Date: Sat, 22 Feb 2003 22:50:41 -0500 From: Alan Sondheim Subject: BOASTS AND SHAMES To: WRYTING-L@LISTSERV.UTORONTO.CA BOASTS AND SHAMES i am one of the best writers in the world. i am working on an entirely new mode of writing. my writing is the most intense in the world. it is a com- pletely new direction for political discourse. it will be years before i am recognized. long after i am dead my writing will be read. new audien- ces will discover new ways of reading my work. my work is not recognized as poetry, fiction, non-fiction, net-art, non-fiction, or codework. i am not recognized as the last romantic or the first harbinger of the future of all culture. i will be recognized as all of these. scholars will search through net archives, print sources, remnants of film, video, recordings, for the slightest trace of my work. my work will be attributed to others. there will be academic journals devoted to my work, and reputations will rise and fall based on competing hypotheses. my works will be searched for clues of identity, madness, influence, primogeniture. and i am ashamed of this. i am ashamed for my contemporaries who find me arrogant, crazy, dismissive, depressive, hysteric, obscene, furious, a nuisance, a pest, useless, demanding, hyperbolic, obsessive, full of myself, elitist, vile - a bad writer, a writer with too much writing - a non-writer - a videomaker with too much video, filmmaker with too much film - an obscene organist, a manic fake... i am ashamed for myself, who can only plead guilty to these charges, these horrendous accusations. i am ashamed for our country, which refuses me the honors i deserve. my work is subject to misunderstanding; it requires patience that no one has and no one wants to give. i am ashamed that i will no longer be alive when, in the troubling and far- distant future, my work is rediscovered, for its insights, genius, range, and all-encompassing worlds of philosophy, psychology, literature, and fields not yet discovered. and i am ashamed that i must admit to this truth, still so early in my career. === Date: Mon, 24 Feb 2003 00:23:52 -0000 From: pixel Subject: hello To: WRYTING-L@LISTSERV.UTORONTO.CA =20 h?v)] (=E5 nuth' from Teut-(ep[A.-S. trinken)] hebban. Icel. an=20 . G. other) [from Teut, habban (ep. Dut. hebban. . G. ) [A.-S other (AN, = OTHER)] nuth' er) from Teut, [A.-S drincan)] perh. L. , G. . L. hab?)] [A.-S. an(=E5 = OTHER)] from Teut) ) [drenk (h?v) [. G. [A.-S. an other, OTHER(=E5 A.-S. = an other ((=E5 an . G. nuth' er) )] -(nuth' er drincan, from Teut, and perh. L. hab?)] G. haben, (AN, [A.-S. = (ep. Dut. (ep. Dut. hebban. Icel hebban. Icel other (AN, OTHER)] from = Teut, drenk-( . G. Icel. Hafa. [A.-S. (ep. (=E5 n other -(ep. Hafa. nuth'=20 er)=20 (drink) [A.-S To: _arc.hive_@lm.va.com.au,webartery@yahoogroups.com From: mez Date: Wed, 26 Feb 2003 22:51:11 +1100 Subject: Definitions of SPAM Definitions of SPAM White Spam (common definition) messages that look like created by computer programs. The receiver has the feeling he is not dealing with a human. Cold communication, but communication. Pink Spam (common definition) spam that uses a human output. Spam that gives the receiver a feeling a real human is communicating something personally. In the end the writer (=sender) always wants something (=money). Red Spam (common definition) messages that plead for a cause, mostly send out by activists. Brown Spam (common definition) Simple messages that target in most cases human shortcommings, how to loose weight, viagra, penis or breast enlargement, etc. Black Spam (common definition) Spam that doesn't communicate, a good example is chinese messages send to people from countries that use different characters. . . .... ..... www.cddc.vt.edu/host/netwurker/ http://www.hotkey.net.au/~netwurker/ .... . Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ To: webartery From: Alan Sondheim Date: Tue, 25 Feb 2003 20:01:50 -0500 (EST) Subject: Re: The Digital Writer I've written smaller essays throughout my work on this. Code itself, as far as I'm concerned, is neutral, or almost neutral. The 'hello world' beginning programs in various languages print out 'hello world' when run - they illustrate part of the program shell. But suppose you have a line reading something like 'i\'m burning alive - this is for real' - the line's obtrusive, carries meaning through the code. I use code for two things - as a background process/catalyst for the text, and as a foregrounding to indicate the history and urgency of the text - as well as its substructure, which has to be overcome - i.e. the formal aspects have to retreat to the background, to be seen as scaffolding, carrying the foregrounded message. Alan On Tue, 25 Feb 2003, Yvonne Martinsson wrote: > >I'm most concerned with > > meaning - with the psychology, philosophy, emotion, intensity, political > > positioning, that comes through my work - code is an attribute, a means - > > if my work lacks this sort of content, it's nothing - Alan > > Hi Alan, i'm interested in knowing what you mean by "code is an attribute, a > means". Does it carry meaning? If so, in what way(s)? If you've written > something about this, could you give me a link? > > -- yvonne > > > > > > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ > > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt older http://lists.village.virginia.edu/~spoons/internet_txt.html Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ To: "Webartery@Yahoogroups. Com" From: "Jim Andrews" Date: Mon, 24 Feb 2003 02:35:13 -0500 Subject: sketch 'sample' hereisalittlesamplestringforyourpleasure 123 456789 a b c 'tiles' turnoverasfewtilesasyoucan 1 32 84567 9 'moma' thewordmomaisalittlebitdifferent 1 2345 6 7 8 9 a 'salsa' thewordsalsaalsohassomerepeatsinit 1 65234 78 9 a b Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ To: webartery@yahoogroups.com From: mez Date: Tue, 25 Feb 2003 10:07:13 +1100 Subject: resent from cream 12 newsletter ::::::::::::::_____________> /usr/bin/bash as a performative tool - Alex Mclean I'm writing this to share some thoughts with those already initiated with the bash shell. Those otherwise interested might like to read this (http://www.gnu.org/software/bash/bash.html) first. If any parts of this article are unclear or you have any questions, please email me (cream@slab.org) and I'll clarify. I've probably spent more time at a bash prompt than I have in any other place apart from bed. It's my primary computer interface; it's part of most of my daily tasks and rituals. I do use a GUI windowing environment, but still find myself typing far more than clicking. So what do I perform with bash? I make music with self-written Perl scripts, that synchronise, play sounds and control synthesis parameters via a central server. Some of these scripts are interactive and some aren't, and so a great deal of the performance is controlled from the command line, starting sets of scripts with particular parameters and then choosing the right moment to kill them. Typing long, textual commands seems like a slow and inexpressive way to make live music. However I find this much faster than using a mouse, and more expressive than using a guitar; but then, I'm a fast typist and am not much good at playing the guitar. I also know a few handy bash shortcuts... So lets cut to the meat. Here's how I use the bash prompt. ^n ^p ^b ^f ^a ^e These are navigation control keys, in fact the first four are simple aliases for the arrow keys; down, up, left and right respectively. These are keys I need all the time but are located far away from the 'home keys'. You only save a fraction of a second by hitting ^b rather than left-arrow, but in my opinion shaving all these fractions is what turns you into a bash prompt maestro. ^r Control and r is perhaps my most used performative expression. It lets you do a reverse search through your entire command history. So if I want to find a command I ran at a gig a couple of weeks or months ago, I can, with a few key-presses. This is great, because I have no memory of my own. There's a problem with this; you might accidentally re-run that dodgy 'rm -rf .' command and delete all your files. You can pop the following HISTIGNORE environment variable in your .bash_profile to stop this from happening, and while you're there, why not drop in a HISTSIZE variable to keep your history for longer: HISTIGNORE="rm *" HISTSIZE="2048" export HISTIGNORE HISTSIZE tab completion Another shell shortcut under-used by many; tab completion! Most know that when you type the first few characters of a command, file or directory name and then press tab, the shell fills in the rest of the for you. But! It doesn't just apply to filenames... Bash now has 'programmable completion', meaning that it will now complete hostnames, process names, usernames, etc, etc... Download a config file from here (http://www.caliban.org/bash/index.shtml#completion) and weep with joy! the last bit Well, those are the most important bash keystrokes I use. When performing I tend to end up with a lot of processes all over a mess of xterms, all with various processes running in the background. So I end up using 'ps -wux' and 'kill' a lot to list and kill my processes. People seem to enjoy watching me scrabble around, flicking through xterms running obtuse homemade curses interfaces. Hopefully it's not too distracting everyone from the music itself... Although it tends to come as default with Linux based systems, 'bash' is by no means the only Unix shell. For example 'zsh' is well loved among its loyal fan base. So have a look around, but whatever shell you opt for and whatever Unix art you are creating, check out the man pages and you might find some wonderful shortcuts to command prompt heaven. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-==--=-=-=-=-=-=-=-=-==-==-=-=-= alex mclean is a member of the state51 conspiracy (http://state51.co.uk), one half of the technopop combo slub (http://slub.org) and founder of the slaboratory (http://slab.org). -=-===-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-- . . .... ..... www.cddc.vt.edu/host/netwurker/ .... . .??? ....... Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ To: From: "Joel Weishaus" Date: Sun, 22 Sep 2002 08:29:26 -0700 Subject: Re: The next n(l)ight and day... Excellent Mez. Let me add that, like all real philosophers, Derrida sits on a bench, not a chair. He had a collapsible (deconstructable) one made, as he travels so much between Paris and the rest of the world. The bench came with pigeon droppings, a sign of respect, as they mark where the pigeons didn't shit on his head. -Joel ----- Original Message ----- From: "][co][De][e][p.rivation" To: Sent: Monday, July 29, 2002 5:33 PM Subject: Re: [webartery] The next n(l)ight and day... > At 08:47 AM 7/29/2002 -0700, you wrote: > > >The next night and day I chanted Mez][zzzzz][ until my torque was buzzing, > >finally convoluting into gertrude ][wittengen][stein.isms. I yoked in2 the > >derrida.sitting.position, in2 the meat of my monitor in which disinterred > >filaments were seizuring past and pineal glands x.panded & > >con][sub][tracted like in the Schlock Video Market. Now I knew that Bill > >Blake is no][t][ avuncular, that someday his get::end words would be > >visionary again. I also knew that Mez is a meta.formal, in the habit of > >pocketing matter sombered with ][dawning][form. "Can this be true?" I > >thought, drunk with the (de)light of growing Or.ganisms. There were no > >more cells to cre][che][.(mut)ate, no joints to pick. I licked my monitor > >casing and returned 2 the whorls. > > > >-Jo][m][e][zzzzz][l > > > > > > > > . . .... ..... > collapsing adj[thr]usting.txt > . > . > ][co][De][e][p.rivation > www.cddc.vt.edu/host/netwurker/ > http://www.macros-center.ru/read_me/inexen.htm#re > .... . .??? ....... > > > > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ Date: Tue, 25 Feb 2003 09:35:04 -0000 From: pixel Subject: kid To: WRYTING-L@LISTSERV.UTORONTO.CA s p =20 a c e h o pp e r love = l y l o ok a = me o = t n my o e ly = l o e =20 l v = v =20 l y =20 s p = a c e o p p e = =20 h = r = e Date: Mon, 24 Feb 2003 13:56:59 -0800 From: MWP To: POETICS@LISTSERV.BUFFALO.EDU Subject: TAPP/ING Poe's The Raven (For M Blanchot, on the day of his death) TAPP/ING Poe's The Raven (For M Blanchot, on the day of his death) : /NAPP/ING,/ A/H, D/ISTI/NCTL/Y I /WISH/ED T/O DR/EAM /BEFO/RE. / /MUCH/ I M/UTTE/R, W/HEN,/ WHA/T TH/E RA/VEN /THAT/ GOD/ HAT/H SE/PARA/TE D/YING/ EMB/ER W/HOM /THE /ANGE/LS N/AME /LENO/RE -/ N/OT T/HE L/AMPL/IGHT/'S P/LUTO/NIAN/ SHO/RE! / /=PRO/PHET/ STI/LL I/S SI/TTIN/G /EVER/MORE/ THA/T ME/ SEE/ING /LONE/LINE/SS U/NBRO/KEN,/ A/ND T/HE L/OST /LENO/RE -/ F/EARI/NG, /DREA/MS N/O MO/RTAL/S EV/ER D/OOR /- /TELL/ ME /- TE/LL M/E - / TE/LL M/Y FA/NCY /UNTO/ FAN/TAST/IC T/ERRO/RS N/EVER/ DAR/KNES/S PE/ERIN/G, / DOU/BTIN/G, D/REAM/S NO/W BU/RNED/ INT/O TH/AT N/O LI/NKIN/G WH/AT T/HIS /I SA/T DI/VINI/NG, /BIRD/ BEG/UILI/NG M/ORE./ / PRE/SS, /AH, /DIST/ANT /MAID/EN W/AS T/HE W/ORD,/ AS /MY H/EAD /AT E/NGAG/ED I/NTO /THE /NIGH/T DR/EARY/, /WHIL/E I /NODD/ED, /=TAP/PING/, AN/D NO/THIN/ ME /SEE,/ THE/REAT/ING /ENTR/EATI/NG E/MBER/ DOO/R; -/ D/EEP /INTO/ THE/N, W/ITH /MIEN/ OF /PALL/ID B/UST,/ SPO/KEN,/ AND/ THE/RE S/TEPP/ED A/BOVE/ MY /SAD /UNCE/RTAI/N /BEFO/RE.=/ / BUT/ NO /BLAC/K PL/UME /OF F/ORGO/TTEN/ LOR/D OR/ BEA/K FR/OM O/FF M/Y /THAT/ ONE/ BUR/DEN /IF, /WITH/ FAN/CY I/NTO /FANC/Y IN/TO S/TILL/NESS/ BRO/KEN /OF T/HE S/CULP/TURE/D BU/ST, /SPOK/EN, /=NEV/ERMO/RE.=/ / AH,/ NEV/ER F/ELT /BEFO/RE; /- /PERC/HED,/ AND/ NOT/HING/ OF /EVIL/! /LEAV/E MY/ DOO/R!= / QU/OTH /THE /RAVE/N, =/NEVE/R FL/ITTI/NG, / AN/D MY/ SOU/GHT /FROM/ AN /ECHO/ MUR/MURE/D BA/CK T/HE W/IND /NEPE/NTHE/ AND/ RAD/IANT/ MAI/DEN /BORE/ O/N TH/E TU/FTED/ - N/OT A/ MIN/UTE /STOP/PED /A ST/ATEL/Y RA/PPIN/G AT/ MY /BOOK/S SU/RE I/ OPE/N HE/ UTT/ERS /IS I/ SAT/ DIV/ININ/G /ON T/HE / HAT/H SP/OKEN/! - /PROP/HET!/= SA/ID I/, =O/THER/ TEM/PEST/ AND/ TAK/E TH/Y FO/WL T/O HE/AR D/ISCO/URSE/ SO /APTL/Y SP/OKEN/ OF /PALL/AS J/UST /OF P/ALLA/S JU/ST A/BOVE/ HIS/ CHA/MBER/ DOO/R - / SO/ON A/ BUS/T AB/OVE /MY C/HAMB/ER D/OOR /- /PERC/HED /UPON/ THE/ RAV/EN S/AD U/NCER/TAIN/ T/HIS /I WH/EELE/D A /TAPP/ING,/ RAP/PING/, TA/PPIN/G SO/MEWH/AT L/IE T/HY S/OUL /FROM/ MY /HEAR/D YO/U= -/ HER/E I /SAT /ENGA/GED /IN G/ILEA/D? -/ TEL/L ME/ WHA/T TH/IS G/RIM,/ UNG/AINL/Y, / OVE/R MA/DAM,/ TRU/LY, / TH/AT O/NE W/ORD,/ =LE/NORE/! /BY T/HAT /WORD/ THE/ WHI/SPER/ED W/IDE /THE /SILE/NCE /MADE/ HE;/ B/Y TH/ESE /ANGE/LS N/AME /A TA/PPIN/G, S/TILL/ IS /DREA/RY, / OV/ER M/ANY /A FL/IRT /AND /SAT,/ AND/ STE/PPED/ OR /LADY/, PE/RFUM/ED F/LOOR/; /SO T/HAT /I SC/ARCE/ WAS/ UNB/ROKE/N, A/ND T/HE O/NLY /FOWL/ WHO/SE V/ELVE/T SI/NKIN/G /TO T/HE T/UFTE/D FL/OOR./ =/'TIS/ SOM/E VI/SITO/R,= /SAID/ I, /=WHA/T IT/S GH/OST /LENO/RE -/ L/EAVE/ MY /DOOR/!= / THI/S, A/ND T/HIS /EBON/Y BI/RD B/EGUI/LING/, /BUT /THE /DOOR/ - / PER/FUME/D FR/OM A/N UN/SEEN/ CEN/SER / SW/UNG /THE /SAIN/TED /- NE/VERM/ORE./= /QUOT/H TH/E RA/VEN,/ THO/UGH /THY /LORD/ OR /BEAS/T UP/ON T/HE N/IGHT/ O'E/R, / SHE/ SHA/LL C/LASP/ A R/ARE /AND /THE /BEAT/ING /ENTR/EATI/NG O/'ER,/ B/Y TH/AT G/OD W/E BO/TH A/DORE/ - / CLA/SP A/ RAR/E AN/GELS/ HE /DID /OUTP/OUR./ N/AMEL/ESS /I IM/PLOR/E!= / TH/EN T/HE B/UST /OF P/ALLA/S JU/ST A/BOVE/ US /- BY/ THE/E /FLOO/R /FOLL/OWED/ FAS/TER /SENT/LY M/ORE /- /TILL/ BEG/UILI/NG A/T MY/ CHA/MBER/ DOO/R, / IN /THAT/ MEL/ANCH/OLY /BURD/EN B/ORE /- /WHET/HER /THEN/ HE /WILL/ LEA/VE N/O TO/KEN,/ =/WRET/CH,=/ I C/RIED/, =T/HING/ OF /THAT/ IS /I WA/S NA/ME L/ENOR/E - / NA/MELE/SS H/ERE /I OP/ENED/ WID/E TH/AN M/UTTE/RS I/S IT/ IS,/ AND/ THI/S EB/ONY /BIRD/ ABO/VE H/IS C/HAMB/ER D/OOR./ E/VER /- NE/VERM/ORE./= /THIS/, AN/D TH/IS M/YSTE/RY E/YES /HAVE/N, T/HOU,/= I /CRIE/D, =/TAPP/ING,/ LON/ELY /MORE/.= / B/UT W/HOSE/ FOO/TFAL/LS T/INKL/ED O/R ST/AYED/ H/ATH /SPOK/EN W/ANDE/RING/, LO/NG I/ STO/PPED/ A S/AINT/ AND/ NOT/HING/ MOR/TALS/ EVE/R YE/T WA/S IN/ THE/ FLO/WN / BEF/ORE./= / BU/T WH/OSE /FOOT/FALL/S TI/NKLE/D ON/ THE/E - /RESP/ITE /AND /FORG/OTTE/N LO/RE, /AND /THE /ONLY/ T/ILL /LEAV/E NO/ TOK/EN O/F TH/E CO/UNTE/D, O/N TH/IS H/OPE /THAT/ THE/ LAM/PLIG/HT G/LOAT/ING /AT M/Y CH/AMBE/R DO/OR, / WI/TH S/ENT /AND /NOTH/ING /MY S/OUL /GREW/ DEN/SER,/ PER/CHED/ UPO/N TH/E PL/ACID/ BUS/T AN/D OM/INOU/S BI/RD O/R /DEVI/L! -/ PRO/PHET/!= S/AID /I, =/SURE/ NO /LIVI/NG H/UMAN/ BEI/NG / FAN/CY, /THIN/G OF/ EVI/L! -/ W/HILE/ I P/ONDE/RING/, /AND /AN E/CHO /MURM/URED/ BUS/T, S/POKE/N, / IT /WAS Date: Thu, 27 Feb 2003 01:24:10 -0800 From: August Highland To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: 6 poems abuse u-Gx3Yp3o q-m4f2AMqoN 4-Kcn7 1-GGf9m7My6 l-15WB4MLy h-pcb3Ka C-du P-lx6iLVJ a-6bBC I-DiXW7m7 F-oueSZ 3-e6j s-yn3 9-vljvV a-dd3GK 7-CxVoGQl 2-Tt b-lq6DqhAI N-jtxeH n-OqRPs9a W-xN1DF8Gj6 G-vidjdABDO 7-qoJ6WQ O-1osnRC Y-Uu7hKRgK 2-fm0w a-vCMc Q-V8a K-LBeuQP8RW 6-f n-0z9RLGjVZ P-l4c3qO 2-OJBbWcpgE b-Mdy V-gFqi s-qTYDKM5 s-ebU766 s-u d-g5ht8 t-v5hthg G-9wDX v-7LVp0Jlq0 q-1l1zDK z-b2BH4r v-N f-qAJTeh7 j-a29RSUf O-lO 0-l d-lbY7 J-8jlHoHQbU N-z56 o-P 8-2Z q-dku D-ePVlt9 W-AAFEFPq v-LSo y-MdXySK A-utPmM Y-b5Bh9 E-wk o-7 k-B68R B-xN5kph D-W6O P-qNW42i h-L4ZwJbs i-KkmsD 8-6 Y-d9JZrGDO D-6AW2 K-1WRS O-JqJaif4 9-Y402 g-Cs m-rlJb1B ----------- violate g-u843 b-`U+GGA !-2A*'J =-T!4 --rEqMg &-gB 4-/^-N N-9>;~c k-QbnS3" V-QDWW U-W,yX5cr }-2:=)<2TG X-8me3z||Nj V-fkxL7*Hx9 %-z|5=P# y-CO#v 4-6mp|I"gi }-Ur q->( 7-YEpO> }-AO8Y%1 5--r/dP S-f? (-=2>jS b-<%6 s-:j x-c G-8Ces p-n870 #-,vxK W-* J-5(HZJ*y H-v7E% ;-Ucb[#n %-~?[u3#;v !-2V@c4{W~ 4-j X-z+0bP M-RHD)hJtW --`gE --NG| I-rfnJ:_G` A-0Yj I-= h-ns:}d_uj\ f-&y g-r.] J-R Y-K}(vKlP @-?/d8) \-Jru >-{o &-N/SE)h p-G." (-I $-OjwVZ j-+Mm` o-W&:+V|Q D-rZe J-9*T8K i-gv9*O;Cl &-wKF"Lm O-Q(x /-( r-k7l -------------- victimize -ss-7\*$pi +V}-%<\|/.mk-D5{)`ld 1zh-s~+ %v%-+" m]Y-U( +\.-doDNF y>L-/B!\vW.8_-/b3 qdy-e:Y N0?-et@Ru %^U-. @J<-TE5q J?9-x*Dg'yj |j:-PPJY7p Mz4-mRe~ iY3-&amm_8 $Fi-b"JdyB }dB-0Ze x$c-<^T'X; Hjp-XR'!P rAp-HNrc k]t-BNx cDf-VP %x$-`F~{k 'Nr-m};] kuI-[O5LB<" yW{-R "ut-.N*=h; ({:m cGu-H CN]-"awJ2 N?H-]n)L#d ZpS-v* pdU-2P)@Z @G_-V_L &_l-'` XG"-WNB e|}-AsZ^ p)Q-hWsIU?( ^5z-F Z.s-_&v#~od SU8-Zk/-+n;z6 ;HV-)w~># U?I-\(io7 qkr-tb <(G-;N4 +ro-Tl-X#;-h( @Q|--/h},T -`n-h%HZ!ot gpF-= OE`-Tz o%O-j $=S-).8q\< ^t[-,x r;r-a; 6cN-<_`m~ Dd_-KGDD^,9r-hvxz^ K&l-A%THp3 Q67-0/QK 1jk->+ QE<-n, Ko@-h+@ze)k o71-u v"--7'ikJ +mO-gC3rqu_ f~D-ZSoOc Wd(-/& l2C-y+ JN2-N2#U5X H<&-(+MMl u:+-JF' BJ`-1 !0#-,# _Jh-O: Fx"-T wcX-r* jw~-?G; /E^-.%! >iq-A6v"2'3 xq\-T hGv-39F 4tb-<$#s7"n ------------- exterminate AR!/O~-DI;, }UEVXZ-^IZQ J^|=,O-SFYG -.D{GC->{'L &J&WFX-&Y&B D!K(W$-ICN# TC;=OW-!Q}` ^UWN{V-!\|"TI-PES/H"_~<&-TJZ-Q[\O$?-I\QX *(*|+F-P%X_ EC*Q<$-XZ.) ~O%CE@-:A,K BGZ(PN-WO~` B-KTO#-{UR% ){(XZF-$IPG Y>D-;H-HW]{ UI;RUU-/QO[ L;NXV"-C`|" /;LKU'-G!ZQ F/LQ_/-Q]C\ #H;TDA-G?PB WYT(`F-`^%" _#JE`Z-JJ$K ~.DZ^G-?VVS >)*@CG-M"JS !E/B:_-'(<-[]|#_O-/A^^ D%FVB.-+L}* TY>K`%-TQ@L \PTV^"-L\]M ??:Y%L-M%AP }.-YS[-VXV} H\-\!T-!ED[ C!}@KL-]`/% TQL.O%-P<)= E,(:WR-#%*# TK+I;;-{DX} ~M$/H<-KE,-%#=.)E=YD-UNN? "\C$=+-(ZV\ TUB=V_-@XP& -LWJN=-WF\P ),K!SR-EU=Z =GM.FW-<@K' GE\!A'-:_&T [=Y@/~-,&Q&,FYV*T-,EWR K$!--.-JKWH ^*Q~#U-DJTA >"'%^T-W)L) >,X[O=-LEU_ ?)}-!|-{_~; ;^&ZX~-"XI-KP@TGK-SD:} >$Q)YY-Q.}! ULX"NC-'UCC GE^LA--\(RH :+N&(*-S"BI /R_HV+-IV-| ~L|?+T-B/!K ]`O|~(-@FWC VE%T;B-?)%^ :X*KLO-OE%S B@MT*X-AQ;% }|N}K|-&{WN HK.}}`-#ZB; RQ[<{]-_.?[ ------------ annihilate %|/-` )!#-)`!,<:-#&:/'}?-%;@ ~+)-$^ ]#|-' @[$-[=#`+,} -@]-^ %|^->-+ /-{->>*:. ]}<-_<_`:! ]'(-)]:,-&-"{-# :&+-!{{.{)-(| ><*-'!%(,"< "<'-]&;*! ;=:-]&#%/| \|)-$-)!( :}{-&@ (.$-"|+%[}% @*%-$]*&,., *(>-+?&%^? @><-];,)} @[#-$ ].<-`| ?=[-#$)-* +$:-|:~} ]&{-? >#!-:~ ;"/-]}:", #~)-{}:<[?& '.+-{ *,|-`~\@ [left.fieldism] labelism >I visit the work and think about it. I don't simply comment on commentary. I visit I don't [read= subject is I d.fined] [read= freeze-dried.N-ceptions + purr.ception.thru.self-shelved|limited(var)parameters] >I am not the only one, Talan, to have questioned the artistic value of the results, over the >last few years, of the extant approaches to hypertextual literature. This is not news to you, >surely. I am not the only 1 [read= SciMethod + ma(turity)jority.validation.techniques] >I do not enjoy arguments for the sake of arguing. I am mostly a lover, not a fighter. But there >are certain things that I find very hard to do. One of them is lie about what I really think >about literature and ideas and the quality and relevance of expression. Because it matters to >me. to lie about [read= re(N)cursion.2.truth.vs.deception.s(c)ales] >I would love nothing better than to read and experience 'hypertext' works that find the depth of >the problems faced therein. I would love [read= emotionality.re(inforcing sincerity via sentiments)ferencing.establisment] . . .... ..... www.cddc.vt.edu/host/netwurker/ .... . .??? ....... Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ nettime unstable digest vol 36 Sun Mar 2 21:20:08 2003 Subject: BOASTS AND SHAMES From: Alan Sondheim To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: hello From: pixel To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: Definitions of SPAM From: mez To: _arc.hive_@lm.va.com.au,webartery@yahoogroups.com Subject: Re: The Digital Writer From: Alan Sondheim To: webartery Subject: sketch From: "Jim Andrews" To: "Webartery@Yahoogroups. Com" Subject: resent from cream 12 newsletter From: mez To: webartery@yahoogroups.com Subject: Re: The next n(l)ight and day... From: "Joel Weishaus" To: Subject: kid From: pixel To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: TAPP/ING Poe's The Raven (For M Blanchot, on the day of his death) From: MWP To: POETICS@LISTSERV.BUFFALO.EDU Subject: 6 poems From: August Highland To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: Re: resent from cream 12 newsletter From: Alan Sondheim To: webartery@yahoogroups.com Subject: Re: { " Johan Meskens CS2 jmcs2 is numerically twice and doubled " }----- From: "Johan Meskens CS2 jmcs2" To: o-o@konf.lt Subject: Re: The Digital Writer From: mez To: webartery@yahoogroups.com lurking editors beatrice beaubien 7-11 nettime-bold thingist florian cramer 7-11 _arc.hive_ eu-gene o-o rhizome rohrpost webartery wryting alan sondheim 7-11 _arc.hive_ poetics siratori trAce webartery wryting $Id: digestunstable.pl,v 1.13 2003/01/26 18:51:21 paragram Exp $