GRIST ON-LINE #2 USE COURIER 10 CPI FOR YOUR FONT. GGGGGGG GGGGGGGGGGG GGGGGG GGGGGG GGGGG GGGGGG GGGG GGGG GGGG GGGG GGGGG GRIST GGGGGGG GRIST GGGGGGGG GRIST GGGGGGGGGGGGGGRIST GGGGGGGGGGGGGGRISTGRISTGRIST GGGGGGGGGGGGGGGGRISTGRISTGRISTGRISTGRIST ONLINEONLINEONLINEONLINEONLINEONLINEONLINEONLINEONLINE 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 **************************************** 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 electronically on a monthly schedule. 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GRIST On-Line is available for anonymous ftp and by gopher from etext.archive.umich.edu/pub/Poetry/Grist which is the preferred form of distribution. **************************************** 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 dell@wiretap.spies.com / 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 **************************************** 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 dell@wiretap.spies.com The Electronic Text Center & On-line Archive of Electronic Texts, David Seaman, Coordinator, 804-924-3230; etext@virginia.edu 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. **************************************** 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. **************************************** Two Visions of the Future and a Narrative of the Past-- demonstrate that a thread, once begun, never ends.... **************************************** VISION OF THE FUTURE #1 _______________________ IN MOTION, Carol Berge **************************************** 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. **************************************** VISION OF THE FUTURE #2 _______________________ FLORA + FAUNA ANTHROPOPHOBICA 1992 [with additions 10/93 from c. 1981] **************************************** 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 (an12070@anon.penet.fi) 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 Jim.Esch@lambada.oit.unc.edu "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 Jim.Esch@lambada.oit.unc.edu 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, FOWLER@PHANTOM.COM, 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." **************************************** PROJECT GUTENBERG The purpose of Project Gutenberg is to encourage the creation and distribution of English language electronic texts. We prefer the texts to be made available in pure ASCII formats so they would be most easily converted to use in various hardware and software. We assist in the selection of hardware and software as well as in their installation and use. We also assist in scanning, spelling checkers, proofreading, etc. Our goal is to provide a collection of 10,000 of the most used books by the year 2001. So far most electronic text work has been carried out by private, semi-private or incorporated individuals, with several library or college collections being created, but being made mostly from the works entered by individuals on their own time and expense. This labor has largely been either a labor of love, or a labor made by those who see future libraries as computer searchable collections which can be transmitted via disks, phone lines or other media at a fraction of the cost in money, time and paper as in present day paper media. Therefore, we call on all interested parties to get involved with the creation and distribution of electronic texts, whether it's a commitment to typing, scanning, proofreading, collecting, or what ever your pleasure might be. Please do not hesitate to send any e-texts you might find to this address. If you prefer sending disks, a mailing address follows. The easiest way for you to find out about Project Gutenberg is via subscription to the GUTENBERG listserver. You can do it by sending the following message to LISTSERV@UIUCVMD.BITNET: SUB GUTENBERG YOUR NAME Michael S. Hart, Director, Project Gutenberg National Clearinghouse for Machine Readable Texts BITNET: HART@UIUCVMD INTERNET: HART@VMD.CSO.UIUC.EDU CompuServe: >INTERNET:hart@vmd.cso.uiuc.edu Also available as the Usenet group bit.listserv.gutenberg (THE GUTENBERG SERVER IS LOCATED AT GUTENBERG@UIUCVMD.BITNET) (Internet address is GUTENBERG@VMD.CSO.UIUC.EDU - the server only recognizes subscription commands, others routed to me) **************************************** To: spunk-list@lysator.liu.se 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 dell@wiretap.spies.com / 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; etext@virginia.edu ******************************************** 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 user community, and to establish electronic texts as a mainstream resource for pedagogy and research at the University. To this end we run regular training sessions for the on-line data and search tools, and we work daily with individual users to introduce them to new working methods, new teaching possibilities, and new types of equipment. ELECTRONIC TEXT HOLDINGS The on-line texts include the Oxford English Dictionary, second edition; the entire corpus of Old English writings; selected Library of America titles; several versions of Shakespeare's works; hundreds of literary, social, historical, and philosophical materials in several languages (chiefly from the Oxford and Cambridge Text Archives), and the currently released parts of two massive databases: J-P. Migne's Patrologia Latina, and the English Poetry Full-Text Database. Our on-line texts are all encoded with Standard Generalized Markup Language (SGML). Some of these texts we prepare ourselves, with the aid of volunteers from various Library departments, under a Staff Sharing program for cross-training. Because of contractual obligations with the vendors who supply the texts and the search software, access to the on-line text service is restricted to University of Virginia students, faculty and staff. Having the majority of our electronic texts available on-line gives our users convenient access to our holdings, and allows us to provide the same search and display software for all our collections. Having been taught to use one database, a user then has the knowledge necessary to search any of our databases, thereby overcoming the frustrations involved with using texts on CD-ROMs, where each disk typically has a different interface. THE CENTER In addition to building the on-line collection, the Electronic Text Center provides a place in which to use those texts not available on-line, including the following: 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 etext@virginia.edu. **************************************** 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 couey@tmn.com For further information about LOOP contact coolit@tmn.com smeyer@tmn.com 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 (craige@pantry.mcad.edu), Curator The Exquisite Fax Our Motto: "Very soon, and in pleasant company." _______________ Date: Wed, 13 Oct 1993 13:00:54 -0700 (PDT) From: pinet@sfu.ca ** 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 pinet@sfu.ca 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, honoria@ccwf.cc.utexas.edu 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, iverson@nmsu.edu 95-10-1, Face Zine, FaGaGaGa interested in Email about Mail Art and Networking for a zine chock full of Net news and rants, ae705@yfn.ysu.edu 95-10-1, Global Mail, Send email numbers, art projects, mail art shows, tape, fax, audio, anarchist projects, and whatever, Ashley Parker Owens, at soapbox@well.sf.ca.us, or 72162.1573@compuserve.com 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, 72630.2465@compuserve.com 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, bcclark@igc.apc.org 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, ctmunson@macc.wisc.edu, or Mikael Cardell at Internet, cardell@lysator.liu.se, Other numbers are Bitnet, cmunson@wiscmacc.bitnet 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, jstevens@world.std.com, OR Purps, HailOtis@socpsy.sci.fau.edu, 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, CF2785@ALBNYVMS.BITNET 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: IP25196@portland.maine.edu OR raltemus@well.sf.ca.us, 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, sue@archone.tamu.edu 95-10-1, I enjoy any mail on the arts, weirdness in our world, the occult, ancient history, and anarchy, Don Webb, 0004200716@mcimail.com 95-10-1, Send anything- everything, esp. cyberpunk, techno, zines, and hacking, sprother@nyx.cs.du.edu 95-10-1, Send me listings of mail art shows and whatever else you would like, Reid Wood (State of Being), zwood@ocvaxa.cc.oberlin.edu 95-10-1, Send me news of Zines, mail art projects, and fax projects, Keith I De Mendonca, keithdm@syma.sussex.ac.uk 95-10-1, Send anything - everything, esp. news of mail art shows and general contact, Linda Hedges, LindaH@ssec.wisc.edu 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, morsed@GVSU.EDU **************************************** ANNOUNCEMENTS **************************************** From: bureaud@altern.com (bureaud) To: fowler@phantom.com 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 : bureaud@altern.com 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: mgriffin@tmn.com 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: couey@tmn.com **************************************** 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 e-poetry@ubvm.cc.buffalo.edu." 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: couey@tmn.com **************************************** Date: Tue, 12 Oct 93 17:03:38 EDT From: all available on request--just ask for it! "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: rgardner@charon.mit.edu. 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 rgardner@charon.mit.edu Otherwise, send your email requests to: rgardner@charon.mit.edu **************************************** E-MAIL ARTISTS 0004200716@mcimail.com Don Webb 72162.1573@compuserve.com Ashley Parker Owens 72630.2465@compuserve.com Hubener, HERD a8288@mindlink.bc.ca James K-M ae705@yfn.ysu.edu FaGaGaGa am4g+@ANDREW.CMU.EDU Artur Matuck au462@cleveland.Freenet.edu Burning Pr, Taproot bcclark@igc.apc.org Permeable Press bgale@well.sf.ca.us Bob Gale bureaud@altern.com Annick Bureaud Cathryn.L.Welch@dartmouth.edu Crackerjack Kid cel+@andrew.cmu.edu Carl Eugene Loeffler dpmilliken@amherst.edu Uncle Don ecsvax!ghb@uncecs.edu George Brett far@medinah.atc.ucarb.com Forrest Richey fringeware@wixer.cactus.org Fringeware Magazine honoria@ccwf.cc.utexas.edu Honoria idealord@dorsai.dorsai.org Jeff Harrington IP25196%PORTLAND.bitnet Reed Altemus isea@rug.nl Wim van der Plas jerod23@well.sf.ca.us Fact Sheet 5 jmalloy@garnet.berkeley.edu Judy Malloy joachim@tethys.ph.albany.edu Joachim Frank jstevens@world.std.com PURPS Magazine jzgrover@kitchen.mcad.edu Jan Zita Grover keithdm@syma.sussex.ac.uk Keith DeMendona kmg@esd.sgi.com Kevin Goldsmith Lindah@ssec.wisc.ed Linda Hedges m91hogan@acs.syr.edu Matt Hogan morsed@gvsu.edu Deana Morse okuno@ntt-20.ntt.jp Hiroshi Okuno pdivine@unixg.ubc.ca Fishtank Magazine Pete.Fischer@stjhmc.fidonet.org Pete Fisher prutkov@mailer.cc.fsu.edu Paul Rutkovsky raltemus@well.sf.ca.us Reed Altemus rgardner@charon.mit.edu Richard Gardner roman@mcd.edu Roman Verostko Scot.Art@f909.n712.z3.fidonet.org Scot Art soapbox@well.sf.ca.us Ashley Parker Owens sprother@nyx.cs.du.edu stbob@pro-woolf.cts.com Krylon Underground sue@archone.tamu.edu Tex A&M Vis Lab suephil@peg.pegasus.oz.au ARTSNET Australia sxjnce@ritvax.isc.rit.edu Steven Jacobs tramel@tenet.edu Greg Tramel zwood@ocvaxa.cc.oberlin.edu 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 ======================================================= 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 71702.154@compuserve.com. :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