status.
5. Related Usenet Newsgroups
alt.etext
Announcements and discussion regarding Electronic Text.
Archives are kept on wiretap.spies.com in /alt.etext
bit.listserv.gutenberg-l
Announcements and discussion for Project Gutenberg.
Note that release announcements also get posted to
alt.etext, if you are unable to receive bit.* newsgroups.
Archives are on mrcnext.cso.uiuc.edu.
bit.listserv.pacs-l
Public Access Computer Systems mailing list.
This is mostly library oriented.
rec.arts.books
Books of all genres, and the publishing industry.
High volume, popular newsgroup.
comp.text
Text processing issues and methods. This is mostly
centered on such topics at troff, nroff, etc.
comp.text.sgml
ISO 8879 SGML, structured documents, markup languages.
Markup languages are used to retain additional
information about a document that would otherwise be lost if
ASCII were used to represent it.
comp.doc.techreports
News concerning the availability of computer science
technical reports over FTP.
(Often these are in postscript form).
6. Pointers to non Public Domain texts
The CPET, or the Catalog of Projects in Electronic Text,
maintains a list of groups that are creating and managing
etext. Most of these groups are scholar-oriented and do not
make their texts available to the general public, however.
CPET resides at Georgetown University. The CPET list itself
is freely distributable, and can be obtained by FTP from
guvax.acc.georgetown.edu.
-----
THIS IS THE 2nd DRAFT OF THE ONLINE BOOKS FAQ.
Please send additions, corrections, etc to
[email protected] / Thomas E Dell
****************************************
THE ELECTRONIC TEXT CENTER &
ON-LINE ARCHIVE OF ELECTRONIC TEXTS
***************************
ALDERMAN LIBRARY, UNIVERSITY OF VIRGINIA
CHARLOTTESVILLE, VA 22903
****************************
David Seaman, Coordinator
804-924-3230;
[email protected]
********************************************
After a successful first year of operation, the
University of Virginia Library's Electronic Text Center
continues to develop its collection of on-line texts and to
provide related e-text technologies. A principal aim of the
Electronic Text Center is to help create a new broad-based
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mainstream resource for pedagogy and research at the
University. To this end we run regular training sessions
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with individual users to introduce them to new working
methods, new teaching possibilities, and new types of
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The on-line texts include the Oxford English
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Some of these texts we prepare ourselves, with the aid of
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Sharing program for cross-training. Because of contractual
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Having the majority of our electronic texts available
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THE CENTER
In addition to building the on-line collection, the
Electronic Text Center provides a place in which to use
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the works of Immanuel Kant; the Global Jewish Database; the
ICAME language corpora; Perseus (a collection of Greek texts
and images); CETEDOC, a database of Latin theological works;
and a hypertext edition of the works of Thomas Aquinas.
The Center also makes available hardware and software
that permits the creation and analysis of electronic texts,
and it provides guidance and training for these new
scholarly tools. At present we have MS-DOS machines, a
NeXT, a Macintosh, an IBM RS/6000, scanners that turn
printed text into computer-readable forms or produce dig-
itized images, CD-ROM drives, large color monitors, and
software that can generate indices, collations, concord-
ances, word-lists, statistical analyses, and hypertexts.
Image-viewing software allows one to work with color and
greyscale digital images alongside the searchable databases.
EARLY USERS
Our first year of operation has seen a surprising
number of users working on a wide range of research and
teaching projects. Users have ranged from first-year
under-graduates in composition classes to graduate students
studying aspects of Anglo-Saxon and Middle English
literature, Shakespeare, analytical and descriptive
bibliography, and the eighteenth-century novel; scholars
from Religious Studies working with the Hebrew bible and
rabbinical responsa; French students learning medieval
French; graduate classes from both the Computer Science and
English Departments examining data encoding, text searching,
and software design; and professors or students from the
History, Commerce, and Education departments working on
various individual projects.
LOCATION
The Electronic Text Center is on the third floor of
Alderman Library, and is open Monday-Thursday 9am-8pm;
Friday 9am-6pm; Sunday 1pm-6pm. It is staffed by David
Seaman (coordinator), with Peter Byrnes, David Gants, Peter
Kastor, Jamie Spriggs, and Kelly Tetterton. For more
information, call (804) 924-3230 or e-mail
[email protected].
****************************************
LOOP
The Council of Literary Magazines and Presses (CLMP) in New
York has joined with the Loft in Minneapolis to sponsor a
new project on Arts Wire called The Literary Organizations
Overview Project (LOOP). Before detailing the LOOP project,
some background information on Arts Wire is provided so as
to put this project in its proper context.
Arts Wire is defined by its creators as "an online
communication service providing access to news, facts,
information and dialogue on the social, economic,
philosophical, intellectual and political conditions
affecting the arts and artists today." Taking advantage of
the technology which allows computers to be linked through
telephone lines, a technology used for many years, computer
networking originated w/Defense Dept funding and early users
were predominantly researchers. There's been a long history
of grassroots, activist use. Arts Wire is a computer
conferencing system devoted to artists, arts organizations
and interested individuals which reflects local, regional
and national perspectives.
In short, "Arts Wire is an electronic meeting place,
or 'information commons.' You can read news, participate in
discussions, send and receive mail with other Arts Wire
users, or with colleagues on other systems, and retrieve
information from file libraries or databases." Arts Wire
consists of conferences which are typically interactive
resources for users to exchange news (up to the minute...)
and discuss issues. Most of the conferences are run by
"Interest Groups" -- individuals, coalitions, and
organizations with expertise in a particular area. An
example of the latter is the LitNet conference, where the
Literary Network coordinator posts newsletters, political
action alerts relating to issues of concern in Congress and
other information relating to her work as a grassroots
organizer in the field of literature.
CLMP and the Loft saw Arts Wire as providing an
unprecedented opportunity for the field of literature as it
was a chance to be on the front end of a new technology.
Thus, LOOP was conceived and has come to fruition through
support from the National Endowment for the Arts.
LOOP initially brought twenty literary groups
(literary centers and literary publishers) onto Arts Wire.
Using the communication resource provided by Arts Wire, LOOP
is an active conference where participants are discussing
and creating an agenda for the field of literature; an
agenda of common strategies which should serve as a
blueprint for developing the field in coming years.
In recent years, literary non-profits have undergone
significant changes and faced many challenges. During this
time, the need for cooperative activity and exchange has
never been greater. However, the amount and quality of
communication within the field of non-profit literary
entities is quite poor when compared to more mature, better
funded fields, such as theatres and museums, with larger
travel budgets.
Unlike these other fields, literature has not moved
toward common definitions, issue identification, and joint
action and programming, to any great extent. If writers and
literature are to be well served, then literary
organizations and literary professionals must endeavor to
collaborate, raise more funds and create new audiences.
All literary non-profits can be divided into two
groups, those that publish and those that do not. Dialogue
between these two major groups is essential if the field as
a whole is to move forward. For the field of organized
literary activity to take its rightful place in the cultural
and philanthropic communities, these two primary groups of
literary organizations must build bridges between
themselves, professionalize and begin to speak and act as a
field. Most of the work of publishing is essentially
non-public or removed from readers and communities. Most of
the work of literary centers is public: they are focused on
bringing literature to audiences and into communities. To
present an intellectual framework of the field of literature
to philanthropic sources, these groups (whose balance and
division of functions is unlike other dis literary centers;
Touring of small press authors; Rolling electronic author
bookings; and, Joint local funding advocacy. As was
anticipated, additional discussion items grew out of the six
opening agenda items and other items were added by
participants.
The initial participants for this pilot project
are"electronic test pilots" for this new venture. As they
become fluent with the technology of Arts Wire, they will be
a valuable mentoring resource for others in the field who,
we hope, will join Arts Wire in coming months.
LOOP participants are: (Literary Centers) The Guild
Complex, Hellgate Writers, Just Buffalo, North Carolina
Writers Network, Poetry Center at San Francisco State
University, Western State Arts Federation Literature
Program, Woodland Pattern Book Center, Writers and Books;
(Literary Magazines) Shooting Star, TriQuarterly, ZYZZYVA;
(Literary Presses) Arte Publico Press, Aunt Lute Books,
Curbstone Press, Graywolf Press, Kitchen Table Press and
White Pine Press.
The LOOP project is structured in two phases.
During the first phase, which ran from July through early
September, LOOP (a private conference) was open only to the
original participants. At the end of Phase One, a summary
document of the online discussions was written by CLMP and
the Loft, discussed at a meeting of participants and others
in Minneapolis and uploaded onto the LOOP conference for the
start of Phase Two in late September. At that time, the
conference was opened to all literary organizations and
interested individuals on Arts Wire including several
funders and state arts agencies. Phase Two will continue
through December at which time CLMP and the Loft anticipate
writing a final summary document of discussions from Phase
Two. That final document will be uploaded onto the LOOP
conference and will be distributed to literary
organizations, funders and other interested individuals who
are not on Arts Wire.
Although the "phases" of LOOP will end, the
conference will remain on Arts Wire as an ongoing center of
discussion for the literary community. It is hoped that by
utilizing the electronic technology made available through
Arts Wire, the field of literature can increase and improve
its quantity and quality of its communication and thereby be
a more effective force in the country's cultural landscape.
We have actively encouraged CLMP's members and
constituents to join Arts Wire and become part of the LOOP
conference, as well as the many other conferences to be
found on Arts Wire. The more members of the field of
literary community using the technology, the better able we
will be to make our voices heard, both within and without
the field of literature. Arts Wire is a powerful tool which
requires a modest commitment of time and funds and provides
invaluable benefits.
A computer, a modem (with telecommunications
software) and a phone line are the pieces of equipment
needed to get onto a computer communications system. The
cost of using Arts Wire is a sliding scale subscription fee
which ranges from $3 to $15 per month for individuals and
from $5 to $25 for organizations; a $15 account charge for
the host system where Arts Wire is located. Arts Wire can be
reached by dialing direct, or through the Internet,
SprintNet or PC Pursuit. Connect costs vary according to
method used and your location.
For further information about Arts Wire, call or write:
Anna Couey, Arts Wire Coordinator
1077 Treat Avenue
San Francisco, CA 94110
415-826-6743
[email protected]
For further information about LOOP contact
[email protected]
[email protected]
For information about CLMP
Council of Literary Magazines and Presses
154 Christopher Street, Suite 3C
New York, NY 10014-2839
****************************************
E-MAIL ART and FAX SHOWS
-------------------------------------------------------
FISEA FAX OPEN NOON CST NOV 3 - NOON CST NOV 7, 1993
-------------------------------------------------------
THE EXQUISITE FAX announces a fax art project in conjunction
with the Fourth International Symposium on Electronic Art
(FISEA 93). The theme of the project is The Fax Art Factor.
Faxes received will be exhibited at FISEA 93 at the
Minneapolis College of Art and Design in Minneapolis,
Minnesota during the symposium.
THEME: THE FAX ART FACTOR. This project encourages artists
to send faxes which explore and expand on the use of fax
technology as an art form. The fax artwork may address this
issue directly or demonstrate the art factor by its
existence as an art object.
Supplementary text discussing the art factor of a visual fax
may be sent but will not be exhibited. However, a record of
such faxes will be maintained and made available to FISEA
attendees at the site of the exhibition.
ELIGIBILITY: The project is open to anyone.
TIMELINE: Fax artworks will be accepted via fax at
FISEA during the symposium from noon CST November 3 to noon
CST November 7, 1993. Please do not send faxes to these
numbers outside of the stated time boundaries. FAX NUMBERS:
Both a plain paper fax and a roll fax will be available to
accommodate faxes of standard and non-standard size. The
plain paper fax number is 612-874-3797. The roll paper
machine fax number is 612-874-3748.
This project is sponsored by the Fourth International
Symposium on Electronic Art (FISEA 93).
Craig Ede (
[email protected]), Curator The Exquisite
Fax Our Motto: "Very soon, and in pleasant company."
_______________
Date: Wed, 13 Oct 1993 13:00:54 -0700 (PDT)
From:
[email protected]
** CALL FOR SUBMISSIONS **
Basic Inquiry is a registered non-profit artist-run centre.
It runs a variety of programs, including drop-in drawing
sessions, courses and a gallery. From time to time we also
organize interdisciplinary presentation series on pertinent
topics such as the 1992 BODY PROJECT (see PARALLELOGRAMME
vol. 18 #4 1993, FUSE Spring 1993, RUNGH Vol.1 #3 1993, for
reviews and commentary)
We are currently developing a project tentatively titled,
THE SPECTACULAR STATE: FASCISM AND THE MODERN IMAGINATION.
We a proposing a variety of presentations, lectures, panel
discussions, film, performance, and visual arts, emphasizing
dialogue, participation, debate and experimentation. The
series will be organized around topics still not finalized
such as: the fascination of fascism; race,nationalism and
voice; the politics of spectacle and display. What we hope
to suggest with these titles is the links between historical
fascism, neo-fascism and contemporary manifestations in
political, social and cultural life, We are inviting
proposals for participation in the series. We are looking
for possible exhibitions, multidisciplinary presentations or
curatorial perspectives. The proposals will be evaluated on
the basis of their artistic merit, innovative approach,
compatability with other events and critical depth.
Please enclose the following:
* a budget including artistic fees. [ please indicate the
minimum financial requirements of the project, since we do
not know our financial situation at this time ].
* c.v.s of personnel to be involved
* examples of past work [ slides, VHS video, audio
cassettes, print photos,etc]
Please mark clearly anything you wish to be returned, and
provide a self-addressed stamped envelope.
* written proposal or artistic statements of no more than
one page, including space and technical requirements.
MAIL TO: BASIC INQUIRY
5 - 901 MAIN ST.
VANCOUVER B.C.
V6A 2V8
or call: (604) 681-2855
e-mail
[email protected]
DEADLINE IS NOVEMBER 15th 1993
_______________
CYANOBACTERIA INTERNATIONAL PROJECTS 24 vi 1993
Arbor mortis
The object of this project is to create symbolical areas of
"Trees of Death", glyphs for both the normal course of
Nature and the rapid ecological catastrophe introduced by
Man.
The Artist is invited to participate with icons of
death and destruction, life and rebirth. These Death
symbols will be nailed to trunks of dead trees, standing
among the living in forest areas in the vicinity of
wastelands and regions destroyed by civilization.
The Artist should strive for powerful graphic
representation; no conventional languages should be
employed, only very short statements where these are
necessary.
There are no limitations of size. The selection of
material is free; decay caused by weather should however be
taken to notice.
This is a continuous project with no deadline.
Periodical catalogs with photographic sequences will be
published to document the course of "Arbor mortis".
B R I O C E L L E S C A P E R O U T E D E F I N I T I O N
Brio Cell : a multiple voiced muse of collective creativity.
Continuous visual / conceptual poetry project with no
deadline. Send texts, diagrams, references, abstracts for
infusion. Send 20 copies, size A4 (297 X 210 mm), please
sign your work : "Brio Cell". Every participant will
receive one portfolio.
CYANOBACTERIA INTERNATIONAL PB 8 70151 KUOPIO FINLANDIA
_______________
95-10-1, About Face- Cross Gender Issue(s), 1. are you cross
about how your gender is treated in the network? 2. face
feminism in mail art and tell us your vision, 3. please send
a self portrait as a person of the opposite sex; no PC
restrictions,
[email protected]
95-10-1, Ars Nova Guild, A video/electronic
music/performance group at New Mexico State Univ. looking
for co-conspirators, fellow travelers, and solicitations for
submissions....email, MIDI, vid, fax et cetera ad nauseum.
Contact Eric Iverson,
[email protected]
95-10-1, Face Zine, FaGaGaGa interested in Email about Mail
Art and Networking for a zine chock full of Net news and
rants,
[email protected]
95-10-1, Global Mail, Send email numbers, art projects, mail
art shows, tape, fax, audio, anarchist projects, and
whatever, Ashley Parker Owens, at
[email protected], or
[email protected]
95-10-1, Herd- the girls & mailart zine, Contributions
welcome on the theme of women and mail OR anything by women
in the mail. , Next issue is 1994: Celebrate the Femail
Artist Campaign, Jennifer Huebert c/o Lewis & Hubener,
[email protected]
95-10-1, Permeable Press, We are accepting submissions for
our upcoming issues on Science Fiction and Sexuality. We are
also looking for contributions for our tape compilation
project PRESS PLAY, We love to receive email and mail art,
and will reply, Brian Clark,
[email protected]
95-10-1, Practical Anarchy Online, Send articles and bits of
new from everywhere to this electronic zine concerning
anarchy from a practical point of view, Chuck Munson at
Internet,
[email protected], or Mikael Cardell at
Internet,
[email protected], Other numbers are Bitnet,
[email protected] and Fidonet Mikael Cardell,
2:205/223
95-10-1, PURPS, We'd love contributions of art, articles,
essays, or whatever. We reprint most everything we like,
Publishes the OTISian Directory, which will review just
ABOUT ANYTHING (except fecal matter- we're touchy in that
respect), Jeffrey Stevens,
[email protected], OR Purps,
[email protected], OR Intergalactic House of
Fruitcakes, 955 Massachusetts Ave, #209, Cambridge, MA
02139-9183 USA
95-10-1, We Press, We can send you WE Magazine, issue 17
over the internet, Chris Funkhouser,
[email protected]
95-1-1, Xb: a bibliographic database of the literature of
xerography, Seeking data and info on xerox art,
documentation, disk to contributers. Contact through email:
[email protected] OR
[email protected], Xb c/o
Reed Altemus, 16 Blanchard Road, Cumberland Ctr, Maine,
04021 USA
95-10-1, Please send me news of computer animation/animation
video festivals. Susan Van Baerle, Visualization Laboratory,
Texas A & M University, College Station, TX 77843-3137,
[email protected]
95-10-1, I enjoy any mail on the arts, weirdness in our
world, the occult, ancient history, and anarchy, Don Webb,
[email protected]
95-10-1, Send anything- everything, esp. cyberpunk, techno,
zines, and hacking,
[email protected]
95-10-1, Send me listings of mail art shows and whatever
else you would like, Reid Wood (State of Being),
[email protected]
95-10-1, Send me news of Zines, mail art projects, and fax
projects, Keith I De Mendonca,
[email protected]
95-10-1, Send anything - everything, esp. news of mail art
shows and general contact, Linda Hedges,
[email protected]
94-10-1, I am interested in receiving general information
about art shows, events, animation, film/video. I am the
chair of the SIGGRAPH Art Show for '94, deana morse,
[email protected]
****************************************
ANNOUNCEMENTS
****************************************
From:
[email protected] (bureaud)
To:
[email protected]
Date: Thu, 14 Oct 93
Thank you for your email concerning GRIST online. Here is a
description of what I am doing.
I am running a non-profit organization named CHAOS,
dedicated to art and new technologies. CHAOS publishes the
IDEA/International Directory of Electronic Arts. IDEA lists
over 2800 addresses worldwide of institutions (festivals,
museums, art schools, research centers, etc.), artists and
people dealing with art and new technologies including
computer art, computer music, networking art, etc.
IDEA can be ordered at CHAOS 57 rue Falguiere 75015 Paris,
fax : 33/1/43 22 11 24 - email :
[email protected] at the
price of 250 FF. IDEA is on paper. Also available from
ArtCom, San Francisco.
CHAOS is also running an online activity on the French
minitel : 3615 ARELEC. ARELEC includes part of the database
of IDEA, a news section and a mail box service.
Best Regards,
Annick Bureaud
****************************************
ARTISTWORDS (from Arts Wire HOTWIRE)
Arts Wire launches its electronic "artist in residency"
program with ArtistWords, a conference featuring monthly
commissioned works by artists. "The artists will write
whatever they choose, but they've been asked to think of
their pieces as experimental programming for the network,
red rags to bulls, provocations, ticklers, exhortations,
imprecations, plaudits and plaintives, grist to the mills of
discussion, complaint, comment, thought and deed. We hope
that this new forum will not only be a place for opinion and
discussion, for introductions and repartee, but will also
investigate the electronic network as a new form for
writing," writes Mary Griffin, coordinator of ArtistWords.
Ed Sanders - poet, novelist, essayist, playwright, composer
and former Fug from Woodstock, New York - inaugurates
ArtistWords with a work entitled "Life in the Net Lane."
Responses are encouraged.
To reach ArtistWords on Arts Wire, type: GO ARTISTWORDS at
the AND NOW? prompt. For further information, or to
recommend an artist, contact Mary Griffin, New York
Foundation for the Arts, tel: 212.366.6900, email:
[email protected]
HOTWIRE contents are not copyrighted unless specifically
stated to encourage the exchange of arts information and
perspectives. If you reproduce this material in any form,
please credit its source and Arts Wire. For further
information or to contribute news, contact: Anna Couey, Arts
Wire Network Coordinator, 1077 Treat, San Francisco, CA
94110, USA; tel: 415.826.6743. Arts Wire: couey email:
[email protected]
****************************************
RIF/T: ELECTRONIC POETRY (from Arts Wire HOTWIRE)
RIF/T has released its first edition of electronic poetry,
featuring works by Charles Bernstein, Ernesto Grosman, Gary
Gach, Susan Schultz, Mattew Huddleston, Kenneth Sherwood,
Jorge Guitart, Katie Yates, Lydia Gil, Richard Kostelanetz,
Joel Kuszai, Robert Kelly, Robert Anbian, Michael Joyce,
Loss Pequen~o Glazier. RIF/T is edited by Kenneth Sherwood
and Loss Pequen~o Glazier. RIF/T encourages readers to
respond: "RIF/T wishes to explore the possibilities of the
electronic medium and to further interactive communication
in the writing process. Please send your comments,
responses, edited versions of RIF/T texts, and RIF/T-derived
writing to
[email protected]."
HOTWIRE contents are not copyrighted unless specifically
stated to encourage the exchange of arts information and
perspectives. If you reproduce this material in any form,
please credit its source and Arts Wire. For further
information or to contribute news, contact: Anna Couey, Arts
Wire Network Coordinator, 1077 Treat, San Francisco, CA
94110, USA; tel: 415.826.6743. Arts Wire: couey email:
[email protected]
****************************************
Date: Tue, 12 Oct 93 17:03:38 EDT
From: all available on request--just ask for it!
<
[email protected]>
"stuff available"
Here's a list of my current Internet projects. You can get
some of this stuff once by asking. You can get on a mailing
list for updates, additions, future stuff, etc, by asking.
That's two things. One is just asking for some stuff. Two
is asking to get on one of my mailing lists for future
stuff. Ok, get ready! Here's information about some
"stuff":
1) art stuff. For instance, the Electronic Art & Culture
Post-card. I send this out about once a month to my EAACP
mailing list. It is a list of free events, mostly in the
Boston area. You can get it once by asking, and regularly
by asking to get on my mailing list for it. There's more
art stuff, but you have to ask.
2) PC software/databases. I compile databases and wrap
them in software. Information about an ftp site, and how to
get copies from that site, are available on request.
3) The Friedrichshof Chronicles. This is a sort of
net.literature project of mine. It is some writing done
while living on an artists commune some years ago. Contains
"adult" material. You have to very explicitly ask for a
sample of this. Then you have to very explicitly ask to get
on the mailing list for future chapters. The Friedrichshof
and Cambridge Chronicles are also available on an anonymous
ftp site--so you can read them anonymously. I will send you
just ftp instructions if you ask.
4) The Cambridge Chronicles. Like a diary. Like The
Friedrichs- hof Chronicles, but written here in Cambridge,
Massachusetts, location of two of the world's most
opinionated zip codes. You gotta ask.
5) net stuff. I find net related stuff on the Internet and
save it. Do you know about Gilder, superdistribution, etc?
No? Need I say more?
6) essays. I write essays from time to time. No telling
what the next one will be about. Ask to get on my essay
mailing list and you will get a copy of each one as it comes
off the assembly line in my brain.
7) buzz. A file of stuff written by me to people or lists
on the net. So I'm an egomaniac and think every word from
my mouth is important! So you don't have to ask for it!
And I won't send it! Phhhhttt!
8) books. Some books "written and/or compiled" by me. Some
very peculiar stuff. Some inventions. Some concepts--
emphasis on the CON, as I tell people.
9) portraits. verbal pictures of people you can't see.
pictures of people you will never see. make one of me (what
you think i look like) and send it to me:
[email protected]. Portraits are also available on an
ftp site. just ask about it. You can get some information
about me via the finger command, but no fair peeking till
you've drawn your first portrait!
10) The Everything! database. Everything? You can decide.
A sample is available on request.
11) "no name Guide to the Internet & a Personal History of
Computing (with The Great American Machine)" is my book
about the Internet. Prototype copy available on request by
email or an ftp site. Can you say "nroff", boys and girls?
12) "Thinking The Future", a course for those who are just
beginning to use computers, and for those who want to go
beyond word processing, spreadsheets, and databases.
Preliminary outline is available on request.
13) A film idea. If you have read a description of my film
idea, then you have read the script. Just ask.
If you are interested in any of the things on this list,
then send me mail and ask for something. If you are
suspicious, and wonder just who the heck I am, then you can
try the finger command:
finger
[email protected]
Otherwise, send your email requests to:
[email protected]
****************************************
E-MAIL ARTISTS
[email protected] Don Webb
[email protected] Ashley Parker Owens
[email protected] Hubener, HERD
[email protected] James K-M
[email protected] FaGaGaGa
[email protected] Artur Matuck
[email protected] Burning Pr, Taproot
[email protected] Permeable Press
[email protected] Bob Gale
[email protected] Annick Bureaud
[email protected] Crackerjack Kid
[email protected] Carl Eugene Loeffler
[email protected] Uncle Don
[email protected] George Brett
[email protected] Forrest Richey
[email protected] Fringeware Magazine
[email protected] Honoria
[email protected] Jeff Harrington
IP25196%PORTLAND.bitnet Reed Altemus
[email protected] Wim van der Plas
[email protected] Fact Sheet 5
[email protected] Judy Malloy
[email protected] Joachim Frank
[email protected] PURPS Magazine
[email protected] Jan Zita Grover
[email protected] Keith DeMendona
[email protected] Kevin Goldsmith
[email protected] Linda Hedges
[email protected] Matt Hogan
[email protected] Deana Morse
[email protected] Hiroshi Okuno
[email protected] Fishtank Magazine
[email protected] Pete Fisher
[email protected] Paul Rutkovsky
[email protected] Reed Altemus
[email protected] Richard Gardner
[email protected] Roman Verostko
[email protected] Scot Art
[email protected] Ashley Parker Owens
[email protected]
[email protected] Krylon Underground
[email protected] Tex A&M Vis Lab
[email protected] ARTSNET Australia
[email protected] Steven Jacobs
[email protected] Greg Tramel
[email protected] Reid Wood
****************************************
FISEA 93
=======================================================
FOURTH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART
November 3-7, 1993 Minneapolis Hilton Towers
Host: Minneapolis College of Art & Design
612.874.3754 <
[email protected]>
=======================================================
EVENINGS:
=======================================================
Wed Nov 3 Sound Performance (Live), MCAD
Thu Nov 4 MCAD Auditorium, Live Sound/Perform
Fri Nov 5 Walker Art Center, Electronic Theater.
Sat Nov 6 Tedd Mann Theater (Live), Sound/Perform
_______________
EXHIBITIONS: Reception and Grand Opening 5:00-7:30 (Nov 4).
Includes installations & Electronic Events.
MCAD GALLERY & COLLEGE COMPLEX: Selected works Oct 29-
Dec 16. Over 45 works from 8 countries: Australia,
Canada, France, Germany, Brazil, Japan, UK, USA.
Interactive installations, Nov 4-7.
SLIDE SHOW. Viewing room with continuous showing of selected
visual works, Hilton Towers.
LISTENING CHAMBER. Selected music / sound art will be
presented during the symposium, Hilton Towers.
ELECTRONIC THEATER. Computer animation, video, film, and
experimental form. Work by 21 artists from 9 countries:
Australia, Canada, France, Germany, Brazil, Japan, Spain,
UK, USA. Walker Art Center, Friday evening, November 5, 7:00
PM and 9:00 PM.
SOUND/PERFORMANCE EVENTS.
Features work that integrates electronics with the
sound/performance arts. This includes traditional music,
dance and theater, as well as new directions in
non-traditional formats. Live performance presentations
include an evening a local site on Nov 3rd and a featured
evening on Saturday as part of the opening season for the
new 1250 seat Tedd Mann Concert Hall at the University of
Minnesota.
=======================================================
NOV 3-7. EXTENSIVE WORKSHOPS & PANELS INCLUDING, e.g.:
=======================================================
"IRCAM Signal Processing Work Station (ISPW): Strategies and
Approaches for Live Interaction".
"Software Environments for Creating Interactive Sound Art on
Macintosh Computers"
"Digital Future For Art: Multi-Media and CD-ROMs"
"Applied Cyberspace: Artists and Existing Network
Structures"
"Computer-generated Imagery and Printmaking"
"Aesthetics of a Virtual World"
"The Network Without Walls: The Re-definition of Art in an
Age of Telecommunications"
"Beyond the Book: Computer-based Literature"
=======================================================
ELECTRONIC THEATER (Animation) FRIDAY, NOVEMBER 5
WALKER ART CENTER Showing at 7:00 PM and 9:00 PM
=======================================================
Curated by Dr. Scott Sayre, Director, Interactive Media
Group, Minneapolis Institute of Arts. Artists' works:
Alex Tilavich (MCAD) "FISEA 93 Video Logo", Thomas Bayrle,
"Finnegan's Wake", Germany; Leslie Bishko, "Grasping for
Air", Canada; Alain Mongeau, "Minute Georgienne", Canada;
John Douglas, "Underneath", USA; James Duesing, "Maxwell's
Demon", USA; Adam Jaffers, "Rave Culture", Australia; Javier
Marsical, "Acuarinto", Spain; John Tonkin, "Air",
Australia;Nick Didkowsky, "Threads", USA; Chris George et
al, "Floating Point", UK; Heloisa Siffert, "Forces of
Change", Brazil; Sylvia Pengilly, "Environmental Chaos",
USA; John Tonkin, "Water", Australia; Michelle Robinson,
"When I Was Six", USA; Chris Landreth, "Story of Franz K.",
USA; Cheung Wai-Kwong, "Sous J'antres Cieux", France; Nanle
Paternoster, "Booli", USA; Matthew Brunner, "Deathing", USA;
Jun Watanabe, "Odoro Odoro", Japan; Troy Innocent, "Jawpan",
Australia; William Latham, "Biogenesis", UK.
=======================================================
THE ART FACTOR EXHIBITIONS MCAD GALLERY
=======================================================
"The Art Factor Exhibition" in the MCAD Gallery will be
shown from Ocober 29 to December 16. Curator: Brian Szott,
MCAD Gallery Director.
List of artists (by country):
Australia: Anne Zahalka, Phillip George, Bill Seaman, John
Tonkin; Brazil: Tania Fraga, Carlos Vincente; Canada: Char
Davies; France: Pierre Tremblay, Germany: Hans Dehlinger,
Georg Muhleck; Japan: Yoshiyuki Abe; United Kingdom: James
Walker; United States: Victor Acevedo, Amy Arntson, Paul
Badger, Romeu Bessa, Steve Bradley, Elaine Breiger, Bob
Brill, Sydney Cash, Kathleen Chmelewski, Dennis Dale, Bill
Davison, Stewart Dickson, Roz Dimon, Leslie Farber, Diane
Fenster, Carol Flax, Madge Gleeson, Steve Holzer, David
Husom, Eduardo Kac, Dorothy Krause, Lizanne Merrill, Mike
Mosher, Aribert Munzer, Jeff Murphy, Ann -Marie Rose, Bruce
Shapiro, John Sherman, Rosemary Smith, Ching-Yu Sun, Alex
Traube, Joan Truckenbrod, Annette Weintraub, and Mark
Wilson.
=======================================================
THE ART FACTOR EXHIBITIONS INTERACTIVE WORKS
=======================================================
Curated by Dr. Scott Sayre, Director, Interactive Media
Group, Minneapolis Institute of Arts.
List of artists (by country) whose interactive art will be
featured throughout MCAD's Main building, November 3 - 7:
Australia: Josephine Starrs; Austria: Gerfried Stocker;
Canada: Louis-Philippe Demers, Gregory Garvey; Germany:
Laurent Mignonneau and Christa Sommerer; Japan: Keisuke Oki,
Saburo Hirano; United Kingdom: James Walker; United States:
Stewart Dickson, Judy Malloy, Sonya Rapoport, Lee Wall, and
Akke Wagenaar.
=======================================================
LISTENING CHAMBER NOVEMBER 5-7 HILTON TOWERS
=======================================================
Curator: Dr. Homer Lambrecht, composer and musicologist,
University of Wisconsin-River Falls.
Caldwell, James Macomb, IL, USA, "And gives to airy
nothing" (1993); Duesenberry, John, MA USA "Decline"
(1992); Franey, Colin M., IL USA, "Risonare"; C Gennaula,
Chris, MN USA, "Purge" (1993); Giomi, F., Italy,
"Chromatism" (1992); Hass, Jeffrey MN, USA, "Liaisons"
(1991); Olson, Mike, MN, USA "Song of the Badger II"; Ryan,
William, IL, USA "Point Common"; Vorn, Bill, Canada, "Danse
Macabre" (1992).
=======================================================
SLIDE SHOW NOVEMBER 5-7 HILTON TOWERS
=======================================================
Curator: Judy Yourman, visual artist and assistant professor
of electronic media, St. Olaf College, Northfield, MN.
AUSTRALIA: Damian Castaldi, Katie Lavers, Lucille Martin,
Bayswater, "SKADADA", Michael Strum, Csaba Szamosy, Kevin
Todd. AUSTRIA: Markus Riebe. BRAZIL: Carlos Azambuja, Isaac
Camargo, Rodrigo Bastos de Toledo. CANADA: Gregory Garvey,
Robert McFadden. FRANCE: Jean-Francois Colonna, Valery
Grancher, Joseph Nechvatal. GERMANY: Thomas Bayrle, Karin
Effertz, Gerel Struwe, Anja Wiese. ISRAEL: Avi Rosen. ITALY:
Adriano Abbado, Marilena Gai. JAPAN: Hiroko Inakage, Takuro
Osaka, Seiji Yoshihoto. PORTUGAL: Emanuel Dimas deMelo
Pimenta. SWEDEN: Steven Bachelder. UK: Justin Greetham,
Roger Dade. USA: Andy Argyropoulos, Ilene Astrahan, Les
Barta, Mary Beams, Dan Bradford, Paul Brown, Jeff Burden,
Patrick Burke, John Campiglio, Karen Carlson, Peter
Chamberlain, Dr. Rodney Chang, Kyeng-Im Chung, Gary Clark,
George Cramer, RobertDeLutri, David Dixon, Liz Dodson, Wayne
Draznin, Anne Farrell, Diane Fenster, Rob Fisher, Nancy
Freeman, Jean Gallagher, Laurence Gartel, Sarah Geitz,
Rachel Gellman, David Glynn, Brian Green, Karen Guzak, Samia
Halaby, Michael Hammerman, Josepha Haveman, Jon Hicks,
Michael Holcomb, Steve Holzer, Jeff Horowitz, Peter Johnson,
Midori Komatsubara, Janice Lincoln, Terri Lindbloom, Gregory
Little, Mary Lucier, Ann MacArthur, Patrick Maun, Karen
McCreary, Kurt McQuiston, Mark Millstein, Aribert Munzner,
Robert Pentelovitch, Dave Poindexter, Kit Pravda, Jeri
Robinson, Kent Rollins, Karin Schminke, Victoria Scott,
Spencer Seidman, Bradlee Shanks, C.J. Woodburn Smith, Alexa
Smith, James Sullivan, George Thompson, Frances Valesco,
Greg Van der Houwen, Lanny Webb, Corinne Whitaker, Mary
Witte, Rochelle Woldorsky
****************************************
****************************************
OTHER PUBLICATIONS
:FLOPPYBACK PUBLISHING INTERNATIONAL
Consulting: FPI assists companies in preparing materials for
electronic distribution, from raw material to retail
packaging to distribution itself, stopping at all steps in
between. One of our particular desires is to help the small
business realise the communications potential of national
electronic publishing. And FPI publishes its own line of
floppybacks, details of which are given below.
:NEWS FROM FPI - MAY 1993
FPI Inc. is proud to announce that Matthew Paris has joined
the firm and will include among his responsibilities the
position of Editor-in-Chief of the New Worlds line of
floppybacks. He is a novelist, poet, playwright, musician
and videographer, producing art shows for public access
television. FPI's fall line-up is planned to include
hypertext travel guides to New Jersey and the New England
states. These will be distributed as freeware and will
include all kinds of vacation related information.
FPI can be contacted at PO Box 2084, Hoboken NJ, 07030,
telephone (201) 963 3012 or on Compuserve at 71702,154 or
via the Internet at
[email protected].
:SYSTEM REQUIREMENTS
In general the only requirement for the floppybacks in this
catalog is an IBM-compatible machine. Certain floppybacks
may have their own requirements and, if so, these are
indicated in a "Special System Requirements" note attached
to that floppyback's entry. All non-New Worlds floppybacks
come with display software that allows text search,
printing, multiple sections of text onscreen and more.
The only major exception to this is the New Worlds line of
floppybacks which a) needs at least DOS 3.2 and b) is
available only on 3�" 1.44Mb disks. This is because the New
Worlds line uses display software called Orpheus.
:SAMPLER DISKS
Floppyback Publishing Sampler Disk #1 (FPI #0039). Contains
extracts from all of the work in this listing except the
Rutgers University Press floppybacks and The Clue. Includes
two complete short stories by O. Henry, two complete short
stories of Sherlock Holmes and fifty of Shakespeare's
sonnets.
The Rutgers University Press Sampler #1 (FPI#0040). Contains
extracts (including complete papers) from all six of the
Rutgers University Press floppybacks.
New Worlds Volume I, Number I. (FPI#0041). As much a
magazine as a sampler disk, New Worlds Volume I, Number I
includes original essays on everything from Rex Miller and
William Gibson to the future of e.p. as well as reviews and
samples from the New Worlds Line of floppybacks. Over 400
pages of text! Available only on 3�" disks.
:RUTGERS UNIVERSITY PRESS/FPI
Please note that these floppybacks are all text-only
versions of the books in question.
*Cocaine in the Brain, edited by Nora D. Volkow and Alan C.
Swann, M.D. ISBN 0-8135-1981-0. (FPI# 8101)
*Owning Scientific and Technical Information: Value and
Ethical Issues, edited by Vivian Weil and John W. Snapper.
ISBN 0-8135-1980-2. (FPI# 8102) Fifteen chapters explore the
complete range of new intellectual-property rights issues
arising from new technologies.
*Discovering the Mid-Atlantic: Historical Tours by Patrick
Cooney. ISBN 0-8135-1959-4. (FPI# 8103)
*Jersey Troopers: A Fifty-Year History of the New Jersey
State Police by Leo J. Coakley. (ISBN 0-8135-1961-6). (FPI#
8104)
*Quicksand and Passing by Nella Larsen; edited by Deborah E.
McDowell. ISBN 0-8135-1960-8. (FPI# 8105)
Part of the American Women Writers Series. Widely used in
classrooms. Nella Larsen's Quicksand (1928) and Passing
(1929) document the historical realities of Harlem in the
1920s.
*A Model for National Health Care: The History of Kaiser
Permanente, by Rickey Hendricks. ISBN 0-8135-1956-x. (FPI#
8105) By 1990, the Kaiser Permanente health care plan, with
almost seven million members was the largest health care
maintenance organization (HMO) in the United States.
:CLASSICS
*Huckleberry Finn by Mark Twain (FPI# 2105)
*The Four Million by O. Henry (FPI# 2106)
*Ethan Frome by Edith Wharton (FPI#2107)
*The Hound of the Baskervilles & Other Stories by Arthur
Conan Doyle (FPI#2108)
*Three Men in a Boat (to say Nothing of the Dog) by Jerome
K. Jerome (FPI #2109)
*Heart of Darkness by Joseph Conrad (FPI #2104)
*SHAKESPEARE The Sonnets and Other Poems (FPI # 3209)
:FICTION
*The Angel of Death by Bruce Gilkin. (FPI #6101)
The first-of-its-kind, no-holds-barred story of one man's
fight to survive - Then in Vietnam and Now against Post
Traumatic Stress Disorder, the terrifying "flashback"
illness that strikes at over 250,000 veterans.
For credit card purchases _of this title only_ please call
1-800-526-9153 Monday thru' Friday 9-5 Pacific Time. All
major credit cards accepted.
*The Bone Orchard by Joseph Trigaboff (FPI#6106) =NEWWORLDS=
A classic of the crime genre.
*New York: 2084 by Karl Shapira (FPI#6105) =NEWWORLDS=
A novel of intelligent rats in the near future.
*Mystery by Matthew Paris (FPI#6103) =NEWWORLDS=
The cult-classic, praised by Philip Jose Farmer, about a
rogue cop. Originally published by Avon in 1973.
*The Holy City by Matthew Paris (FPI#6104) =NEWWORLDS=
Described by some as a how-to manual for making love to
robots and by others as, well... Originally published by
Carpenter Press.
*Decadent Plant by Matthew Paris and Robert Fox (FPI#6107)
=NEWWORLDS= A Voltarian pilgrimage of Don Juan through an
infinity of amorous watering-holes.
*Toothless Days, Clawless Nights by Jack Moskowitz. (FPI#
6102) Hanaloar, Niz "Short i" Snider, Dozod and the theater
robbery.
:NON-FICTION
*The Star Trek People by Matthew Paris (FPI# 1029)
=NEWWORLDS= The story of how the media produced an
environment for Americans in which Americans could accept a
scientific class.
*On Hazardous Service (Scouts and Spies of the North &
South) by William Gilmour Beymer. (FPI# 1027)
Originally published in 1912, this work is a collection of
ten accounts of the mission of scouts and spies (both men
and women) for the North and South during the Civil War.
*As Seen By Me by Lilian Bell (FPI#1028).
Originally published in 1900, this humorous journal details
the novelist's European Grand Tour in the late 1890s.
*How I Took 62 Years To Commit Suicide by Ben Weber
(FPI#1030) =NEWWORLDS= The memoirs of America's first
twelve-tone composer.
*On The Threshold by Seyn Leproyan (FPI#1031) =NEWWORLDS= A
study of philosophy and politics by Fulbright scholar,
Turkish emigre and computer expert Seyn Leproyan.
:MAGAZINES
Spaceflight August 1991. BIS. (FPI# 9101) A sample copy of
one of the two magazines published by the BIS, the British
Interplanetary Society.
:POETRY
*The Clue: A MiniMystery in the Form of a SoftPoem. by
Robert Kendall (FPI# 5103). (Please note the special
systems requirements below) Award-Winning Work: SoftPoetry
uses the computer as its medium to turn literature into
visual art. Graphics and animation bring the text to life on
your monitor with color and motion as you, the viewer,
control the poem from the keyboard of your PC. Robert
Kendall has received awards for both his SoftPoetry and his
written work. His book of poems A Wandering City won the
1992 Cleveland State University Poetry Center prize in 1992
(and was published by them). His SoftPoetry won a New Forms
Regional Grant Program Award in 1992. The Clue has been seen
on televison and has been exhibited at many sites, ranging
from a major science museum to a national poetry festival.
Special Systems Requirement Note: Unless otherwise specified
the titles in this catalog require only an IBM compatible.
The Clue, however, requires 512K RAM, a hard drive with 3MB
of free disk space, DOS 3.3 or higher, and an EGA or VGA
display.
*Love, War & the Movies by Paul F. Peacock (FPI #5101).
Electronic publisher and journeyman poet Paul F. Peacock
writes formalist poetry about computers, robots, love
affairs, war, the movies and our lives. His work has been
published in small poetry journals such as Black Swan Review
and the Passaic County Review
*Smoking Banana Paradise by Roiilaexxur and Bob Myer.
(FPI#5102). Freeform verse from California.
*Songs for Patricia by Norman Rosten (FPI#5104) =NEWWORLDS=
Poems for his young daughter by two-time Guggenheim winner
Norman Rosten.
*White Towers by Francis Bernard (FPI#5106) =NEWWORLDS=
Love-poetry by a man who had a distinguished career as a
premiere basso in many modern opera premieres.
*Modem by Matthew Paris (FPI#5107) =NEWWORLDS=
Poetry about computers by Matthew Paris, inspired by the
impact computers are having on our lives.
*Einstein's Folly by David Zimmer (FPI#5108) =NEWWORLDS=
Poetry about Science by rocker and poet David Zimmer.
*Cocoa Joe by Bob Tramonte (FPI#5109) =NEWWORLDS=
Poems of Italian-American life in Brooklyn, New York.
:INTERVIEW BOOKS
*Portraits of American Musicians (FPI#5110) =NEWWORLDS=
Transcripts of interviews with American Musicians such as
Virgil Thompson, Aaron Copeland, John Cage and more.
*Portraits of American Writers (FPI#5111) =NEWWORLDS=
Transcripts of interviews with American writers such as
Isaac Asimov, Lester del Rey and Stanley Ellin.
:CONFERENCE PAPERS
*1993 IEEE International Conference on Robotics and
Automation: Conference Proceedings Abstracts. (FPI#9110)
:ORDER-FORM
Please send me your latest catalog ..... author information
....
Please send me the floppybacks I have marked below:
Name (CAPITALS PLEASE)
..................................
Address (CAPITALS PLEASE)
..................................
..................................
..................................
..................................
Send to: FPI Inc. PO Box 2084 Hoboken NJ 07030.
F.P.I. Sampler #1 5.00
IEEE Robotics & Automation R.U.P.
Sampler 5.00
Conference Abstracts 15.00
New Worlds Vol. I/I 5.00
On Hazardous Service 9.00+
Ethan Frome 9.00+
As Seen by Me 9.00+
Three Men in a Boat 9.00+
Heart of Darkness 9.00+
The Sonnets/Other Poems 9.00+
Huckleberry Finn 9.00+
Hamlet 9.00+
The Four Million 9.00+
The Taming of the Shrew 9.00+
The Hound of the
Baskervilles & Other Stories 9.00+
Love, War & The Movies 8.00
Smoking Banana Paradise 8.00
The Clue 8.00
The Angel of Death 15.00
Toothless Days, Clawless Nights 13.00
The StarTrek People 10.00
Einstein's Folly 10.00
How I took 62 Years To
Commit Suicide 10.00
Moons of Venus 10.00
Modem 10.00
Portraits of American Musicians 10.00
White Towers 10.00
Cocoa Joe 10.00
Portraits of American Writers 10.00
Songs for Patricia 10.00
The Bone Orchard 10.00
New York: 2084 10.00
Decadent Planet 10.00
Mystery 10.00
The Holy City 10.00
+ If you can use a 1.44Mb 3�" Disk (HD) you may choose three
of these titles for only $12.00 - a per book price of only
$4.00!
3.5" Disks ....... 5.25" Disks .......
Total = $ ........
N.J. Residents add 6% Sales Tax = $ ........
Postage and Handling
($2.00 for first disk, 50cents thereafter) = $ ........
Grand Total = $ ........
****************************************
PUBLICATIONS OF CYANOBACTERIA INTERNATIONAL
Published by j.lehmus in Kuopio, Finlandia for advance of
the Cyanobacteria International. Copies of these
publications are available in exchange with other documents
and printed matter similarly inclined.
FLORA + FAUNA ANTHROPOPHOBICA 1992 : The first annual report
documenting the beginning and early manifestation of the
psychic germ theory. Dreamseed visions, deathstain
enveloped larvacombe. 28 pp. + 7 ill.
LEMNA PISTIA : Proceedings of the C.I., fractured
projections of one continual experiment in mutation :
chaotic information theory. VOL. I, NO. I published 6 v
1993, 62 pp. in collaboration with Serge Segay, Sverdlova
175, 353660 Eysk, Russia; Pierre Garnier, 80540 Saisseval,
France; Giovanni Strada, C.P. 271, 48100 Ravenna, Italy;
Guillermo Deisler, Kirchnerstr. 11, 4020 Halle/s., Germany;
Friedrich Winnes, Hertzstrs 29, 1106, Berlin, Germany; Geof
Huth, 317 Princetown Rd, Schenectady, NY 12306; Ivan
Preissler, State of Being, (Reid Wood) 271 Elm St., Oberlin,
OH 44074; Georg Lipinsky, An der Helde 28, 3110 Uelzen 1,
Germany; Jaana K., Nuotiokj. 2E No62, 70820 Kuopio,
Finlandia; Crackerjack Kid, 108 Blueberry Hill Dr, Hanover,
NH 03755; Ruggero Maggi, C.so Sempione 67, 20149 Milano,
Italy.
****************************************
CONTRIBUTORS NOTES
Carol Berge moved from writing poetry into fiction in the
mid-1960s, then into terse one-pagers/mixture of science &
philosophy and also into novels. Then teaching and editing
CENTER magazine and recently into business. Always
intensely involved in or ahead of her time she now lives and
works in Sante Fe, NM "A place of challenge...utterly
fascinating," she says. "That's why I stay--that and the
fact that is doesn't feel like home, and never will."
j.lehmus, b. 14(xii)1970 in Helsinki, lives and works in
Kuopio, Finlandia. Small press publications since 1988;
CYANOBACTERIA collective established 15(i)1993, first member
Mr. Crackerjack Kid, today 54 signed members around the
world : activity in correspondence, aesthetic an
disnformative utations, undefined objective; *poetry needs
movement* (Guillermo Deisler), *we are mail artists,
sometimes* (Crackerjack Kid), Mail Art = Mail Act. (Chaos
art, minimalism, decay, beauty, decay)
S. Boxx tells us he is a general troublemaker on the
internet. interested in anonymity, cryptography, digital
cash. lives in cyberspace. cyberspatial guerilla. born when
the hero J. Helsingius started his server. Lives and Dies by
it.
Originally from Pennsylvania, Jim Esch holds a Bachelors
Degree in English/Latin from West Chester University, and a
Masters Degree in English/Creative Writing from University
of Texas, Austin. In addition to freelance writing, he has
been a part time college English instructor. He has
previously published poetry in GENERAL ECLECTIC, MAD POETS
REVIEW, and has contributed to SPARKS, a zine co-founded by
Esch. He now resides in St. Louis, Missouri.
ezra is a lurker
Burt Almon is a member of the Department of English,
University of Alberta, Edmonton, Alberta, Canada.
Julian Bubnow
I'm from Poland. So English isn't my language. But poetry is
The Art of Word as we have been taught at school. So the
essence is not so important. Important is the sound of
words and sentences. Or not :)
Julian Bubnow student of mathematic
Charlie Plymell, ein geborener Rebell, Der Mann aus Kansas,
lebt heute mit Frau und Kind auf einer Farm im Staat New
York und verlegt Buecher.
****************************************
"...the poetic act has no past, at least no recent past, in
which its preparation and appearance could be followed."
Bachelard
