Skype 4

hi there hi there common practice testing for the moment ok (flex) :D well, i just might do that
 (bow)
well, that would be a super cool thing. i am installed in the bar in arnolfini
ok so what are you reading/cookiong tonite? are you like an optic?
deleuze and guattari the unknown ok ok and mez breeze ok cool I'll check it out http://automatist.net/deptofreading/wiki/pmwiki.php/HardCodeII thank you http://automatist.net/deptofreading/wiki/pmwiki.php/DatableedingAnElectroduction lovely ok see you later x
 (beer)
see you then hello from down here hello i am here already installed in the bar . might have some soup here and get ready Is it a nice setup downstairs? i am sitting at the table and in front there is a huge screen, a little bit too big unfortunately, i might just go and have a look around the exhibition
ok, I'm trying to get in my last 1/2 hour of work for this session. oh, some soup and some drinks for later then hi there we will be starting in a moment yes, I will just start doris
doris: enable getput getput enabled hi brendan getput: setpage DatableedingAnElectroduction Selected wiki page "DatableedingAnElectroduction"
can you see the chat hello there this is common practice is the wiki projected in the bar at Arnolfini right now? or the chat?or both? it is both thanks, that's good to know yes, :)
cause I always felt, being in a similar situation, that it highthens the attention towards the performative element at play in the kind of reading, we are taking part in now are you here? can you see this chat brendan? hi, i'm here @ sonke, i agree, i feel a bit tensed because of that, i should probably request that whiskey at the bar hello brendan, you got in. fantastic! hey
 i guess, just remind ourselves i might remind the commands which we will be using today in the session.
here is the link to the common practice main page http://automatist.net/deptofreading/wiki/pmwiki.php/CommonPractice
we will be working within the page of mez breeze's text. we will start with our usual command 'get' and put so, that's the page of mez breeze's poem: http://automatist.net/deptofreading/wiki/pmwiki.php/DatableedingAnElectroduction
those two commands allow to get any one of the lines from the text directly to the chat, and put, which allows to put any entry of the chat into the Wiki. so PUT which allows to put any entry of the Skype chat into any one of the numbered spaces on the Wiki so it can be manipulated, rewritten, edited, modified etc. To place any entry or rewrite it in the space, write it in the chat, then press ENTER, and then write: "put 1" in the chat and press ENTER again. This will place the entry in space 1 of the Wiki. If you want to position an entry in section 3 or 4 or 9 or any other, you need to change the number in the command accordingly. You might also work with the text from already populated sections and for that the command ‘get’ is useful. and GET allows to get any one of the texts from the populated sections directly to the chat; To get any text into the chat, write: "get 1" or "get 6" depending on which section you want to get the line from. The text will not be deleted on the Wiki, but can be altered in the chat, or included in the chat for discussion. You might want to replace the old entry with the new one later on by using the command "put".
there are also two other texts to read/re-write/redo during the session there is a fragment from minor literature by Deleuze and Guattari here http://automatist.net/deptofreading/wiki/pmwiki.php/MinorLiterature and another fragment from The Uknown http://automatist.net/deptofreading/wiki/pmwiki.php/HardCodeII
i guess this is all for the moment. shall we just start reading the texts and the discussion.... is there anything else that i forgot to mention? well, I think, that's it for the moment - we can take care of every other question related to the use of get/pet surely later along the reading
: … but maybe, just to note that here as a question towards the situation of reading at stake now, a situation as it seems in between a staged element that produces a certain intensity and density in the manner of relating towards a given text, so a more applied moment, and that kind of reading, which would be called a close reading, here, much less exposed - I wonder, how that two dynamics could enter the reading of the three texts as well
already taking up - even though in a quite different manner - the intensification of language at play with the so called minor literature
it's interesting that the texts themselves talk about action utilization of language that produces intensives/ tensors
well, the fragment from Deleuze talks about a use of language in order to develope a certain expressivity again - as in the sessions before - a work on language in order to come to something else within language, I guess
yes, and the fragment from mez feels as if it creates an expression of language and its movement d&g: 'Marking a movement of language toward its extremes , toward the reversible beyond or before'
mez: 'The point in the fluid. The point that flows between, behind, before…. Comprehension critical/crucial. Reading out-loud may help validate the phonetic allusions.
Marking a movement of language toward its extremes , toward the reversible beyond or before put 14 Stored in location 14
Reading out-loud may help validate the phonetic allusions.
 Reading out-loud may help validate the phonetic allusions.
Marking a movement of language toward its extremes , toward the reversible beyond or before what to do with "datableeding"? put 3Stored in location 3 TTT (Textual Time Travel). TTT is a product of that elusive new mind set, the time machined/mezangelled way of thinking, producing, manifesting.
 What I have to think of at first with the poem by Breeze, is it's invocative gesture. I think, it is already at work in a compressed form with this notion of datableeding. Somehting, but that I might mistake for translation matters, quite romantic.
bleeding of data - doesn't that invoke the idea of a coincidence between something rather machinic and human
i don't think it is a coincidence, though
is there a symbol to use for line break?
well, coincidence as in concurrence

- that's for the line break
concurrence - which could suggest a movement within language to produce this falling into each other - machinic/human - on a level of intensitives - - -? or invoke such a collapse of their distinction for producing a datableeding
to follow from that there is a similar thing in the unknown I could no longer tell the difference between hallucinating and being on-line. but i think it works in different way there... i am not sure
but as d&g and mez seem to introduced tensions that exist in language and its performative element, its movement
in the unknown language is coded because 'The unknown is the output of a fabulous algorithm applied to the extent of the twentieth-century American literature, encoded into compressed English'
  1. include <dgatream>
    using namespace antiO ;
    signifier = despot
I have the idea that the voice audible - reading out-loud may help validate the phonetic allusions - does call for such a collapse of meaining, for a brief moment within language comprehending nothing - though nothing would still be something, it would still direct language - and thus allowing for an indistinction that as well could withdraw the distinction the machinic thinking suffers from, but can not quite suffer
a grammar becoming agrammatical, so to speak, for the pure possibility of another expressivity
: I guess, one of the strongest images of humanity - and that might be a residue of romanticism, the suffering of the fragment - is that sense of respiration within a poem, that might be intensified through the continuous incapability of languages expressivity - well, just thinking out loud I could no longer tell the difference between hallucinating and being on-line.
or rather the invoking of its incapability get 2: Reading out-loud may help validate the phonetic allusions.
 phonetic allusions
put 2 Stored in location 2
 I could no longer tell the difference between hallucinating and being on-line.) 
put 21 Stored in location 21
 continuous incapability of languages expressivity
  put 20 Stored in location 20
 (TTT
put 23 Stored in location 23
 ecriture = regional dialect
phonetic illusions
Blackpool Hallucinations
put 24 Stored in location 24 reading out loud introduces the Textual Time Travel (TTT) Hello. sorry to be late. What link for the wiki page? http://automatist.net/deptofreading/wiki/pmwiki.php/DatableedingAnElectroduction me phonetic allusions wrote a letter to the stars put 2 Stored in location 2 terms that connote pain _d.t.]h![bleedein: put 6 Stored in location 6 get 6: terms that connote pain _d.t.]h![bleedein: get 2: me phonetic allusions wrote a letter to the stars Once up/down/on/under a time, /me terms that connote pain _d.t.]h![bleedein put 6 Stored in location 6
 phonetic allusions mysticism of the voice letter to the stars
get 6: Once up/down/on/under a time, /me\\ terms that connote pain _d.t.]h![bleedein phonetic allusions mysticism of the voice letter to the stars put 2 Stored in location 2 get 3 : Once up/down/on/under a time, /me\\terms that connote pain _d.t.]h![bleedein what to do with "datableeding"? put 6Stored in location 6
 A Clue insert for you: some of the square bracket sets are backward. Some are set in a triptych, bracketing a meaning insert.
put 8 Stored in location 8
 What to do with Datableeding? I have the idea that the illusion of an audible voice - reading out-loud may help validate the phonetic allusions - does call for the possiblity of a collapse of meaining, for a brief moment within language, where language is comprehending nothing - though nothing would still be something, it would still direct language - and thus allowing for an indistinction that as well could withdraw the distinction the machinic thinking suffers from (and can not quite suffer). Alike with the so called minor literature grammar becoming agrammatical, for the pure possibility of another expressivity. An image of humanity - and that might be a residue of romanticism, poetics of the fragment - is that sense of respiration within language, that might come to the fore in being intensified through the continuous invoking of languages incapability to express.
put 3 Stored in location 3 get 6: Once up/down/on/under a time, /me\\\\terms that connote pain _d.t.]h![bleedein get 2: phonetic allusions mysticism of the voice \\letter to the stars
 'bleed' was first an intrasitive verb (without an object), then acquired a transitive form: 'to bleed someone or something'.  But the first object to be bled was the body, then engines
put 3 Stored in location 3 How can I put text somewhere without erasing the text that's there?
 Once up/down/on/under a time, /me\\\\terms that connote pain _d.t.]h![bleedein
Realign your constructs.
Spaces are created.
fl.ow]![ N sparke N gleane.]
put 6 Stored in location 6
 phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration
mysticism of the voice
letter to the stars
put 2 Stored in location 2
 What to do with Datableeding? I have the idea that the illusion of an audible voice - reading out-loud may help validate the phonetic allusions - does call for the possiblity of a collapse of meaining, for a brief moment within language, where language is comprehending nothing - though nothing would still be something, it would still direct language - and thus allowing for an indistinction that as well could withdraw the distinction the machinic thinking suffers from (and can not quite suffer). Alike with the so called minor literature grammar becoming agrammatical, for the pure possibility of another expressivity. An image of humanity - and that might be a residue of romanticism, poetics of the fragment - is that sense of respiration within language, that might come to the fore in being intensified through the continuous invoking of languages incapability to express.
put 32 Stored in location 32 get 2: phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration
mysticism of the voice
letter to the stars ELECTRODUCTION
phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration : ELEKTRA
mysticism of the voice
letter to the stars put 2 Stored in location 2
marking a movement of language toward its extremes, toward a reversible beyond or before. this dialogue is riddled, troubled
How to convince the nodes of their existence/resistance?....comprehension critical/crucial.]
put 7
 marks of the poverty of a language 
The rhythm broken\\the data-traffic lost
What to do with Datableeding? I have the idea that the illusion of an audible voice - reading out-loud may help validate the phonetic allusions - does call for the possiblity of a collapse of meaining, for a brief moment within language, where language is comprehending nothing - though nothing would still be something, it would still direct language - and thus allowing for an indistinction that as well could withdraw the distinction the machinic thinking suffers from (and can not quite suffer). Alike with the so called minor literature grammar becoming agrammatical, for the pure possibility of another expressivity. An image of humanity - and that might be a residue of romanticism, poetics of the fragment - is that sense of respiration within language, that might come to the fore in being intensified through the continuous invoking of languages incapability to express.


[Meaning code: this dialogue is riddled, troubled; no multilogues exist here to assist it, make it a true network log or decipherable text. Try and muddle on anyway, magdul . N means "and", or "in". "r" means "and" or "are", etc. Reading out-loud may help validate the phonetic allusions. Posthoc reasoning will not help comprehension. Read that first paragraph again.]


________ _____________ . _ . . ........ . .......


Back after I finish this potato!
magdalenatc had t. st.ppe 4 a sec ]juzt a sec![.


back after i finish
regurgitating everything ][please][
magdalenatc /me waits/me waits
regurgitating everything ][please][
i might just get a beer while you are finishing your potato and everyone has disappeared .
/me had t. st.ppe 4 a sec ]juzt a sec![. back again - did you get a beer then, cause I got one now i am back it is guiness what are you having? brendan is eatihg his potato oh, Beck's it's called nice, and are there some people in the bar as well?
]wo[man.i]n[festing
there are some busy in conversations phonetic allusions, I guess they might be reading this or they might not, i am not sure :) yes, they might - one never knows must be [phon]etic Brendan Byrne p]to {g}one
no multilogues exist here to assist it progressive construction and destruction of images, acceleration of meaning and its interruption causes contraction and expansion of time or multilogues
 multilogues
ELECTRODUCTION

phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration : ELEKTRA
mysticism of the voice


letter to the stars The miracle of The Unknown is not its immense size On the contrary, the feat of The Unknown is how small it actually is. All of twentieth-century literature in about 200 megs. If, that is, you have the key to decode it. ELECTRODUCTION
phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration : Here speaks ELECTRA. In the Heart of Darkness. Under the Sun of Torture. To the Metropolises of the World.
mysticism of the voice
letter /to the/ stars
 [your name here , a clue n-sert 4 u: sum ov the squ.re brackettez setz r backward]inge off e-vil]e[]. Some are set in a triptych, b.racket.ing a m][l][eaning insert. phonetic-tocks r m]de[]ployed[. spaces r created. re.aline yr construcktz. fl.ow]![ N sparke N gleane.]


________ _____________ . _ . . ........ . ........

[magdalenatc , a clue n-sert 4 u: sum ov the squ.re brackettez setz r backward]inge off e-vil]e[]. Some are set in a triptych, b.racket.ing a m][l][eaning insert. phonetic-tocks r m]de[]ployed[. spaces r created. re.aline yr construcktz. fl.ow]![ N sparke N gleane.]


________ _____________ . _ . . ........ . ........

[Brendan Byrne , a clue n-sert 4 u: sum ov the squ.re brackettez setz r backward]inge off e-vil]e[]. Some are set in a triptych, b.racket.ing a m][l][eaning insert. phonetic-tocks r m]de[]ployed[. spaces r created. re.aline yr construcktz. fl.ow]![ N sparke N gleane.]


________ _____________ . _ . . ........ . ........

TTT (Textual Time Travel). TTT is a product of that elusive new mind set, the time machined/mezangelled way of thinking, producing, manifesting.
 … is a product of that elusive new mind set, the time machined/mezangelled way of thinking, producing, manifesting - progressive construction and destruction of images, acceleration of meaning and its interruption, causing contraction and expansion of time
 ... is a product of that elusive new mind set, the time machined/mezangelled way of thinking, producing, manifesting - progressive construction and destruction of images, acceleration of meaning and its interruption, causing contraction and expansion of time ...
ELECTRODUCTION

phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration : Here speaks ELECTRA. In the Heart of Darkness. Under the Sun of Torture. To the Metropolises of the World.
mysticism of the voice
letter /to the/ stars
 ... is a product of that elusive new mind set, the time machined/mezangelled way of thinking, producing, manifesting - progressive construction and destruction of images, acceleration of meaning and its interruption, causing contraction and expansion of time ...
 'bleed' was first an intrasitive verb (without an object), then acquired a transitive form: 'to bleed someone or something'.  But the first object to be bled was the body, then engines
ELECTRODUCTION
a tryptich
phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration : Here speaks ELECTRA. In the Heart of Darkness. Under the Sun of Torture. To the Metropolises of the World.
mysticism of the voice
letter /to the/ stars
ELECTRODUCTION
a tryptich
phonetic allusions
staging at once the smallest segment of meaningful difference and a movement that would attempt to play and undo such differences - what remains to be taken care of is acceleration : Here speaks ELECTRA. In the Heart of Darkness. Under the Sun of Torture. To the Metropolises of the World.
mysticism of the voice
letter /to the/ stars
Once up/down/on/under a time,
/me
[W]][w]ord /ar Machine
terms that connote pain _d.t.]h![bleedein Realign your constructs. Spaces are created. fl.ow]![ N sparke N gleane.] ELECTRODUCTION
a triptych
phonetic allusions
mysticism of the voice
letter /to the/ stars
 'bleed' was first an intrasitive verb (without an object), then acquired a transitive form: 'to bleed someone or something'.  But the first object to be bled was the body, then engines
terms that connote pain _d.t.]h![bleedein
 'bleed' was first an intrasitive verb (without an object), then acquired a transitive form: 'to bleed someone or something'.  But the first object to be bled was the body, then engines
terms that connote pain _d.t.]h![bleedein Once up/down/on/under a time,
/me
[[W][w]ord/war] Machine
terms that connote pain _d.t.]h![bleedein Realign your constructs. Spaces are created. fl.ow]![ N sparke N gleane.] minor literature grammar becoming agrammatical, for the pure possibility of another expressivity. so[long] as iy creates something else
Location not found
minor literature a[gramm]a
 another ex}pressivity    
.
<<< so[long] as iy creates something else minor literature a[gramm]a
another ex}pressivity

.

so[long] as iy creates something else

<<<
__Datableeding: An

Electroduction_

... minor literature a[gramm]a
another ex}pressivity

.

so[long] as iy creates something else

<<< minor literature a[gramm]a


another ex}pressivity





.





so[long] as iy creates something else





<<< __datableeding: triptych for phonetic allusions__ minor literature a[gramm]a
another ex}pressivity

.

so[long] as iy creates something else

<<< One could equally cite the accents __datableeding: triptych for phonetic allusions__ Sorry folks been having some connection problems here (and potato). __datableeding: triptych for phonetic allusions__ the dialogue is riddled, the terms connote pain _d.t.]h![bleedein minor literature a[gramm]a
another ex}pressivity

.

so[long] as iy creates something else

<<<
One could equally cite the accents
99"DNA, ASCII, what’s the difference?))
  1. include <dgatream>
    using namespace antiO ;
    signifier = despot
minor literature a[gramm]a
another ex}pressivity

.

so[long] as iy creates something else

<<< One could equally cite the accents
DNA, ASCII, what’s the difference?))
  1. include <dgatream>
    using namespace antiO ;
    signifier = despot
minor literature a[gramm]a
another ex}pressivity

.

so[long] as iy creates something else

One could equally cite the accents
DNA, ASCII, what’s the difference? so what's the glitch sonke, do you know?
  1. include <dgatream>
    using namespace antiO ;
    signifier = despot
whoops! maybe the apostrophe - just type in Skype again that are interior to words minor literature a[gramm]a
another ex}pressivity
.
<<< One could equally cite the accents DNA, ASCII, what's the difference that are interior to words
  1. include <dgatream>
    using namespace antiO ;
    signifier = despot #include <dgatream>
    using namespace antiO
    signifier = despot[[<<]that are interior to words
had t. st.ppe 4 a sec ]juzt a sec![.



back after i finish
 [[<<]#include <dgstream>
using namespaceantiO
signifier = despot
that are interior to words
had t. st.ppe 4 a sec ]juzt a sec![.



back after i finish [ a]h![time, /me wroTe a lettah 2 Brendan Byrne had to stop for a second (just a 2nd second!). DNA is just the bar code of the soul
The rhythm broken.
_d.t.]h![bleedein:: DNA is just the bar code of the soul

The rhythm broken.

_d.t.]h![bleedein:: ELECTRODUCTION


a triptych
phonetic allusions
mysticism of the voice
letter /to the/ stars
 [marks Amerika here , A Clue insert for you: some of the square bracket sets are backward. Some are set in a triptych, bracketing a meaning insert. Phonetics are employed. Spaces are created. Realign your constructs. Flow and spark and glean.]
DNA is just the bar code of the soul

The rhythm broken.

_d.t.]h![bleedein::
continuous incapability of languages expressivity


The rhythm broken\\the data-traffic lost re.aline yr construcktz. fl.ow]![marks [ELEKTRA] here
Phonetics are employed. Spaces are created.
/me had t. st.ppe 4 a sec ]juzt a sec![. oh, hello - how is it going with the guinness but i am back now guiness is down how is your becks? and we are getting a bit silent well, that's gone as well I have no beer boo hoo hm, very said sad sa[i]d said was good edward? yes, said sad Edward Sad Edward I. Sad sat Ed Brendan Byrne am very saíd / i guess this sounds like a E/n/d anE/n/d :) not really :) maybe it does sound like anE/n/d - but it could just be a phonetic allusion
 
/me am v. saíd
a clue pure tristesse edward Saíd?
 (put your name here) a clue n-sert 4 u
yes, edward la tristesse said
 (edward Said?) a clue n-sert 4 u
: :) me? >> said Ed i guess this is a(s)a[i]d end of the common practice language/code Is there ever an end? I guess, then I simply would thank you, Magda, for preparing and hosting this four session of common practice - maybe I will have a drink now too here, am actually working from Flutgraben e.V. in Berlin, where it's getting cold, but some people are still around you wish i whish, yes. thanks sonke and brendan. this last session just got us three + everyon around, i suppose it's getting darker here... in the bar nice - and have a good evening there at the bar thanks sonke and Magda, good shit. (wave) thanks - and maybe soon at some other or continuous reading This could be an infinite recursive function room and crash the bar doris: disable getput getput disabled could be crash the bar, etc Press Control+C if they wont close :)

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