angle bra                                                                                                                                                           angle bra

||||||||||||||| Q4-11 Quarterly Quotidian Peregrinations for the Suicidal Sake of Self-Organizing Dicebats |||||||||||||||

December 2011

¢ 0:2:31: Before the vanity of ever reaching the pole is reached, we assign an arbitrary number S = entropy. The recreation of initial conditions (a.k.a. sex) need be established. We «learn the ropes» & knots necessary for tying our selves to the mast. The rules of culling & restraint need to be replicated & archived as manifest. In the interim, we eat those that got us here for reasons of economy. Arcs of light bridge our tongues & teeth & dissipate into Adam's apple. Those without tongues or teeth are taken to the bridge to fend for themselves.

¢ 0:2:30: This is where we are being relocated to, which is to say we won't know until after. In the blueprints there's no difference between aft & bow, port & starboard. The S-herd circles π-hole for 40 nights. The marching forms a standing wave pattern on the δesigns for a circular ark bridge. The δ-nodes are denoted by nesting loons. 1st we need to follow the archived "self-corraling" protocol in the Herder's Almanac, with sheep assigned to police the imaginary fence. The π-hole coordinates for the ghost post of father mast is committed to the DB.

¢ A Tower of Nests: Creating habitats for animals that have been driven out of their natural environments as a result of development. Creating vertical density within the city to reduce sprawl and commuting distances. [image removed by host]

¢ David Byrne on collective creation, self-organization, free-will, ants, cut-ups, hive minds & authorless architecture.

¢ Robert Hughes on art in Rome: «Not much of the art made in Rome between the war and the present seems headed for survival.» & «Two ruthless forces menace the city today, and Hughes is fierce in attacking them both. One is mass tourism, by now such a significant force in the Roman economy that it seems unlikely to come under control. The other is mass indifference, brought on by the distractions of contemporary life.»

¢ Stanley Crawford, known to most of you as as the author of The Log of the S. S. The Mrs. Unguentine, made the NY Times, not for his writing, but his secrets as a garlic grower. «“I’m not an eater — I’m a grower,” said Mr. Crawford, who maintains that, while he doesn’t have a taste for it, it’s still one of his favorite crops.» & a somewhat mixed review by Ander Monson of Blake Butler's new book also made the times while we were in Istanbul.

¢ «The question driving the stories in Divorcer is often that of escape. Is there an escape from these linguistic traps we can’t stop ourselves from falling into every time we open our mouths? Is there a way out of the limitations of self, the ways in which we’re trapped by our DNA, our names, our frail and ailing bodies?»—Shannon Elderon reviewing Lutz's Divorcer in The Nervous Breakdown.

¢ Why have a turkey on christmas when you go to Turkey on x-mas (more importantly, our anniversary).

¢ That which doesn't kill you will only make you stronger. Which is to say, Catastrophic Floods May Pave the Way for Increased Genetic Diversity in Endemic Artesian Spring Snail Populations—«Contrary to predictions and expectations, our data shows that nearly all post flood snail populations had significantly higher allelic richness, inbreeding co-efficients that were closer to zero, little or no temporal changes in population structure and greater effective population sizes than their pre flood counterparts. Remarkably, our results are consistent with the possibility that a catastrophic disturbance, which resulted in a severe population crash, may have lead to enhanced levels of within population genetic diversity within the recovered populations. To our knowledge, this is the first result of its kind.»

¢ Rick Moody on making sacrifices for the limitations of language [in Inutile]—«Credo che in parte quello che faccio sia accettare il mio lavoro come viene sulla pagina, piuttosto che farlo aderire a un possibile fine idealizzato. E questo significa in un certo senso abbandonare le mie ambizioni artistiche per adattarmi ai fallimenti della sintassi.» & accepting elitism vs. 'making a difference': «Credi che a qualcuno freghi un cazzo di quello che un mucchio di scrittori pensa di qualsiasi cosa?»

¢ Excerpt from Ark Codex folio 0:2 & some other fine works (my favorites: Alana I. Capria, Alexis Myre & Alexandra Eldridge & Predrag Pajdic) in Trickhouse 14.

¢ Sneak peek at the cover, structure & theory behind ARK CODEX ±0.

¢ Leggo mi ego.

¢ Was at some RISD art show art show last night in piazza Cenci in the jewish ghetto—mostly shitty student art but one painting hanging high up had me transfixed (below far left). I had this nagging sensation that i'd seen it before, but couldn't figure out where. Sure, she has the same pose as the girl with the pearl earring, but it was more than that. Ends up it was none other than Beatrice Cenci as painted by Guido Reni—absolutely stunning image, and a tragic fascinating story behind her (that Lucy Clink recounted to me). I couldn't get my mind off this girl the rest of the night—the look is captivating, right at that age where you can't tell if she's a girl or a woman (& to think the painting was done right before she was executed). Her look reminded me a bit of jess (especially as portrayed in a painting on our wall (far right) that was done by Gino Hollander). & now with the help of google i figured it out—David Lynch strategically placed a replica of the painting in the middle of the living room in Mullholland Drive. You can see it when Betty first walks into the apartment (at 0:22) & then again, at the moment Betty tells her Aunt about 'Rita' the camera pans through the hallway right past the painting of Cenci. Then when Betty finally convinces Rita that they should call the police, to "see if there was an accident on Mulholland Drive," Lynch has the painting centered right between them (mid-left). The painting is visible a few other times, and then again is prominent at the dramatic moment when the weird witchy woman knocks at the door to say "someone is in danger" & that "something bad is happening." All very interesting in light of the story behind the real painting...

Cenci by Guido Reni Lynch Cenchi Cenci Mullholland Drive Jess Cenci

¢ «But suicides have a special language. Like carpenters they want to know which tools. They never ask why build.»—Ann Sextonanne sexton

¢ Some guy squeezing past me in a public bathroom last night commented on the blood-red color of my urine. «Tell me about it» i said. I speculated as to what might have caused it. I'd been eating some berries, but they were store bought, so that couldn't have been it. While eating the berries I'd been watching wild birds though. In fact, I had been recording the distribution patterns of their droppings to see if it was random. Maybe this had something to do with it?

¢ It's the 100th anniversary of the reaching of the South Pole & the 6th anniversary of Calamari's publication of the journals of George Belden, who claimed to be privy to Sir Robert Falcon Scott's ill-fated expedition. To commemorate, the e-book version is free for the asking.

From Land of the Snow Men by George Belden

¢ Posted the second starling 2011 post, this one with expository non-sequitirs, in-flight communication transcripts, Damar the babbling poet & birdshit as art.

¢ «On ocassion I would latch onto an idea that was all consuming, but the anxiety that the absorption would pass detracted from the full pleasure of the experience.»—Percival Everett, GlyphGlyph.

¢ 0:2:30: This is where we are being relocated to, which is to say we won't know until after. In the blueprints there's no difference between aft & bow, port & starboard. The herd circles the pole for 40 nights. The marching forms a standing wave pattern on the designs for a circular ark bridge. The p-nodes are denoted by nesting loons. 1st we need to follow the archived "self-corraling" protocol in the Herder's Almanac, with sheep assigned to police the imaginary fence. The hole for each ghost post is committed to the database.

¢ Another brooding murmuration video, this one to Chimes & Bellschimes & bells (starling season is winding down):

¢ Ark Codex 0.2.50—53 on decomP.

¢ «My father cheated and carved his totem poles with a chainsaw. I never knew what his driving force was, but for the most part they were reproductions of animals.»—vozque pulpO, Vozque Pulpvozque pulp

¢ Rains finally seem to be settling in. Nothing biblical like last year at this time... yet.

¢ Number of NY Times '100 Most Notable Books of 2011' that I've read: 0. I just find it funny that they publish the list with a month still left in 2011—more importantly, with 3 weeks left until x-mas. & speaking of people needing to be told what to like & buy, is it just me or would Charles Saatchi's [hypocritical confession] on the hideousness of the art world read better [& have more impact] in 1st person plural instead of 3rd person plural—i.e. change 'they' to 'we' in statements like: «Do any of [us] people actually enjoy looking at art? Or do [we] simply enjoy having easily recognised, big-brand name pictures, bought ostentatiously in auction rooms at eye-catching prices, to decorate [our] several homes, floating and otherwise, in an instant demonstration of drop-dead coolth and wealth. [Our] pleasure is to be found in having [our] lovely friends measuring the weight of [our] baubles, and being awestruck.»

¢ «He has to figure out if the script matters: are letters a visual poison, their very design something that causes illness to look at? Or is it the meaning: do certain ideas and feelings sicken us? His work is about trying to find some way—any way—to communicate that is not unbearable.»—Harper's interview with Ben Marcus

¢ Nothing could be further from the truth except knowing the truth—a hypocritical auguring to inherit & simultaneously extinguish a familiar genie by natural selection.

¢ Binyavanga Wainaina attacks insularity of British fiction—«"I can read it because I am familiarised," he continued. "But as a writer I recognise it is still indigestible, and there are Kenyans—who are English-speaking Kenyans, educated Kenyans—who will not and cannot get the codes."»

November 2011

¢ «The author of every book is a fictitious character whom the existent author invents to make him the author of his fictions. [...] since for him artifice is the true substance of everything, the author who devised a perfect system of artifices would succeed in identifying himself with the whole.»—Italo Calvino, If on a Winter's Night a Travelercalvino

¢ posted the cover & some images that Cal A. Mari made for Chiara Barzini's forthcoming collection, Sister Stop Breathing.

Cal A. Mari: from Sister Stop Breathing   Cal A. Mari: from Sister Stop Breathing

¢ «What seems paradoxical about everything that is justly called beautiful is the fact that it appears.»—Walter Benjamin

¢ «Old Menschs up front flip through their books, shaking heads, muttering Substance at all the blank pages: what should be, what should've been, they fill it in with the lip's drip, the tongue's ink. Nearest the ark, the oldest menschs standing and swaying throughout as if letters themselves, though letters still in flux, still being developed, not yet found to fixed form. O the aleph reach, the best bend, the gimel footforward, as if symbols with bad joints, with stuff cuffs, one leg shorter than fractured heels down below; while on top, roofing: their necks twisted to cripple, though as beautiful then still ruled permissible, kosher. Their books held out as if their own ornaments, as if crowns, tags, and kotz, they're just black covers, no pages at all. And as for how they're pronounced, they're stilted, not inept but unpracticed, hinged klutzy with rust, as if requiring miracle oil, rededication to the task of innermost if asking themselves, who knows their own name? how to say the self's secret, pronounceable only if known? Argumentative, they give way to grumbling, learned grumbling, studiously nodding as if their very own lettered bodies in their movements and shapes would, too, give movement and shape to their sounds: arms flowing out into fingery vowels. In the back, where voices still carry, kinder play in the aisles, odd games of lots; the sacred idiot drools into the mouth of the drunk.»—Joshua Cohen, from Witzwitz

¢ Getting a new identity card today & a UN passport, so am exposing my old ID & posting 5 pages from Ark Codex 0 folio 0.

¢ Let's again thank the Mexicans for all the great food staples other's stole from them & called their own. Then again, I'd rather go to Turkey then eat one.

¢ been too entranced by the starlings to process it, but here's some footage i posted on the aptly named Clusterflock & here's another dance to the tune of Dirty Beaches:

¢ i don't bake [don't like following recipes] but can appreciate this abstract from Cake Decorating as Occupation: Meaning and Motivation [from the Journal of Occupational Science]: «A qualitative phenomenological study was conducted that revealed the subjective meaning of engagement in a unique and artful occupation. Twelve participants, identified as casual, avid, or expert cake decorators were interviewed using a semi-structured interview format and data were transcribed and analyzed. Participants conveyed how cake decorating was meaningful and motivating to them. The themes of meaning that prompted initial engagement were their perceived satisfaction, the experience of flow, and the health benefits obtained. Themes of motivation that prompted continued engagement were the compliments received, the caring expressed, and the projected ability to engage in another occupation if decorating cakes was no longer possible. Determining the subjective meaning of engagement and the motivation to continue to engage in occupation has implications for occupational science. Such study helps explain why people do what they do.». [hint, my birthday is tomorrow]

¢ «I would much prefer it if there were none—no land at all. Only the survey, only the mathematics. Nothing but them. Only they are of consequence, are unambiguous and beautiful. I look at what is before us and, shutting my eyes to it, see shining in the darkness of my closed eyes a thousand points of light—a radiant typography—a pure and dazzling topology produced by luminous numbers—inscribed with perfect parabolas and arcs that exist only here, in the mind!»—Norman Lock, from Ideas of Space in Web Conjunctions.

¢ Habitually estimating whether 'floccinaucinihilipilification' is, despite its 29 letters, a worthless word.

¢ «We can regard our life as a uselessly disturbing episode in the blissful repose of nothingness.»—Schopenhauer

¢ there's nothing to say, except: «there's nothing to say, except: «there's nothing to say, except: «there's nothing to say, except: « »»»»

¢ as a reward/punishment for getting out of prison early, they sent me to a performance of the Blue Man Group. before it they showed us a little-known documentary about a father-daughter climbing duo at the turn of the century that blew the top off an otherwise 7,000 foot mattern-horn looking peak that had existed in Venice, California. there was no particular reason why & i slept through most of it so didn't see how they did it except for the final explosion that leveled half the mountain.

¢ potential dicebat bins accumulate above the astroturf-pitched carrier in swooping vectors of light whose audible shrill is all in our minds | the constituent pixels become charged—illuminating a colony of beings whose individual essences flash for 1 second before disappearing in 1 fell swoop beneath the ice (to be later revisited as phosphorescence) | the detected time-lapsed trajectory is noted & the collective colony beelines for it though questions remain as to the irreducibility of time ||

¢ breaking my sitence to show some things to see in Rome when you think you’ve seen it all ||

¢ page from Ark Codex in Everyday Genius ||

¢ «The censor is nothing but the resistance which also prevents us, in the day-time, from following a line of reasoning right to the end. The censor will not allow the thought to pass until it is so disguised that the dreamer is unable to recognize it. If we try to acquaint the dreamer with the thought behind his dream, he will always oppose to use the same resistance that he opposes to his repressed complex.»—Carl Jung, Dreamsdreams ||

¢ 70° & sunny in Rome & that's the forecast for the next 10 days—not complaining | some old man is on the ledge of ponte palatino threatening to jump into the tiber | not sure why the police & firemen even bother to talk him out of it—if he hasn't jumped by now he isn't jumping | must be a sign of the times ||

¢ «Gadji beri bimba glandridi Lauli lonni cadori gadjam A bim beri glassala glandride E glassala tuffm I zimbra»—I Zimbrai zimbra, by Byrne/Eno, based on Gadji beri bimba by Hugo Ball ||

¢ «After all, any attempt to establish binding ethical or aesthetic standards, or to ritualize or institutionalize Dadaistic procedures, was bound to fail as a fundamental contradiction in terms. The problem was not so much the existence of contradictory opinions as Dada's enslavement to the principle of the omnipotence of Romantic subjectivity. Those, who in their ironic, artistic virtuosity know themselves to be free of all such things that bind people together—the law, for example, shared morals, or art—are bound to want to subvert both the practical commitment these require of them—to the community, for example, which Dadaism, like all avant-garde groups, undoubtedly was—and even the aesthetic maxims cementing them together. "When else have we seen the very first manifesto of a new movement actually revoking that movement in the eyes of its adherents?" Hugo Ball was among the first to realize that self-advertisement was the last remaining subject still open to the Dadaists—self nullification through the ironic objectification of the self.»—from the introduction to  André Breton: Dossier Dadadada ||

¢ «After the results of this afternoon's vote came in—showing that the Italian government had won the vote on the 2010 public accounts, but were eight votes shy of a majority—Berlusconi was spotted scribbling on a piece of paper. Associated Press say they've seen the paper, and that the PM has written "resignation" and "eight traitors".» | Bunga Bunga ||

¢ there's some pages from Ark Codex 0 in Mimeo Mimeo #5—a cool journal about artists' books, typography & the mimeograph revolution, edited by Jed Birmingham & Kyle Schlesinger | they blog here ||

¢ first dispatch from Venice reading Hemingway ||

¢ «I love that I love who I love. That my idea of beauty is so contrary to most others’ idea of beauty feels cool, like it’s a rebellion that began in my genetic make-up, before I was even alive or some shit. I think of my balls as like, avant-garde.»—Gian interviewed in Dark Sky | & this: «It was there, but now some of it’s directed right at you. You now have to put up with tons of bullshit, but the payoff is that with your new vulnerability comes a bravery to help you deal. It’s like a gift that you’re given for being yourself, and it feels almost like a superpower

¢ not sure how i came to be there but last night i was on the side of a cliff with C & B | a bearded & dreadlocked mountain man was coming down a steep gully towards us | there was also a little woman with him & an odd assortment of animals | as a group they were shape-shifting into other animals—in continuous flux—like they weren't 5 discrete animals but all animals at once materializing fleetingly into different species with each breath | i said to stay quiet and let them pass | they noticed us but didn't bother us because we weren't bothering them | after this flux pack got past B decided that he had to give chase & throw rocks at them | this made the mountain man come back after us | he didn't go after B (who wasn't afraid of him) he went past him & came for me & C because we were afraid of him | we sped-climb up the cliff | some parts were wet but we hurried our way through even the treacherous parts | the mountain man was a good climber though & was catching up | finally we emerged into a public intersection in Beverly Hills | the mountain man caught up to us & said «I don't bite» ||

¢ from Disturbances in Body Ownership in Schizophrenia: Evidence from the Rubber Hand Illusion and Case Study of a Spontaneous Out-of-Body Experience in PLoS 1: «2:23 Sees his own wrinkles in the rubber hand 2:49 Reports: “Really feels like my hand” 3:47 Reports imagining things he could do with the hand, like play the violin 4:04 Reports that the rubber hand, “looks like rubber hand again” 4:20 Reports that the rubber hand doesn't feel like his hand anymore 5:02 Reports “strange feeling; that out of body deal” 5:37 Reports that he and the experimenter are levitating 6:40 Reports that he and the experimenter are “turning in a circle; rubber hand looks like my hand” 7:07 Reports, “feels like we're a foot off the floor, turning in a circle” 7:39 Reports, “feels like we're coming back down; felt like there wasn't a floor beneath my feet” 8:27 Reports being back on ground 9:04 Reports that the rubber hand looks like rubber hand, not his hand» ||

October 2011

¢ Venice bound [though technically i'm an illegal alien] ||

¢ new Her Royal Majesty #11 is fantastic—there's a page from Ark Codex in there even | launch party tonight in Paris otherwise get a copy (print or PDF) from their site ||

¢ when i first saw the trailer, i thought This Must Be the Place was some sort of joke & though i'm still scratching my head some (just saw it here where it's already released) i think it's hardly short of brilliant | leave it to an italian (Paolo Sorrentino, whose Il Divo was as equally a compelling character sketch) to nail contemporary America on the head | and although Sean Penn's character looks like a washed-up Robert Smith (& the name of his ex-band, Cheyenne & his Fellows, an obvious nod to Siouxsie & the Banshees)—he's far more complex than that—like a fusion of Andy Warhol, Michael Jackson & Tao Lin channeled into the body of Robert Smith | and Penn nails the role | worth it alone for the David Byrne performance of the title track in the middle of the film ||

¢ dispatch from Madrid reading Heidegger, Cervantes & Fuentes ||

¢ «The peculiar property of language, namely that language is concerned exclusively with itself—precisely that is known to no one.»—Novalis ||

¢ Lynch on Math: «I do think there are mysteries that, when they’re solved, you get depressed because it’s over. But then there is also the big, big mystery and when that is solved, there’ll be no depression

¢ (h, r)ome = (r, h)ome ||

¢ off the grid in Madrid | en el ínterin aquí es el Madrid Codex:

Madrid Codex

¢ «In experiences which we undergo with language, language itself brings itself to language.»—Heidegger ||

¢ said cluster-song (see 0:8:0 in)forms a mammoth wave sweeping to sea & 1/f-echoing the barren bay (in-verse) rivering a tree: father masT | in 3 days time (t) mother's inductance (i) meets with resistance (r) to beget an arbitrary V (an envoy(eur) to the voyage) | flesh-basket V is hung from father masT to feed starlinguist & dovetailed urgency informed from dot matrices as sound differentials between f & V | hashed deltas flat out reap recombinant DNA as fossil fuel for the camp generator at the x-section of 1st & 1st ||

¢ «The cure for boredom is curiosity. There is no cure for curiosity.»—Dorothy Parker ||

¢ Wild Dog Creek is seriously the best new band i've heard in a long while:

¢ posted a piece by Marguerite W. Sullivan to Sleepingfish X | also gave the Calamari site a facelift ||

¢ yesterday i saw another dead body, fished out of the Tiber by police | this morning a torrential thunderstorm | it wasn't a dream it was a flood season is here | Rome's subway is not just underground, but underwater & here's what it looked like from inside a tram ||

¢ on the Instructions of Shuruppak (written circa 3000 BC—one of the world's first works of literature): «Regardless of his status as an actual flesh-and-blood human being, Shuruppak’s story involves the archetypicalT ancient, and comfortably familiar great flood plotline. Having survived the devastating deluge along with his family, the clay tablets that contain the Instructions speak of the moral code the king upholds. These guidelines win him the favor of the gods, allowing him to rule Mesopotamia once the flood waters recede

¢ starlings have trickled in this past week, still not up to the numbers at the height of last season, but they're amost here ||

¢ what went down in Rome while we were away (while Americans 'occupy' & tweet about it, Italians would just assume destroy shit):

¢ the herd shifted & the sparking hooves quenched the earth of blackness | a cul-de-sac of bleeding gums sprouted teeth & the teeth ate tuna & said «come» | if there was no delta between knowledge & the forgotten then there was no delta anviled between land & to sea ||

¢ si you me demandez, Beckett's L'Innommableunnameable should've terminéed sur cette phrase—«What can one do but speculate, speculate, until one hits on the happy speculation? When all goes silent, and comes to an end, it will be because the words have been said, those it behoved to say, no need to know which, no means of knowing which, they'll be there somewhere, in the heap, in the torrent, not necessarily the last, they have to be ratified by the proper authority, that takes time, he's far from here, they bring him the verbatim report of the proceedings, once in a way, he knows the words that count, it's he who chose them, in the meantime the voice continues, while the messenger goes towards the master, and while the master examines the report, and while the messenger comes back with the verdict, the words continue, the wrong words, until the order arrives, to stop everything or to continue everything, no, superfluous, everything will continue automatically, until the order arrives, to stop everything.» | Dublin bound demain (Aer Lingus) sans computer so probablement no words sera dit ici |

¢ the herd adhered to the ear & heard: «preceded by itself italicized in quotes yields a death sentence» preceded by itself italicized in quotes yields a death sentence ||

¢ with an obvious nod to Twombly [also in the Art=Text=Art exhibit]—Christine Hiebert' s «L.99.1» [1998-9, charcoal & rabbit skin glue on paper]:

Christine Hiebert L.99.1

¢ «Dear incomprehension, it's thanks to you I'll be myself, in the end.»—Beckett, The Unnamableunnameable ||

¢ «Divorced from its original meaning, language becomes an object»—Annabel Daou, in the Art=Text=Art exhibition which has got to me the most amazing & comprehensive collection of artists works plumbing the depths of language & text that i've ever seen amassed in one place | if you're anywhere near Virginia (of all places) you have another week to check it out—i'd consider flying there just to see it but instead i'll be digging through their online catalogue for days i'm sure ||

¢ «For it is all very fine to keep silence, but one has also to consider the kind of silence one keeps.»—Beckett, The Unnamableunnameable ||

¢ excerpt from SUICIDE by James Lewelling on Sleepingfish X ||

¢ integer enim sine comment:

¢ Mise En Abyme by Stephen Gropp-Hess posted to Sleepingfish X—«That which can be both parcel and autocannibal—that which exists wholly within a divisible self.»

¢ lesson learned: 4 years in italian prison beats university for complete language immersion ||

¢ «Subjective reports: SØAØ stimuli were frequently described as sounding like ‘wind in the trees’ or ‘electronic vowel sounds’. SØAmod stimuli were described as sounding ‘rhythmic’, ‘like a nursery rhyme’. SmodAØ stimuli were described as ‘sounding like speech with the bits taken out’, ‘like an alien’, ‘less rhythmic but more speech-like’, ‘a lunatic raving’. SmodAmod stimuli were described as ‘very much like speech’, like people ‘with a regional accent’ or ‘aliens again’. Every one of the thirteen subjects commented that SmodAmod stimuli sounded like speech but that they could not be understood. The six participants who had had pre-training and testing with intSmodAmod stimuli all reported that these were fully intelligible.»—Hemispheric Asymmetries in Speech Perception: Sense, Nonsense and Modulations ||

¢ +En.telemacħy #as#ed ᕪ see -|- Ħ.EMe = dr00pPEd | t(ħ)ere = ᕆ2 case iᑎ part ѥULar iᑎ mê[me wake sides ⊚X-ᕿeckeᖆ + do11ytracӃs + alt-tagged REMnants of ᓐ neTHer ∀ᖆΚ insta11atюn + (ħ)wen En.telemacħy tUrnedᐅᕙᕋK Ħ20-ᔎUᖷFiᒪ0 disappea1ed to ᕪ senseS.S. ||

¢ 15 things searched for in the first hour of October that landed people here on 5¢ense: { airplane graveyard, mimmo paladino, bottomless girls, buffalo teeth, dog jail, door desk, goat, habitrail, lucretius, napoli satyr, redin ramirez, soho street, spirit of assisi, standing goat, wizard of the crow themes }

¢ Messican quiche (enchilada style) quelled les vamp thirst (NaCl-trope) daddylong-legging concessions—something like: «a white noise re(as)sembling (m)an(imal)ifold destiny (not a nested blueprint yet a tree) beg(et)ing re:assembly» ||


2011: Q4 | Q3 | Q2 | Q1 | daily Quotidian

2010: Q4 | Q3 | Q2 | Q1 | daily Quotidian

2009 daily ARKhives

2008 daily ARKhives

2007 daily ARKhives

2006 daily ARKhives

2005 daily ARKhives



bra down                                                   ©om.Posted 2011 Derek White | Sleepingfish | Calamari Press                                            bra quet