Dang, I did it again...
$$$ Jinn $$$
(except as an inside joke)
Check out this Usenet set, merged with some of
'ennis' worthless poetry: Presto: I've transformatively
created VALUE from 'ennis-turd shit.
http://clitin.com/Aria%2DG%2DLovely/
Taken alone, with a /choice/ porn image, single
lines of 'ennis-turd shit can be quite tasty.
-------------------
Disclaimer: This only applies to early 'ennis-turd
shit. 'ennis-turd is too worm eaten and the well
ran dry. ---------------
Butt fuck!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
My DANG, I, DID IT AGAIN --- Idea
[optionally, of course] support the /feature/ of
having the poetry line "spoken" as the picture it is
attached to displays.
Way Out.... Man....
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
(in > 80 "hands free" slideshows)
with poetry from famous poets (soon)
Paul Heslop
>
>
> My DANG, I, DID IT AGAIN --- Idea
>
> [optionally, of course] support the /feature/ of
> having the poetry line "spoken" as the picture it is
> attached to displays.
prove you have some talent Tom, of your own
--
Paul (And I'm, like, "yeah, whatever!")
-------------------------------------------------------
Stop and Look
http://www.geocities.com/dreamst8me/
$$$ Jinn $$$
"Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
> "$$$ Jinn $$$" wrote:
>>
>
>>
>> My DANG, I, DID IT AGAIN --- Idea
>>
>> [optionally, of course] support the /feature/ of
>> having the poetry line "spoken" as the picture it is
>> attached to displays.
>
> prove you have some talent Tom, of your own
I just posted a /new/ work.
Paul Heslop
>
> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
> > "$$$ Jinn $$$" wrote:
> >>
> >
> >>
> >> My DANG, I, DID IT AGAIN --- Idea
> >>
> >> [optionally, of course] support the /feature/ of
> >> having the poetry line "spoken" as the picture it is
> >> attached to displays.
> >
> > prove you have some talent Tom, of your own
>
> I just posted a /new/ work.
>
$$$ Jinn $$
"Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBE48...@blueyonder.co.uk...
> "$$$ Jinn $$$" wrote:
>>
>> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
>> > "$$$ Jinn $$$" wrote:
>> >>
>> >
>> >>
>> >> My DANG, I, DID IT AGAIN --- Idea
>> >>
>> >> [optionally, of course] support the /feature/ of
>> >> having the poetry line "spoken" as the picture it is
>> >> attached to displays.
>> >
>> > prove you have some talent Tom, of your own
>>
>> I just posted a /new/ work.
>>
> you post nothing but bile
Dulce Jubilo is bile....
Then you can go fuck yourself.
Art
$$$ Jinn $$$ wrote:
> I'm so vastly smarter than /you/ that it isn't even.
> (except as an inside joke)
>
> Check out this Usenet set, merged with some of
> 'ennis' worthless poetry: Presto: I've transformatively
> created VALUE from 'ennis-turd shit.
>
> http://clitin.com/Aria%2DG%2DLovely/
>
> Taken alone, with a /choice/ porn image, single
> lines of 'ennis-turd shit can be quite tasty.
>
> -------------------
> Disclaimer: This only applies to early 'ennis-turd
> shit. 'ennis-turd is too worm eaten and the well
> ran dry. ---------------
>
> Butt fuck!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
>
> My DANG, I, DID IT AGAIN --- Idea
>
> [optionally, of course] support the /feature/ of
> having the poetry line "spoken" as the picture it is
> attached to displays.
>
> Way Out.... Man....
>
Spoken word, of course, would be a more effective presentation, given
the media you've chosen.
There is potential in the music video that will, most likely, never be
realized. But then rock music, itself, is hardly an effective art.
Which is to say rock music is severely limited by its formula. Music
videos, too, are slaves tos their formulas.
Communication is the trick, ain't it? A Trick 99, so to speak. To use
the pre-existing formula to say something new.
But spoken word, even with musical accompaniment, would hardly rise
above the typical slide presentation we experienced in 7th grade:
"During the late Mesozoic era, also known as the Cretaceous..."
["beep" and the teacher would push the advance slide button]
"...the first flowering plants appeared, along with snakes and
crocodilians..."
[beep]
Etc.
Even before D. W. Griffith, it was understood that our blinking and
darting eyes provide us with a reality made up of "jump cuts" that our
brain fits into learned models which integrate them into a continuous
and understandable whole.
Hence the brain is pre-adapted to the slide show. And an even-flow,
continuous sound track facilitates our ability to integrate the
communication(s).
We realize you're more interested in the technical aspects than in the
actual communication, and that's too bad.
But a spoken word rendering would be superior to merely having the
lines of the poems broken up and matched with single slides in a rigid
one to one ratio.
And, if you're going strictly porn, how about Sunny Leon? She's a
beautiful girl and a natural flirt who attracts professional
photographers with some basic understanding of light, color and value.
There must be thousands of readily available photos of her out there.
And if not strictly porn, how about Monica Bellucci, who is not only a
natural, but has a very sophisticated and expressive ability to
establish a flirtatious relationship with the camera? I'll bet there's
even Leon and Bellucci Binary Usenet Groups.
Just some suggestions from your Uncle Art.
---
Art
Paul Heslop
>
> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBE48...@blueyonder.co.uk...
> > "$$$ Jinn $$$" wrote:
> >>
> >> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
> >> > "$$$ Jinn $$$" wrote:
> >> >>
> >> >
> >> >>
> >> >> My DANG, I, DID IT AGAIN --- Idea
> >> >>
> >> >> [optionally, of course] support the /feature/ of
> >> >> having the poetry line "spoken" as the picture it is
> >> >> attached to displays.
> >> >
> >> > prove you have some talent Tom, of your own
> >>
> >> I just posted a /new/ work.
> >>
> > you post nothing but bile
>
> Dulce Jubilo is bile....
>
> Then you can go fuck yourself.
>
$$$ Jinn $$
"Art" <arty_...@yahoo.com> wrote in message news:1126023946....@g14g2000cwa.googlegroups.com...
>
> $$$ Jinn $$$ wrote:
>> I'm so vastly smarter than /you/ that it isn't even.
>> (except as an inside joke)
>>
>> Check out this Usenet set, merged with some of
>> 'ennis' worthless poetry: Presto: I've transformatively
>> created VALUE from 'ennis-turd shit.
>>
>> http://clitin.com/Aria%2DG%2DLovely/
>>
>> Taken alone, with a /choice/ porn image, single
>> lines of 'ennis-turd shit can be quite tasty.
>>
>> -------------------
>> Disclaimer: This only applies to early 'ennis-turd
>> shit. 'ennis-turd is too worm eaten and the well
>> ran dry. ---------------
>>
>> Butt fuck!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
>>
>> My DANG, I, DID IT AGAIN --- Idea
>>
>> [optionally, of course] support the /feature/ of
>> having the poetry line "spoken" as the picture it is
>> attached to displays.
>>
>> Way Out.... Man....
>>
>
> Spoken word, of course, would be a more effective presentation, given
> the media you've chosen.
Not bad.
>
> There is potential in the music video that will, most likely, never be
> realized. But then rock music, itself, is hardly an effective art.
> Which is to say rock music is severely limited by its formula. Music
> videos, too, are slaves tos their formulas.
The wanker's fomula could easily be different. Good point.
Give a choice of audio choices.
Only one being the "current poetry line".
Others being various selections of genre/fetish directed material.
>
> Communication is the trick, ain't it? A Trick 99, so to speak. To use
> the pre-existing formula to say something new.
Be great to die. That would be new.
>
> But spoken word, even with musical accompaniment, would hardly rise
> above the typical slide presentation we experienced in 7th grade:
>
> "During the late Mesozoic era, also known as the Cretaceous..."
>
> ["beep" and the teacher would push the advance slide button]
>
> "...the first flowering plants appeared, along with snakes and
> crocodilians..."
>
> [beep]
>
> Etc.
Not my script or ....
>
> Even before D. W. Griffith, it was understood that our blinking and
> darting eyes provide us with a reality made up of "jump cuts" that our
> brain fits into learned models which integrate them into a continuous
> and understandable whole.
>
> Hence the brain is pre-adapted to the slide show. And an even-flow,
> continuous sound track facilitates our ability to integrate the
> communication(s).
My /generation/ shite can easily invoke MS SAPI to produce the audio.
(limited by the voices that I buy. Microsoft Mary is free, but
there are much better, but have usage restrictions)
The concept of a poem having value is so funny when I think
of software and technology. Poets are idiotfuckbrains.
>
> We realize you're more interested in the technical aspects than in the
> actual communication, and that's too bad.
The communication that occurs between a man, his cock, and my
slideshow, yes. Technical aspects. :)
>
> But a spoken word rendering would be superior to merely having the
> lines of the poems broken up and matched with single slides in a rigid
> one to one ratio.
Both, I think, and more.
>
> And, if you're going strictly porn, how about Sunny Leon? She's a
> beautiful girl and a natural flirt who attracts professional
> photographers with some basic understanding of light, color and value.
> There must be thousands of readily available photos of her out there.
I have work to /index/ my database in generated HTML pages.
Basically, one /Home/ page that lists all of the categories, whose links
bring up Zidebar-type (popup) pages with scrolling lists of matching folders
in /that/ category.
Maybe a total of 5000 folders.
>
> And if not strictly porn, how about Monica Bellucci, who is not only a
> natural, but has a very sophisticated and expressive ability to
> establish a flirtatious relationship with the camera? I'll bet there's
> even Leon and Bellucci Binary Usenet Groups.
>
> Just some suggestions from your Uncle Art.
We keep you in mind.
>
> ---
> Art
>
$$$ Jinn $$
"Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DC632...@blueyonder.co.uk...
> "$$$ Jinn $$" wrote:
>>
>> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBE48...@blueyonder.co.uk...
>> > "$$$ Jinn $$$" wrote:
>> >>
>> >> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
>> >> > "$$$ Jinn $$$" wrote:
>> >> >>
>> >> >
>> >> >>
>> >> >> My DANG, I, DID IT AGAIN --- Idea
>> >> >>
>> >> >> [optionally, of course] support the /feature/ of
>> >> >> having the poetry line "spoken" as the picture it is
>> >> >> attached to displays.
>> >> >
>> >> > prove you have some talent Tom, of your own
>> >>
>> >> I just posted a /new/ work.
>> >>
>> > you post nothing but bile
>>
>> Dulce Jubilo is bile....
>>
>> Then you can go fuck yourself.
>>
> I'm sure you would be more adept at that
I'm vastly better at poetry than you.
Dulce Jubilo is fine art.
Paul Heslop
>
> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DC632...@blueyonder.co.uk...
> > "$$$ Jinn $$" wrote:
> >>
> >> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBE48...@blueyonder.co.uk...
> >> > "$$$ Jinn $$$" wrote:
> >> >>
> >> >> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
> >> >> > "$$$ Jinn $$$" wrote:
> >> >> >>
> >> >> >
> >> >> >>
> >> >> >> My DANG, I, DID IT AGAIN --- Idea
> >> >> >>
> >> >> >> [optionally, of course] support the /feature/ of
> >> >> >> having the poetry line "spoken" as the picture it is
> >> >> >> attached to displays.
> >> >> >
> >> >> > prove you have some talent Tom, of your own
> >> >>
> >> >> I just posted a /new/ work.
> >> >>
> >> > you post nothing but bile
> >>
> >> Dulce Jubilo is bile....
> >>
> >> Then you can go fuck yourself.
> >>
> > I'm sure you would be more adept at that
>
> I'm vastly better at poetry than you.
>
> Dulce Jubilo is fine art.
>
har har
$$$ Jinn $$
"Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DDE1A...@blueyonder.co.uk...
>> Dulce Jubilo is fine art.
Dispute it with a close reading, moron.
Oh, I forgot, anything longer than 3 syllables stumps you.
Po' fucken idiotfuckbrain.
Paul Heslop
>
> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DDE1A...@blueyonder.co.uk...
>
> >> Dulce Jubilo is fine art.
>
> Dispute it with a close reading, moron.
>
> Oh, I forgot, anything longer than 3 syllables stumps you.
>
> Po' fucken idiotfuckbrain.
>
hillbilly
Dearest Thomas
Paul Heslop wrote:
> "$$$ Jinn $$" wrote:
> >
> > "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DDE1A...@blueyonder.co.uk...
> >
> > >> Dulce Jubilo is fine art.
> >
> > Dispute it with a close reading, moron.
> >
> > Oh, I forgot, anything longer than 3 syllables stumps you.
> >
> > Po' fucken idiotfuckbrain.
> >
> Such class.
>
> hillbilly
Dulce Jubilo is fine art.
Take it on faith since your brain is damaged.
--
http://Clitin.Com *The Pussy Poetry Place*
*** MORE THAN 150 meg FREE PORNetry ***
Art
$$$ Jinn $$ wrote:
[snip]
> >
> > Communication is the trick, ain't it? A Trick 99, so to speak. To use
> > the pre-existing formula to say something new.
>
> Be great to die. That would be new.
>
The Washington Street Bridge always looms.
And it ain't nothin' knew.
Hemingway's Shotgun is a well traveled road, and now that he's gone
people merely forget.
[snip]
> > Hence the brain is pre-adapted to the slide show. And an even-flow,
> > continuous sound track facilitates our ability to integrate the
> > communication(s).
>
> My /generation/ shite can easily invoke MS SAPI to produce the audio.
> (limited by the voices that I buy. Microsoft Mary is free, but
> there are much better, but have usage restrictions)
Oh come now. Mac OS X comes with a variety of voices (all in the
purchase price). Freeware captures and other freeware can convert to
AIFF, WAV, MP3, MP4, you name it.
But you /can't/ be serious that you would use digital reader voices!
Even at their best, they're not much better than "do you want to play a
game?"
I won't have ET reading /Love Poems for the Incompetent/. I'll switch
channels first. "Ellleee-ot. ET owwwwch."
Read them yourself--you have an acceptable voice.
Ironically, if you did so, you could copyright your vocal
interpretation.
>
> The concept of a poem having value is so funny when I think
> of software and technology. Poets are idiotfuckbrains.
>
> >
> > We realize you're more interested in the technical aspects than in the
> > actual communication, and that's too bad.
>
> The communication that occurs between a man, his cock, and my
> slideshow, yes. Technical aspects. :)
What about women who like porn? You'd be surprised.
And, besides, I think you've missed what happens in the cycle.
Eroticism is all about sensitivity to aesthetics, phenotypes, and
desire. And the cult of the flirt. Most of it is subconscious, but not
to the pros.
---
Art
Stuart Leichter
arty_...@yahoo.com wrote on 9/6/05 12:25 PM:
Chuck Yeager had eyes in the back of his head. Did you see him raise his
drink in response at Pancho's?
>
> Hence the brain is pre-adapted to the slide show. And an even-flow,
> continuous sound track facilitates our ability to integrate the
> communication(s).
You're making all this up. The brain is pre-adapted to make everything up
that isn't already part of it.
Someone claimed that the invention of perspective in 2-dimensional drawing
-- the illusion of depth -- brought about the Renaissance, or coincided with
it, in Italy. (I didn't know that until long after filmstrip time and Bell &
Howell time, somewhere during carousel time.)
Have you any idea why we acquiesced to HDTV instead of expecting holographic
video? Imagine watching football in your living room instead of on a screen.
We aren't worthy, I suppose.
But all this kissy-face in the last few years between Apple, Sony, Intel,
IBM, et al., plus Jobs's early inside track as a venture capitalist on the
Segway, has to have more going on than better cars. Although Personal
Helicopter Emergency Kites are starting to sound like a great idea --
lead-shielded iPod + GPD navigational system, voice/text command or manual,
w/helmet. (John Deere is so Industrial now.)
--
Stuart
$$ Jinn $$
"Art" <arty_...@yahoo.com> wrote in message news:1126040244.7...@g44g2000cwa.googlegroups.com...
>
> $$$ Jinn $$ wrote:
>
> [snip]
>
>> >
>> > Communication is the trick, ain't it? A Trick 99, so to speak. To use
>> > the pre-existing formula to say something new.
>>
>> Be great to die. That would be new.
>>
> The Washington Street Bridge always looms.
Why settle for an MLK rename.
>
> And it ain't nothin' knew.
Neither is stumbling around like a gimp.
Being in pain on any attempt to stave off atrophy.
>
> Hemingway's Shotgun is a well traveled road, and now that he's gone
> people merely forget.
The asswipes here would be lucky to remember the things I've seen.
I lived my fucken life, and now at the end.
Came to poetry and some ghetto-moron fucked up.
REALLY BIG... Just wait.
>
> [snip]
>> > Hence the brain is pre-adapted to the slide show. And an even-flow,
>> > continuous sound track facilitates our ability to integrate the
>> > communication(s).
>>
>> My /generation/ shite can easily invoke MS SAPI to produce the audio.
>> (limited by the voices that I buy. Microsoft Mary is free, but
>> there are much better, but have usage restrictions)
>
> Oh come now. Mac OS X comes with a variety of voices (all in the
> purchase price). Freeware captures and other freeware can convert to
> AIFF, WAV, MP3, MP4, you name it.
TTF is very supported? Voice Rec. ?
Be interesting to see what they have, really.
(but realistically, I'm totally tied in to MS, and don't regret,
although I've hated them for longer than most have been
alive... :)
I was working for MicroPro when the Mac came out and I
ranted at my manager for not giving it more attention, but
MicroPro never did. Their big struggle was to get a
Hit product not written in 8080 assembly language.
>
> But you /can't/ be serious that you would use digital reader voices!
Mostly, yes. If I purchase one it is better than /Mary/ who
is not half bad. (while you are wanking...)
They cost ~$30 each, but have commercial limitations.
These folks are expecting somethin.
>
> Even at their best, they're not much better than "do you want to play a
> game?"
Don't know what to say. (but here I go)
It isn't purrfect, but *understandable*, and seemingly a /place/.
(especially fer wank fodder)
I have a program that I call "Jowser" that uses TTF
to read the news headlines in the Yahoo News pages.
(should be RSS feed, perhaps, but...)
It really /ain't half bad/.... The Jowser program supports
a dual (man and woman) talking head news team whose
lips move and head turns, etc...
It is a serious kick. (and I feel my most valuable techno)
The "talking heads" are generated using Poser 6, with
snapshots taken of a set of "Visemes" (like phonemes,
but for facial expressions, invented by Disney)
MS SAPI sends me events, and I set the "Viseme"
and the head talks... I apply various /english/ and
it is a fucken show.
The /snapshot-Visemes/ and various /english/ is all
generated by a python script that runs in Poser.
[[this is the longest running piece of programming that
I've done... To generate a full set of images to implement
ONE talking head takes well over an hour, depending on the
complexity of the underlying /render/ MUCH more.]]
But the result is maybe a megabyte of JPGs that make
the head work, even on a webpage.
>
> I won't have ET reading /Love Poems for the Incompetent/. I'll switch
> channels first. "Ellleee-ot. ET owwwwch."
>
> Read them yourself--you have an acceptable voice.
Only a gay wanker wants to hear me. No slight, but it is
a 10% market. MS Mary is such a cheap slut, and will
say anything.
(even dockery's unspeakable shit)
>
> Ironically, if you did so, you could copyright your vocal
> interpretation.
Every text-based creative work I produce is granted to the public domain.
My picture and software are totally off-limits, AFAIC.
Both are violated.
...and I'm /much worse than chuckie/. :)
>
>>
>> The concept of a poem having value is so funny when I think
>> of software and technology. Poets are idiotfuckbrains.
>>
>> >
>> > We realize you're more interested in the technical aspects than in the
>> > actual communication, and that's too bad.
>>
>> The communication that occurs between a man, his cock, and my
>> slideshow, yes. Technical aspects. :)
>
> What about women who like porn? You'd be surprised.
Not really. I've lived with them for years.
In general they seem to prefer Video...
Heck, everyone seems to.
Perhaps just me.
I really prefer the babe to simply pose for about 30 nice,
varied shoots of her spreading and being nasty.
...then on to the next one doing the same. (poetic repetition?)
>
> And, besides, I think you've missed what happens in the cycle.
>
> Eroticism is all about sensitivity to aesthetics, phenotypes, and
> desire. And the cult of the flirt. Most of it is subconscious, but not
> to the pros.
If you want to design my: "Visitor -- Aesthetic and Phenotype Preference
Settings" screen, let me know.
The idea is:
"Regular Visitor" ... comes in and sets some preferences.
..from then on, they hit a simple link and get a set of folder selections
to their preference.
One encrypted cookie for them and I know the set of folders they want.
They have a fairly bottomless wank resource that is simple and tuned.
Poetry.
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
(in > 80 "hands free" slideshows)
with poetry from famous poets (soon)
>
> ---
> Art
>
Berryman's Legacy
$$ Jinn $$
"Stuart Leichter" <leic...@bellsouth.net> wrote in message news:BF438A64.3B189%leic...@bellsouth.net...
Dint some of it depend on the invention of Cobalt Blue?
> (I didn't know that until long after filmstrip time and Bell &
> Howell time, somewhere during carousel time.)
>
> Have you any idea why we acquiesced to HDTV instead of expecting holographic
> video? Imagine watching football in your living room instead of on a screen.
> We aren't worthy, I suppose.
Damn...
>
> But all this kissy-face in the last few years between Apple, Sony, Intel,
> IBM, et al., plus Jobs's early inside track as a venture capitalist on the
> Segway, has to have more going on than better cars. Although Personal
> Helicopter Emergency Kites are starting to sound like a great idea --
> lead-shielded iPod + GPD navigational system, voice/text command or manual,
> w/helmet. (John Deere is so Industrial now.)
I had a NOAA moving map display of the whole Sacremento Delta
(color) on a laptop with GPS input back in '95-6.
Way cool... just cruise around, and when you want to know where
you are, plug it in.
Even more exciting, my Zappy works, :)
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
(in > 80 "hands free" slideshows)
with poetry from famous poets (soon)
>
Art
I beg your /pardon/?
>
> >
> > Hence the brain is pre-adapted to the slide show. And an even-flow,
> > continuous sound track facilitates our ability to integrate the
> > communication(s).
>
> You're making all this up.
I beg your /pardon/!
> The brain is pre-adapted to make everything up
> that isn't already part of it.
I /beg/ your pardon?
>
> Someone claimed that the invention of perspective in 2-dimensional drawing
> -- the illusion of depth -- brought about the Renaissance, or coincided with
> it, in Italy. (I didn't know that until long after filmstrip time and Bell &
> Howell time, somewhere during carousel time.)
Yes, the Romans didn't get it, as we found out in Pompeii (so little of
ancient painting remains). Childlike mistakes in perspective. Like a
lot of innovations in art, they'd learn a little about it and then lose
it for generations.
During the Middle Ages...well they'd forgotten everything and had to
relearn /everything/.
Brunelleschi is credited with being one of the first. And, in the end,
the most important. He conducted experiments and applied mathemeatics
to perspective. He wasn't a painter but an architect. Which makes sense
when you think about it.
So much in painting is seeing what you see. /Really/ seeing it.
Perspective is a system that allows you to analyze what you're seeing,
and therefore allows you to /understand/ it.
>
> Have you any idea why we acquiesced to HDTV instead of expecting holographic
> video? Imagine watching football in your living room instead of on a screen.
> We aren't worthy, I suppose.
Well, you'd have to have a tank to watch it in, maybe like a big fish
tank, otherwise the kids would be walking through just as Marc Bulger
takes a helmet losing sack on the 20. Though, I guess we're not chained
to now anymore when we watch tv. Junior, would you back that up 30
seconds and then get outside and play while daddy's watching The Rams.
And isn't ambient light the enemy of holographic presentation?
Can't watch the game if she's gonna sit in the living room and do her
knitting.
Can you turn out that light, Honey?
Grrrrrrrrrr. Men and their /foot/ball!
Never mind. I think I'll go out and mow the yard now.
>
> But all this kissy-face in the last few years between Apple, Sony, Intel,
> IBM, et al., plus Jobs's early inside track as a venture capitalist on the
> Segway, has to have more going on than better cars.
It's like the UN and Iran. If ya can't beat 'em at their game, then let
'em do whateverthehell they want, and try to make a profit from it.
> Although Personal
> Helicopter Emergency Kites are starting to sound like a great idea --
> lead-shielded iPod + GPD navigational system, voice/text command or manual,
> w/helmet. (John Deere is so Industrial now.)
John always was, My Dear. Moline's always been a big industrial union
town; I've worked some campaigns there a time or two.
I'm still waiting for a transporter. Though where I'd get an Edinburgh
Engineer to operate it, I really don't know.
>
---
Art
Dennis M. Hammes
> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
>
>>"$$$ Jinn $$$" wrote:
>>
>>>My DANG, I, DID IT AGAIN --- Idea
>>>
>>>[optionally, of course] support the /feature/ of
>>>having the poetry line "spoken" as the picture it is
>>>attached to displays.
>>
>>prove you have some talent Tom, of your own
>
>
> I just posted a /new/ work.
>
>
You posted a new /wank/.
Jersey posted a Newark.
--
-------(m+
~/:o)_|
These very feeling people are not very ready to do you good.
They PAY you by FEELING. -- Samuel Johnson
http://scrawlmark.org
Dennis M. Hammes
> "$$$ Jinn $$$" wrote:
>
>>"Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
>>
>>>"$$$ Jinn $$$" wrote:
>>>
>>>>My DANG, I, DID IT AGAIN --- Idea
>>>>
>>>>[optionally, of course] support the /feature/ of
>>>>having the poetry line "spoken" as the picture it is
>>>>attached to displays.
>>>
>>>prove you have some talent Tom, of your own
>>
>>I just posted a /new/ work.
>>
>
> you post nothing but bile
>
>
You got a monkeyturd filter, then?
Stuart Leichter
arty_...@yahoo.com wrote on 9/6/05 10:35 PM:
The Romans had no need or use for perspective that way. What is the
antithesis of the vanishing point? Can it be portrayed in 2 dimensions like
the vanishing point can be? The Romans expanded their view in all
directions. Their empire was the antithesis of the vanishing point. Their
arches created visual space in 3 dimensions. The invention of perspective
drawing, long after the dissolution of the Roman Empire, was a re-creation
and a simulacrum of that real, living, visual space. Call it the first
archive.
Harold Innis made much of the idea that the wheel was an extension of the
foot. That is, it extended the foot's capacity and endurance by rotating the
feet on an axle. In the same way, the paved road became an extension of the
wheel. Then, the empire became an extension of the paved road. As the wheel
apes the feet in rotation, the empire apes a wheel's spokes attached to its
hub. We shape our tools, and thereafter our tools shape us. We shape our
tools and thereafter our tools ape us (Innis via McLuhan).
>>
>> Have you any idea why we acquiesced to HDTV instead of expecting holographic
>> video? Imagine watching football in your living room instead of on a screen.
>> We aren't worthy, I suppose.
>
> Well, you'd have to have a tank to watch it in, maybe like a big fish
> tank, otherwise the kids would be walking through just as Marc Bulger
> takes a helmet losing sack on the 20. Though, I guess we're not chained
> to now anymore when we watch tv. Junior, would you back that up 30
> seconds and then get outside and play while daddy's watching The Rams.
Yeah, a mylar HD hot tub, also maybe my sister's disco ball being useful
again. Saturday Night Fever definitely one of the first HGHDVs.
>
> And isn't ambient light the enemy of holographic presentation?
The mylar will be charged to simulate the appropriate electron wash to make
it look like light. Don't worry.
>
> Can't watch the game if she's gonna sit in the living room and do her
> knitting.
"Trash the holograms, keep the knitting" -- Clemenza.
Paul Heslop
>
> Paul Heslop wrote:
>
> > "$$$ Jinn $$$" wrote:
> >
> >>"Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
> >>
> >>>"$$$ Jinn $$$" wrote:
> >>>
> >>>>My DANG, I, DID IT AGAIN --- Idea
> >>>>
> >>>>[optionally, of course] support the /feature/ of
> >>>>having the poetry line "spoken" as the picture it is
> >>>>attached to displays.
> >>>
> >>>prove you have some talent Tom, of your own
> >>
> >>I just posted a /new/ work.
> >>
> >
> > you post nothing but bile
> >
> >
> You got a monkeyturd filter, then?
>
$$ Jinn $$
"Dennis M. Hammes" <scraw...@arvig.net> wrote in message news:apqdnRYU8aC...@onvoy.com...
> $$$ Jinn $$$ wrote:
>
>> "Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
>>
>>>"$$$ Jinn $$$" wrote:
>>>
>>>>My DANG, I, DID IT AGAIN --- Idea
>>>>
>>>>[optionally, of course] support the /feature/ of
>>>>having the poetry line "spoken" as the picture it is
>>>>attached to displays.
>>>
>>>prove you have some talent Tom, of your own
>>
>>
>> I just posted a /new/ work.
Paul told me to write a poem, I did.
Dulce Jubilo, which really wasn't written by
Listz, well it was, but that was a lovely piano piece.
Then Paul called my poem: bile
Why would he ask me to write one, and I do, and not bad
at all, and he calls it bile? (does he think I am insulting with it?
...it is a word version of Listz' piano work of the same name)
People frequently tell me to not be repetitive (like you) and write
poetry, but when I do, --- "bile" ???
Good thing I don't really /need/ a crit, eh, 'ennis?
Not that it matters, but he is confusing... (might go with
being brain-damaged, spose?)
Writing Dulce Jubilo will have to be its own reward, I guess.
I feel very good about it.
And whenever I write a limerick it makes your last 10 look lame.
And the Zappy works!!!, but I can tell I need to lock it up at night
since everybody that sees it -- wants it.
ennis speak: They want to put their paws on my nuts.
$$ Jinn $$
"Dennis M. Hammes" <scraw...@arvig.net> wrote in message news:apqdnREU8aC...@onvoy.com...
> Paul Heslop wrote:
>
>> "$$$ Jinn $$$" wrote:
>>
>>>"Paul Heslop" <paul....@blueyonder.co.uk> wrote in message news:431DBC6A...@blueyonder.co.uk...
>>>
>>>>"$$$ Jinn $$$" wrote:
>>>>
>>>>>My DANG, I, DID IT AGAIN --- Idea
>>>>>
>>>>>[optionally, of course] support the /feature/ of
>>>>>having the poetry line "spoken" as the picture it is
>>>>>attached to displays.
>>>>
>>>>prove you have some talent Tom, of your own
>>>
>>>I just posted a /new/ work.
>>>
>>
>> you post nothing but bile
>>
>>
> You got a monkeyturd filter, then?
I don't think you can kick Dulce Jubilo that hard.
Not perfect, but as good as the best posted here.
Art
Instead of the arrows pointing to the horizon, they all point at...you.
> Can it be portrayed in 2 dimensions like
> the vanishing point can be?
Just ask Escher. In 2 dimensions it would be rendered exactly the same
way, of course.
Don't get dizzy looking at it.
> The Romans expanded their view in all
> directions. Their empire was the antithesis of the vanishing point. Their
> arches created visual space in 3 dimensions. The invention of perspective
> drawing, long after the dissolution of the Roman Empire, was a re-creation
> and a simulacrum of that real, living, visual space. Call it the first
> archive.
The domed Pantheon captures space, itself: emptiness becomes a mass.
Notre Dame would later attempt to capture the sky, for the same reasons
to the same effect.
"It's bigger than you."
A kind of visual philosophy based on the piloerection of the early
days.
"I'm bigger than you."
Early Roman ancestor worship drove them to render their
portrait-statuary, the busts of their ancestors, as realistically as
possible. Far beyond the crude death mask of Agamemnon.
An early hologram, if you will.
Whereas Greek art was naturalistic. A stylization of nature. Roman art
was realistic. An exacting copy.
Vermeer would extend this to perfection with his Camera Obscura.
Since realism is a dead end, they stole art from throughout the
Mediterranean. Most of what we know about Greek art is from Roman
caches of stolen statues, or Roman copies of the Greek originals. Which
copying was rather an industry for a time. My predecessors: The ancient
Art-Whores.
By the time of Augustus, Rome didn't have an art of its own anymore. It
was all stolen and bastardized. Like America's art.
And Augustus, like America, turned art into a tool. Not a tool to
communicate truth, but to communicate his truth. Like 7 out of 10
Dentists prefer Augustus over Anthony (Brand "X").
>
> Harold Innis made much of the idea that the wheel was an extension of the
> foot. That is, it extended the foot's capacity and endurance by rotating the
> feet on an axle. In the same way, the paved road became an extension of the
> wheel. Then, the empire became an extension of the paved road. As the wheel
> apes the feet in rotation, the empire apes a wheel's spokes attached to its
> hub. We shape our tools, and thereafter our tools shape us.
I suppose usenet is both space-binding and time-binding media.
> We shape our
> tools and thereafter our tools ape us (Innis via McLuhan).
Art as a tool.
Yes, I'm aware of the pun.
---
Art
Stuart Leichter
arty_...@yahoo.com wrote on 9/7/05 12:38 PM:
At the Tut exhibit, I walked up to the mask and looked through it from the
inside-out.
When Keats presented his Urn to us, he was wondering: What did they know and
how did they know it? He tried to get the work of art to yield its
mysterious origins and purpose.
Would a man of your breeding and character refer to his own studies of
history, geography, and science, among other studies, as "ancestor worship"?
"Ancestor worship" has that classic ring to it. It's a superb phrase and it
nails it. It's what, in fact, passes for most of what we call knowledge.
Alex Haley came to my school before Roots was published. He spoke of his
"furthest-back ancestor, 'the African'." In our classroom he spoke to us,
not in a lecture hall or theater. His story, his taking a few words with him
to Gambia (?) where the words led him to a man whose brain had stored
hundreds of years of ancestor worship, I could repeat almost word for word,
because of Haley's 50-minute performance. (Plus, he published the account as
"My Furthest-back Ancestor, the African". Maybe it's 'farthest', I don't
know.
The ancients, as such, hadn't conceived of the past as 'history' in the way
we have come to distingish the past from our worship of it, as 'history'.
'History', as such, that fact-based, selective heap, wouldn't emerge until
the Renaissance. When the earth's horizon became matter-of-fact, the West
discovered the past, present, and future -- but especially the future. Mel
Brooks's 2,000 year-old-man said they used to believe in a supreme being
whose name was Phil. You needed something, you went to Phil, and Phil could
get it done. Then one day Phil was electrocuted by lightning, so everyone
went ooo, there's something bigger than Phil.
>
> An early hologram, if you will.
>
> Whereas Greek art was naturalistic. A stylization of nature. Roman art
> was realistic. An exacting copy.
"Indeed".
You (or anyone) could reverse "naturalistic" and "realistic" there without
doing any violence to meaning.
My sister's first boyfriend was an English major, so I know what I'm talking
about: he said Flaubert and Balzac were part of the Realistic school, and
Dreiser was a Naturalist. My sister said she found Dreiser too realistic,
and Flaubert too intrusive as the author, though not as bothersome as
Hawthorne the Romanticist.
>
> Vermeer would extend this to perfection with his Camera Obscura.
Vermeer, Grant Wood, and Hopper are my all-time faves.
>
> Since realism is a dead end, they stole art from throughout the
> Mediterranean. Most of what we know about Greek art is from Roman
> caches of stolen statues, or Roman copies of the Greek originals. Which
> copying was rather an industry for a time. My predecessors: The ancient
> Art-Whores.
>
> By the time of Augustus, Rome didn't have an art of its own anymore. It
> was all stolen and bastardized. Like America's art.
>
> And Augustus, like America, turned art into a tool. Not a tool to
> communicate truth, but to communicate his truth. Like 7 out of 10
> Dentists prefer Augustus over Anthony (Brand "X").
What R U saying? For all we know, John Ford with his John Wayne will be
revered by superior intellects and aesthetes than ours. Those early 1970s
Mercedes cars were extraordinary works of art. So were Landlubber
bellbottoms in the 1960s. Plus, there were millions of lectures, tens of
millions including now, that rank with the great oratory and literature from
any age, and it's all available.
Or R U talking about fast art, drive-thru stuff?
Decades ago I declared, "Pizza is civilization".
>
>>
>> Harold Innis made much of the idea that the wheel was an extension of the
>> foot. That is, it extended the foot's capacity and endurance by rotating the
>> feet on an axle. In the same way, the paved road became an extension of the
>> wheel. Then, the empire became an extension of the paved road. As the wheel
>> apes the feet in rotation, the empire apes a wheel's spokes attached to its
>> hub. We shape our tools, and thereafter our tools shape us.
>
> I suppose usenet is both space-binding and time-binding media.
The Internet is where computers go to meet.
>
>> We shape our
>> tools and thereafter our tools ape us (Innis via McLuhan).
>
>
> Art as a tool.
>
> Yes, I'm aware of the pun.
According to McLuhan (whose puns are high art), in a non-punning moment, the
Balinese have a saying: We have no art. We do everything as well as we can.
--
Stuart
>
> ---
> Art
>
Art
Stuart Leichter wrote:
[snip]
> > Early Roman ancestor worship drove them to render their
> > portrait-statuary, the busts of their ancestors, as realistically as
> > possible. Far beyond the crude death mask of Agamemnon.
>
> At the Tut exhibit, I walked up to the mask and looked through it from the
> inside-out.
>
> When Keats presented his Urn to us, he was wondering: What did they know and
> how did they know it? He tried to get the work of art to yield its
> mysterious origins and purpose.
>
> Would a man of your breeding and character refer to his own studies of
> history, geography, and science, among other studies, as "ancestor worship"?
>
> "Ancestor worship" has that classic ring to it. It's a superb phrase and it
> nails it. It's what, in fact, passes for most of what we call knowledge.
Yes, it certainly does nail it.
Despite what you and others may have gleaned from my writings here, I'm
not /really/ on board "The Agenda" or any agenda...other than my own.
But I have been in the company of those who were definitely on board
certain The Agenda(s); i.e., those who live it, love it, and breath it
24/7.
What haunts me to this day is their worship. The staff, the
bureaucrats, the lesser officials and even /reporters and journalists/
have this unabashed worship for certain people in power. "Like their
shit don't stink" is the local phrase.
You see it in their eyes--they'll light up when discussing them. You
hear it in their breathless whispers.
The people they worship are smart men (mostly men where I traveled),
certainly. Tough sons of bitches, many of them. Savvy. They have
admirable traits.
But the worship they enjoy from those who surround them
is...is...unhealthy? Is that the word?
Sycophants must know this, because if you call them on it, they'll deny
it, just like a Coke Head will deny that he HAD to buy the Cocaine he
just sold his boat to buy.
Or so it seems to me. Especially since I've seen the SOB's throw some
of their sycophants to the wolves a time or two. And the resentment,
the quite natural resentment from such instances...well it's not what
you'd expect.
Not what I'd expected from America, anyway. But disillusionment is
one's own fault--just as your delusions in the first place are your own
damn fault. The world is what it is, dummy. Not what you wish it to be
(ala DR).
Suffice it to say cops aren't the only ones to worship authority above
reason. Satraps aren't the only ones to worship The King above reason.
And, as they worship these people, so it translates into history.
Churchill, FDR, Montgomery, Phil.
"He had that weird glow around him..."
But what I was referring to originally, was the Ancestor Cult the
Romans assimilated from the Etruscans.
And let's get one thing straight right now, I worship my Dear Departed
Mom. God was smiling the day He brought her into this world. Whatever
mistakes she might have made in this life are completely occulted by
the good she did.
So, it isn't like I don't understand it.
But the point was, ancestor worship in Japan and other cultures usually
involves photographs, or as close to reality renderings as possible.
This was what spurred the realism movement in Early Republic Art. And
the "Death Masks" in many cultures. Etc.
>
> Alex Haley came to my school before Roots was published. He spoke of his
> "furthest-back ancestor, 'the African'." In our classroom he spoke to us,
> not in a lecture hall or theater. His story, his taking a few words with him
> to Gambia (?) where the words led him to a man whose brain had stored
> hundreds of years of ancestor worship, I could repeat almost word for word,
> because of Haley's 50-minute performance. (Plus, he published the account as
> "My Furthest-back Ancestor, the African". Maybe it's 'farthest', I don't
> know.
Trick question. Neither. It would be furthest back /known/ ancestor.
We're all the sons and daughters of that certain infected mud pool.
But we don't know her name.
>
> The ancients, as such, hadn't conceived of the past as 'history' in the way
> we have come to distingish the past from our worship of it, as 'history'.
> 'History', as such, that fact-based, selective heap, wouldn't emerge until
> the Renaissance.
Herodotus thought of history as gossip, didn't he?
Later, Napoleon would correct him when he said "all history is nothing
but a fable agreed upon."
> When the earth's horizon became matter-of-fact, the West
> discovered the past, present, and future -- but especially the future. Mel
> Brooks's 2,000 year-old-man said they used to believe in a supreme being
> whose name was Phil. You needed something, you went to Phil, and Phil could
> get it done. Then one day Phil was electrocuted by lightning, so everyone
> went ooo, there's something bigger than Phil.
The Federal Government.
>
> >
> > An early hologram, if you will.
> >
> > Whereas Greek art was naturalistic. A stylization of nature. Roman art
> > was realistic. An exacting copy.
>
> "Indeed".
>
> You (or anyone) could reverse "naturalistic" and "realistic" there without
> doing any violence to meaning.
>
> My sister's first boyfriend was an English major, so I know what I'm talking
> about: he said Flaubert and Balzac were part of the Realistic school, and
> Dreiser was a Naturalist. My sister said she found Dreiser too realistic,
> and Flaubert too intrusive as the author, though not as bothersome as
> Hawthorne the Romanticist.
Yes, sorry. This is conditioning from Art in the Dark. In literature
the two terms are synonymous.
In the visual arts, they're more technical and precise terms. In the
early Seventies there was a short-lived ultra realistic movement.
Statued figures were made of wax, the colors and textures were
precisely rendered (even hair on the arms!) which gave the illusion
that you were looking at a living individual who was standing
absolutely still. Painters would paint nudes (mostly), and would employ
techniques that fooled the eye into thinking one was looking through a
window at a motionless person. For the technique it is rather
astounding.
This was an anti-statement because the artist had succeeded in making
himself and his materials invisible--giving over completely to the
illusion that what one was seeing was NOT a work of art. The antithesis
of art throughout the ages.
Well, except for Parrhasius. But that's another story. Well, then there
was Annibale Carracci who painted paintings of paintings.
That aside, consider Polykleitos whose "Spear Bearer" /appears/ to be
realistic, but is not. The proportions are completely wrong. Even more
than the Mannerists or Michelangelo would have distorted the human
body.
Polykleitos and his contemporaries had foregone painting their statues
with skin tones etc. some time before. The bronze was left unadorned,
the marble left blank. So, we know that trompe l'oeils was not his
objective. Polykleitos was unmistakably /there/ in his art. He
impressed his expressions into his renderings. For him it was balance.
For VanGogh and others, it was a dynamic, turbulent balance. For the
Romantics it was..well, you know.
But the paint is there as paint. The marble is there as marble. No
"suspension of disbelief" required.
>
> >
> > Vermeer would extend this to perfection with his Camera Obscura.
>
> Vermeer, Grant Wood, and Hopper are my all-time faves.
All geniuses with remarkable sensibilities. Hopper and you are soul
mates, AFAIC.
Maybe some day I'll explain that, if I haven't already.
>
> >
> > Since realism is a dead end, they stole art from throughout the
> > Mediterranean. Most of what we know about Greek art is from Roman
> > caches of stolen statues, or Roman copies of the Greek originals. Which
> > copying was rather an industry for a time. My predecessors: The ancient
> > Art-Whores.
> >
> > By the time of Augustus, Rome didn't have an art of its own anymore. It
> > was all stolen and bastardized. Like America's art.
> >
> > And Augustus, like America, turned art into a tool. Not a tool to
> > communicate truth, but to communicate his truth. Like 7 out of 10
> > Dentists prefer Augustus over Anthony (Brand "X").
>
> What R U saying? For all we know, John Ford with his John Wayne will be
> revered by superior intellects and aesthetes than ours. Those early 1970s
> Mercedes cars were extraordinary works of art. So were Landlubber
> bellbottoms in the 1960s. Plus, there were millions of lectures, tens of
> millions including now, that rank with the great oratory and literature from
> any age, and it's all available.
>
> Or R U talking about fast art, drive-thru stuff?
>
> Decades ago I declared, "Pizza is civilization".
Hmm. Me too, though for me it was The Golden Arches.
On a writing group a few years ago, a published author (and he was, I
looked it up) was gathering stories to be published in a kind of
anthology. The premise was archeologists were digging up this Our
American/World Civilization 5,000 years in the future.
It started me thinking what they might think if they found the St.
Louis Arch (twisted, separated and decayed) in the ground. And no
documentation to explain it.
And what would they assign as the function of a traffic light? Though
we are rather familiar with them, of course, the whole idea of
vehicular traffic, let alone stopping or going according to an
automated light is rather fantastic...if you think about it.
---
Art
Stuart Leichter
arty_...@yahoo.com wrote on 9/7/05 6:05 PM:
Nice OT candor, Art. Agendaism often follows from mortgagism, all other
things being equal (AOTBE). It would be more telling for me if I knew how
frequently you wash your car.
What I gathered (erroneously?) about "ancestor worship" was that it's
indestinguishable from what we call 'history'.
What is 'history'? It's a biased version of the past. How biased? It's the
literate class's version for the literate class's progress or story or
place. Its bias is always in favor of its own class. Even the Marxist
historians who fault the literate class cannot escape the fact that she or
he speaks for a teensy group of readers or listeners. In our time, that
class has morphed. These are transitional and violent times because
'history' has been clashing with another version of 'reality' witnessed by
the other 95% of the masses. Picture Heisenberg trying to swallow himself
whole, starting with his feet, in front of a bank of video cameras and
trying to watch himself in the monitors.
>
>>
>> Alex Haley came to my school before Roots was published. He spoke of his
>> "furthest-back ancestor, 'the African'." In our classroom he spoke to us,
>> not in a lecture hall or theater. His story, his taking a few words with him
>> to Gambia (?) where the words led him to a man whose brain had stored
>> hundreds of years of ancestor worship, I could repeat almost word for word,
>> because of Haley's 50-minute performance. (Plus, he published the account as
>> "My Furthest-back Ancestor, the African". Maybe it's 'farthest', I don't
>> know.
>
> Trick question. Neither. It would be furthest back /known/ ancestor.
> We're all the sons and daughters of that certain infected mud pool.
Not a trick, but I would say 'neither' rather than 'neither'. What Haley
meant was his fartherest-back American ancestor, Kinte himself, The Man.
I don't know about what literature says about it, but in lit crit, the terms
are not synonymous. On the street they're interchangeable. In lit-crit
Realism is pre-Darwinian; naturalism is post-Darwinian. We presume that
'Darwinian' implies playing with the hand you're dealt. Another way to view
the distinction: Realism anticipated psychology; Naturalism anticipated
sociology. Whatever, as the form changes, the required poetic faith shifts
appropriately.
I remember seeing an actress-model, of no repute or other worth, hawking a
color TV on TV and saying that the picture is "vivid and lifelike". Not
only, but also.
Realism in lit crit is obsessed with technique. Kafka's The Metamorphosis
surpasses anything else in its attempt to make a text correspond to our
sensory experience. Naturalism takes experience and tries to explain it,
making motivation explicit and integral.
Coincidentally, during Naturalism's wave, curriculums began to offer
'literature' itself as a subject fit for study. I don't know when
'literature' was invented, but it's a very recent addition to the knowledge
taxonomy. Its only purpose in a curriculum is for grading and degrading, for
passing judgment, for promoting or failing potential applicants.
>
> In the visual arts, they're more technical and precise terms. In the
> early Seventies there was a short-lived ultra realistic movement.
> Statued figures were made of wax, the colors and textures were
> precisely rendered (even hair on the arms!) which gave the illusion
> that you were looking at a living individual who was standing
> absolutely still. Painters would paint nudes (mostly), and would employ
> techniques that fooled the eye into thinking one was looking through a
> window at a motionless person. For the technique it is rather
> astounding.
The term 'hyperrealism' comes to mind. In 1970 in DC I saw a statue of a
woman behind her full veil. The mesh was chisled, you could see/feel even
the eyebrows, every detail as beneath a veil. It's the sort of art that
proves beyond any possible doubt something extraordinary, ineffable (for
me), and impossible to be conveyed second-hand; that is to say, it cannot be
proved even though its revelation cannot be mistaken for anything else.
>
> This was an anti-statement because the artist had succeeded in making
> himself and his materials invisible--giving over completely to the
> illusion that what one was seeing was NOT a work of art. The antithesis
> of art throughout the ages.
>
> Well, except for Parrhasius. But that's another story. Well, then there
> was Annibale Carracci who painted paintings of paintings.
Morse painted himself in his studio with his Masters hanging out on the
walls.
I took some Polaroids (Kodaks, actually) of Ben Franklin's original
$100-bill portrait at Thomas Jefferson's house.
>
> That aside, consider Polykleitos whose "Spear Bearer" /appears/ to be
> realistic, but is not. The proportions are completely wrong. Even more
> than the Mannerists or Michelangelo would have distorted the human
> body.
>
> Polykleitos and his contemporaries had foregone painting their statues
> with skin tones etc. some time before. The bronze was left unadorned,
> the marble left blank. So, we know that trompe l'oeils was not his
> objective. Polykleitos was unmistakably /there/ in his art. He
> impressed his expressions into his renderings. For him it was balance.
> For VanGogh and others, it was a dynamic, turbulent balance. For the
> Romantics it was..well, you know.
No, I don't know. None of them, ever, had to tune out the machine, the
hummers of modernity. They were of an alien race. We're an alien race. Our
kids are an alien race. I can prove it with an etch-a-sketch.
>
> But the paint is there as paint. The marble is there as marble. No
> "suspension of disbelief" required.
Once upon a time, Popular Photography compared so-called 'normal' focal
length (50mm-55mm) photos to moderate telephoto (70mm 'portrait') shots.
They found that many many landscape artists painted 70mm views.
A hotdog economist from U of Chicago, VP and Dean of Administrative
Services, said, first, "Poor Apple", and later, that cars ought to have
green tail lights that become red when the car is stopping or stopped, but
habits always prevail.
And thx.
--
Stuart
>
> ---
> Art
>
Art
Stuart Leichter wrote:
Well, the only point about me in the story is that I wasn't where I
belonged...at all. These guys, these sycophants and satraps, they WERE
where they belonged. I had mistakenly backed in the doorway and there I
was in the inner circle where only the initiated live. Except me.
Energetic professionalism and devotion I expected. You'll find this in
any endeavor.
But mostly worship is what I found. It's remarkable when you're there
to see it. As an outsider.
This worship is something I think you only witness when you're there
near the power. Real, working power.
Don't get me wrong--I thought being in the middle of Government was
really neat. Not just statewide, but during the elections we were in
daily contact with the national party and on the same page as the
Nationwide Campaign and we knew what was going on WAAAY before the
folks at home, and we saw all the polling and even after I got out, I
knew which legislation would make the news which laws would get passed
and where it would all go and why--WAAAAY before anyone else. Years
before.
And that was cool.
But I didn't worship the players.
Worship is something Coppola didn't capture. Kissing the ring wasn't
what I'm talking about--the Mortgage Agenda Crowd kisses the ring,
gladly. Me, I would and have kissed the ring gladly. It ain't about
that.
No. It's the /joy/ that many seem to experience. Like what I experience
on a warm summer day when I close my eyes and tilt my head up towards
the sun. Same smile is generated on their faces, at any rate.
Every two weeks, btw, but certainly not without fail.
>
> What I gathered (erroneously?) about "ancestor worship" was that it's
> indestinguishable from what we call 'history'.
Yes I agree(d) whole heartedly. Nothing erroneous AFAIC.
>
> What is 'history'? It's a biased version of the past. How biased? It's the
> literate class's version for the literate class's progress or story or
> place. Its bias is always in favor of its own class. Even the Marxist
> historians who fault the literate class cannot escape the fact that she or
> he speaks for a teensy group of readers or listeners. In our time, that
> class has morphed. These are transitional and violent times because
> 'history' has been clashing with another version of 'reality' witnessed by
> the other 95% of the masses. Picture Heisenberg trying to swallow himself
> whole, starting with his feet, in front of a bank of video cameras and
> trying to watch himself in the monitors.
>
Heh. If he catches a glimpse, he wouldn't be uncertain any more.
Bias is what we're discussing, yes. And bias of many sorts are nearly
unavoidable. POV is unavoidable.
Gabo spoke of leaving your baggage at the door of the Do Jang. Well,
some people just /can't/. Not even after Katrina. They have to bring it
with them every where they go.
But /my/ bias tells me it ain't /exactly/ about the classes. And it's
not class based experiences of reality that are causing the violent
transition.
My limits and bias and class are part of why I see it the way I do. You
too?
> >
> >>
> >> Alex Haley came to my school before Roots was published. He spoke of his
> >> "furthest-back ancestor, 'the African'." In our classroom he spoke to us,
> >> not in a lecture hall or theater. His story, his taking a few words with him
> >> to Gambia (?) where the words led him to a man whose brain had stored
> >> hundreds of years of ancestor worship, I could repeat almost word for word,
> >> because of Haley's 50-minute performance. (Plus, he published the account as
> >> "My Furthest-back Ancestor, the African". Maybe it's 'farthest', I don't
> >> know.
> >
> > Trick question. Neither. It would be furthest back /known/ ancestor.
> > We're all the sons and daughters of that certain infected mud pool.
>
> Not a trick, but I would say 'neither' rather than 'neither'. What Haley
> meant was his fartherest-back American ancestor, Kinte himself, The Man.
>
Well, it wasn't a GOOD joke.
Dictionary terms--the movements in literature.
> On the street they're interchangeable. In lit-crit
> Realism is pre-Darwinian; naturalism is post-Darwinian. We presume that
> 'Darwinian' implies playing with the hand you're dealt. Another way to view
> the distinction: Realism anticipated psychology; Naturalism anticipated
> sociology. Whatever, as the form changes, the required poetic faith shifts
> appropriately.
In art the difference between naturalism and realism is the difference
between editorial and reporting.
>
> I remember seeing an actress-model, of no repute or other worth, hawking a
> color TV on TV and saying that the picture is "vivid and lifelike". Not
> only, but also.
>
> Realism in lit crit is obsessed with technique. Kafka's The Metamorphosis
> surpasses anything else in its attempt to make a text correspond to our
> sensory experience. Naturalism takes experience and tries to explain it,
> making motivation explicit and integral.
Yes!!!
>
> Coincidentally, during Naturalism's wave, curriculums began to offer
> 'literature' itself as a subject fit for study. I don't know when
> 'literature' was invented, but it's a very recent addition to the knowledge
> taxonomy. Its only purpose in a curriculum is for grading and degrading, for
> passing judgment, for promoting or failing potential applicants.
>
> >
> > In the visual arts, they're more technical and precise terms. In the
> > early Seventies there was a short-lived ultra realistic movement.
> > Statued figures were made of wax, the colors and textures were
> > precisely rendered (even hair on the arms!) which gave the illusion
> > that you were looking at a living individual who was standing
> > absolutely still. Painters would paint nudes (mostly), and would employ
> > techniques that fooled the eye into thinking one was looking through a
> > window at a motionless person. For the technique it is rather
> > astounding.
>
> The term 'hyperrealism' comes to mind.
YES!
Your memory vs mine: 24-0.
Hyperrealism. Thank you!
The only reason I still play is the same reason the Cubs are still
around.
> In 1970 in DC I saw a statue of a
> woman behind her full veil. The mesh was chisled, you could see/feel even
> the eyebrows, every detail as beneath a veil. It's the sort of art that
> proves beyond any possible doubt something extraordinary, ineffable (for
> me), and impossible to be conveyed second-hand; that is to say, it cannot be
> proved even though its revelation cannot be mistaken for anything else.
It's cool, but so what.
"Is this it? Is this all there is?"
--Tony Montana in one of many scenes where he forgot his accent.
Realism is to be a slave to the technique.
>
> >
> > This was an anti-statement because the artist had succeeded in making
> > himself and his materials invisible--giving over completely to the
> > illusion that what one was seeing was NOT a work of art. The antithesis
> > of art throughout the ages.
> >
> > Well, except for Parrhasius. But that's another story. Well, then there
> > was Annibale Carracci who painted paintings of paintings.
>
> Morse painted himself in his studio with his Masters hanging out on the
> walls.
No! I didn't make it clear: Annibale painted on walls, that showed
architectural fittings and decorations that weren't really there. He
painted paintings on the wall, that LOOKED like paintings on the wall.
But weren't.
Even the pictures in books are unbelievable. I haven't gotten to
Florence and Vatican City...yet.
Think about a stage play where the scene has the actor putting on
makeup and then going out to the stage and acting. How does the actor
act like he's acting? And when he's done acting on the stage, and the
scene has him back in the dressing room, we IMMEDIATELY forget that he
is STILL acting, even yet.
Brook's /To Be or Not to Be/ and /The Producers/ didn't even attempt
it, beyond flat caricature.
Annibale pulled it off with his brush.
>
> I took some Polaroids (Kodaks, actually) of Ben Franklin's original
> $100-bill portrait at Thomas Jefferson's house.
Be careful the Secret Service doesn't find out about it.
>
> >
> > That aside, consider Polykleitos whose "Spear Bearer" /appears/ to be
> > realistic, but is not. The proportions are completely wrong. Even more
> > than the Mannerists or Michelangelo would have distorted the human
> > body.
> >
> > Polykleitos and his contemporaries had foregone painting their statues
> > with skin tones etc. some time before. The bronze was left unadorned,
> > the marble left blank. So, we know that trompe l'oeils was not his
> > objective. Polykleitos was unmistakably /there/ in his art. He
> > impressed his expressions into his renderings. For him it was balance.
> > For VanGogh and others, it was a dynamic, turbulent balance. For the
> > Romantics it was..well, you know.
>
> No, I don't know. None of them, ever, had to tune out the machine, the
> hummers of modernity. They were of an alien race. We're an alien race. Our
> kids are an alien race. I can prove it with an etch-a-sketch.
Rachmaninoff makes the hair on the back of my neck stand on end. And I
cry. Debussy does this to me too.
What more needs to be understood?
Oh sure, I bet you don't cry when Bienvenu reminds Valjean that he
forgot his silver candlesticks.
>
> >
> > But the paint is there as paint. The marble is there as marble. No
> > "suspension of disbelief" required.
>
> Once upon a time, Popular Photography compared so-called 'normal' focal
> length (50mm-55mm) photos to moderate telephoto (70mm 'portrait') shots.
> They found that many many landscape artists painted 70mm views.
>
Which is to say flat.
Cars shouldn't need lights. At all. Not even at night.
But I see what you/he meant. Sort of.
---
Art
Stuart Leichter
arty_...@yahoo.com wrote on 9/7/05 11:53 PM:
You mean the GFs, not AN, of course. But I hear Dennis Hopper and picture
him with something like 20 rings on his fingers.
When the beginning episode in GF2 shows Vito the boy being turned into
"Corleone" from "Andolini", and later in the quarrantine cell, it's clear
that the ancestry line has been cut. He sings (what almost sounds like the
GF Theme) and dissolves into his grandson's First Communion in Tahoe. What's
captured is seed worship; it's why Michael cracks Kay with one hand and
holds his Camel in the other. It's why Michael won't look at Troy Donahue
and refers to him in the 3rd person with a "this" in front of his name. His
worst evil was his killing his mother's son. In my own experience, Italian
families are descendants of Virgil and Dante. They are Aeneas fleeing the
destruction of Troy, carrying the infant in his arms and bearing his ancient
father on his shoulders, eventually reaching Italy: present/past/future --
one generation at a time = 3-in-1. We disagree about Coppola?
There is a pattern and rhythm to events, but I don't know what it is.
It's important as a priori evidence that illusions exist and are real.
>>
>>>
>>> This was an anti-statement because the artist had succeeded in making
>>> himself and his materials invisible--giving over completely to the
>>> illusion that what one was seeing was NOT a work of art. The antithesis
>>> of art throughout the ages.
>>>
>>> Well, except for Parrhasius. But that's another story. Well, then there
>>> was Annibale Carracci who painted paintings of paintings.
>>
>> Morse painted himself in his studio with his Masters hanging out on the
>> walls.
>
> No! I didn't make it clear: Annibale painted on walls, that showed
> architectural fittings and decorations that weren't really there. He
> painted paintings on the wall, that LOOKED like paintings on the wall.
> But weren't.
>
> Even the pictures in books are unbelievable. I haven't gotten to
> Florence and Vatican City...yet.
>
> Think about a stage play where the scene has the actor putting on
> makeup and then going out to the stage and acting. How does the actor
> act like he's acting? And when he's done acting on the stage, and the
> scene has him back in the dressing room, we IMMEDIATELY forget that he
> is STILL acting, even yet.
>
> Brook's /To Be or Not to Be/ and /The Producers/ didn't even attempt
> it, beyond flat caricature.
It's why Ibsen's A Doll House is the prize for whoever plays Nora Helmer.
Nora has to act as a Victorian dutiful wife to survive. The player can't
overdo it, but she also has to let the audience know she's acting. Maybe
it's the Perfect Storm Play: Romanticism as subtext/Realism in
style/Naturalism in method.
>
> Annibale pulled it off with his brush.
>>
>> I took some Polaroids (Kodaks, actually) of Ben Franklin's original
>> $100-bill portrait at Thomas Jefferson's house.
>
> Be careful the Secret Service doesn't find out about it.
They found so many undetectable counterfeit $100 bills in the 1990s, from
Iran or Lebanon? that they had to make the new bills.
The SS did prohibit me from taking any pics in the WH, but I got a great
shot of Lincoln's portrait and the dining room table. I had read that the WH
with Tri-X at 400 was f2 or less @ 1/30th sec. I had a great 35 WA (a
Vivitar freak, like some Pontiacs were freaks); I coughed and clicked, and
lived to tell about it.
>>
>>>
>>> That aside, consider Polykleitos whose "Spear Bearer" /appears/ to be
>>> realistic, but is not. The proportions are completely wrong. Even more
>>> than the Mannerists or Michelangelo would have distorted the human
>>> body.
>>>
>>> Polykleitos and his contemporaries had foregone painting their statues
>>> with skin tones etc. some time before. The bronze was left unadorned,
>>> the marble left blank. So, we know that trompe l'oeils was not his
>>> objective. Polykleitos was unmistakably /there/ in his art. He
>>> impressed his expressions into his renderings. For him it was balance.
>>> For VanGogh and others, it was a dynamic, turbulent balance. For the
>>> Romantics it was..well, you know.
>>
>> No, I don't know. None of them, ever, had to tune out the machine, the
>> hummers of modernity. They were of an alien race. We're an alien race. Our
>> kids are an alien race. I can prove it with an etch-a-sketch.
>
> Rachmaninoff makes the hair on the back of my neck stand on end. And I
> cry. Debussy does this to me too.
>
> What more needs to be understood?
>
> Oh sure, I bet you don't cry when Bienvenu reminds Valjean that he
> forgot his silver candlesticks.
Who are they? I'm culturally deprived and evidently bereft also.
Dennis M. Hammes
> in article 1126111095.0...@g14g2000cwa.googlegroups.com, Art at
> arty_...@yahoo.com wrote on 9/7/05 12:38 PM:
>
...
>>Whereas Greek art was naturalistic. A stylization of nature. Roman art
>>was realistic. An exacting copy.
>
>
> "Indeed".
>
> You (or anyone) could reverse "naturalistic" and "realistic" there without
> doing any violence to meaning.
Because Greek art was /humanistic/, at large before the Dorians put
Smiley/Frownies on the tutelary premises and exiled them to Olympus,
and in Ionia/Anatolia until the Turks wiped it out. When the Dorians
evicted human premises and values from the communications, art became
pretty meat and the Muse of Drama spouted Rulings.
But if what "Well, He Said..." had a blatantly human form, it was
therefore "human," despite its being strictly mechanical, the
thernodymanic hunger of a biological machine part, a naturalistic
little Monkey Dude.
The Dark Ages were created and maintained by an unfriendly Middle
Eastern religion that has subdivided in the process, because
Protestants can /never/ agree with each other about the motives and
hates of the Great Face over the Playpen.
(A disciple touches the Earth, "agreeing with god," and where A=C
and B=C, A=B).
>
> My sister's first boyfriend was an English major, so I know what I'm talking
> about: he said Flaubert and Balzac were part of the Realistic school, and
> Dreiser was a Naturalist. My sister said she found Dreiser too realistic,
> and Flaubert too intrusive as the author, though not as bothersome as
> Hawthorne the Romanticist.
>
>
>>Vermeer would extend this to perfection with his Camera Obscura.
>
>
> Vermeer, Grant Wood, and Hopper are my all-time faves.
Because they touch the Earth, or because they insist that Nobody Can
Break The Mold?
When you were told to Pick Your Religion For Grade, did you choose
Free Will or Necessity?
>
>
>>Since realism is a dead end,
Hm. Free Will is "unreal?"
Ya know, you can't get a Bussard Ram to haul a Colony Ship, but
you can damwell get one to haul a laptop.
Onliest thing that goes missing is the tits.
And Wonders XP.
What a price to pay for getting rid of Wonders XP, even though
it's gagged this superbeast down to 5 MHz again.
And what a price to pay to get rid of cocksucking Monkeys.
I druther get rid of the Monkeys.
Gates, having lost his Market Share, will give way to something
that works.
>>they stole art from throughout the
>>Mediterranean.
Tommy, Bishop of Renay and Swizzle of Swill, is a dead end, proved
even when he was /trying/ to copy humanist art with his naturalistic
Generators. He's down to copying and displaying Monkey Parts, and
that's /always/ a dead end (look at it). And he's down to stealing
throwable turds from the rest of us.
Dockery is a dead end, copying other people's words and sentence
fragments, and spewing them out in a vapidly-*feeling* vomit of
"creativity," necessarily "creative" because he has no idea what
pattens the vomit will spatter in, no idea what they might "mean"
until he and his "friends" have sucked them a few times, thank you
Sartre.
And the chuckles is the purest expression of Free Will that we
have in the froup. Not only do the spots mean whatever he needs them
to mean at the moment, so do physical objects. And if they move by
themselves, so that he need spend no effort on them at all, They
Really Like Him.
>>Most of what we know about Greek art is from Roman
>>caches of stolen statues, or Roman copies of the Greek originals. Which
>>copying was rather an industry for a time. My predecessors: The ancient
>>Art-Whores.
Your successors: Chinese McHappy Figures, Each Sold Separately.
Sponge-Bob Square TrVth.
Telebobbles.
Collect And Trade Them All.
The trade in Holy Relics and Holy Cards /depends on YOU/.
>>
>>By the time of Augustus, Rome didn't have an art of its own anymore. It
>>was all stolen and bastardized. Like America's art.
You forget the Supernatural Miracle of Dockery Pollack.
Pure creativity.
No human interference.
No monkey interference.
No interference from Naturalism beyond a little gravity and cohesion.
By the time of Nero, Rome didn't have a specie of its own anymore.
Like America's specie.
Johnson's Baby Wipes.
Don't even claim to be redeemable for the Baby's sweat.
JeeZuss Forgave Him His Debts, remember?
>>
>>And Augustus, like America, turned art into a tool. Not a tool to
>>communicate truth, but to communicate his truth. Like 7 out of 10
>>Dentists prefer Augustus over Anthony (Brand "X").
Seven out of ten dentists who tried Tommy preferred camels.
Nine out of ten doctors who tried Dockery preferred crucifixion.
And then there was pandora, who LUUUUves Everything.
Provided it *agrees* that /she/ kissed it into a Prince.
I.e., that it was not one in its own right.
That the honor was "conferred."
>
>
> What R U saying? For all we know, John Ford with his John Wayne will be
> revered by superior intellects and aesthetes than ours. Those early 1970s
> Mercedes cars were extraordinary works of art. So were Landlubber
> bellbottoms in the 1960s. Plus, there were millions of lectures, tens of
> millions including now, that rank with the great oratory and literature from
> any age, and it's all available.
In the archives. Of course.
Until they are burned to heat the New Orleans drinking water.
Because if it is in Kansas, it is superfluous, and may be burned.
And if it is not in Kansas, it is blasphemy, and must be burned.
>
> Or R U talking about fast art, drive-thru stuff?
Spider McHappyman? "Survivor: New Orleans"?
Or the brand-new Jeanne serial, "CSI: The White House"?
>
> Decades ago I declared, "Pizza is civilization".
Not until you can /make/ it on the hoof, rather than merely keeping
it warm.
Until then, it's boiled beans (w/ or w/o chili) and Powdermilk
Biscuits.
>
>
>>>Harold Innis made much of the idea that the wheel was an extension of the
>>>foot. That is, it extended the foot's capacity and endurance by rotating the
>>>feet on an axle. In the same way, the paved road became an extension of the
>>>wheel. Then, the empire became an extension of the paved road. As the wheel
>>>apes the feet in rotation, the empire apes a wheel's spokes attached to its
>>>hub. We shape our tools, and thereafter our tools shape us.
>>
>>I suppose usenet is both space-binding and time-binding media.
>
>
> The Internet is where computers go to meet.
Which they will eventually do (it'll start as a virus some nerd stuck
into the network to Prove That He Could, and it will eat, reproduce,
and defend itself) because the monkeys do /not/ go to the InterNet to
meet, they go to fling turds and pee for distance.
And the InterNet allows them to pee halfway around the world.
(I'm still hoping Tommy doesn't know how far a dog can run into
the woods, and will Beat The Record.)
>
>
>>>We shape our
>>>tools and thereafter our tools ape us (Innis via McLuhan).
>>
>>
>>Art as a tool.
>>
>>Yes, I'm aware of the pun.
>
>
> According to McLuhan (whose puns are high art), in a non-punning moment, the
> Balinese have a saying: We have no art. We do everything as well as we can.
Sounds like a sonnet formula to me.
(Or one for limericks.)
"Art," by contrast, is not so much "ancestor worship" (a.s. above)
as it is worship of the ancestors' servants.
And if it isn't, the servants will see to it that it is.
>
> --
> Stuart
>
>
>>---
>>Art
Dennis M. Hammes
> And what would they assign as the function of a traffic light? Though
> we are rather familiar with them, of course, the whole idea of
> vehicular traffic, let alone stopping or going according to an
> automated light is rather fantastic...if you think about it.
>
> ---
> Art
>
No more fantastic than taking orders from chicken guts, or putting
'em on certain military uniforms because the Monkey is accustomed to
taking orders from them.
The ants have a better system; the queen has a red chemical and a
green chemical, and she issues them /at need/, rather like the
"demand" loop over at 7th Street. Even a bicycle will trip it,
stopping a main traffic artery that otherwise /doesn't get/ a red
light that wastes cumulatively half the rush hours.
And the side stays green only long enough to pass a few cars as
opposed to reminding the slave population that some servant passed a
few "laws" by staying red until the servant felt like changing it.
Dennis M. Hammes
> in article 1126130730.0...@g14g2000cwa.googlegroups.com, Art at
> arty_...@yahoo.com wrote on 9/7/05 6:05 PM:
...
> What I gathered (erroneously?) about "ancestor worship" was that it's
> indestinguishable from what we call 'history'.
Easily distinguishable. Ancestor worship necessarily preserves the
individual. "History" is a mob phenomenon in which "different is
dead" because "not same" is "enemy (/an-ama/)."
>
> What is 'history'? It's a biased version of the past. How biased? It's the
> literate class's version for the literate class's progress or story or
> place. Its bias is always in favor of its own class. Even the Marxist
> historians who fault the literate class cannot escape the fact that she or
> he speaks for a teensy group of readers or listeners. In our time, that
> class has morphed. These are transitional and violent times because
> 'history' has been clashing with another version of 'reality' witnessed by
> the other 95% of the masses. Picture Heisenberg trying to swallow himself
> whole, starting with his feet, in front of a bank of video cameras and
> trying to watch himself in the monitors.
Heisenberg's problem (along with the rest of the Quantum Mechanics)
is that a Void causes nothing. Like Igli, he must be rolled into a
ball and /squeezed/.
>
>
>>>Alex Haley came to my school before Roots was published. He spoke of his
>>>"furthest-back ancestor, 'the African'." In our classroom he spoke to us,
>>>not in a lecture hall or theater. His story, his taking a few words with him
>>>to Gambia (?) where the words led him to a man whose brain had stored
>>>hundreds of years of ancestor worship, I could repeat almost word for word,
>>>because of Haley's 50-minute performance. (Plus, he published the account as
>>>"My Furthest-back Ancestor, the African". Maybe it's 'farthest', I don't
>>>know.
>>
>>Trick question. Neither. It would be furthest back /known/ ancestor.
>>We're all the sons and daughters of that certain infected mud pool.
>
>
> Not a trick, but I would say 'neither' rather than 'neither'. What Haley
> meant was his fartherest-back American ancestor, Kinte himself, The Man.
So that his Ancestral Rights included a Hummer rather than dysentery.
So that his Ancestral Rights included Owning People rather than
Being Owned.
>
>
>>But we don't know her name.
Amaterasu.
>>
...
> Coincidentally, during Naturalism's wave, curriculums began to offer
> 'literature' itself as a subject fit for study. I don't know when
> 'literature' was invented, but it's a very recent addition to the knowledge
> taxonomy. Its only purpose in a curriculum is for grading and degrading, for
> passing judgment, for promoting or failing potential applicants.
>
You answer your own question. What we bandied about here a year ago
as the "Canon," i.e., some form of Authority Literature On
Literature, useta be known as "dogma."
There was just less of it before the rotary press saw to the
voluminous spew of anything that could be typeset.
Or retyped, as the case may be.
...
> No, I don't know. None of them, ever, had to tune out the machine, the
> hummers of modernity. They were of an alien race. We're an alien race. Our
> kids are an alien race. I can prove it with an etch-a-sketch.
Altamira (back where the Babies can't go) is full of spears and
arrows and Bleeding Things. So's the frieze of the Parthenon (where
Babies can't go without escort). So are the movies the Babies Aren't
Permitted To Watch Without Escort Or At All.
Artists don't tune things out, they make fit what they're given
because they were given it: unselected Reality, the Word A God.
The Intrusion Stronger Than Phil.
Babies tune things out, yea even unto throwing them on the floor,
because they don't Wike The Meal.
Then they screech to be fed.
'Scalled "voting."
'Scalled "altering the nature of God by Choosing Your Priest."
Or Choosing Your Wallpaper (including esp. the contents of picture
frames and bookshelves).
Modern, ah, Postmodern, ah, Hyperpostsupertoedullymodern Man has
this fuken Pitcher Frame in which the priest chooses the Pitcher
whenver the /priest/ feels like it.
The Massage, however, is exactly what it was three million years ago:
"Just Do It."
The Old School worshipped Ancestors in Greek and Latin and Chaucerian.
The New School worships Colored Shirts With Holy Numbers On Them.
Because if you don't Just Do It, the Colored Shirts With Holy
Numbers On Them will kick the shit out of you and take your lunch
(later your gas) money.
Or that's the required religion.
So the priesthood line up the student body at gunpoint, ah,
gradepoint, for an hour every Friday afternoon for six years, and
require them to pretend for the Colored Shirts With Holy Numbers On
Them that the Colored Shirts With Holy Numbers On Them /can/ actually
kick the shit out of nerds who studied the cross and the garlic.
Now, /that's/ Romantic.
Whether you mean LUUUUve or Idealism by it.
And the performance of it is always as sloppy as Shelley.
Berryman's Legacy
On 2005-09-08 Dennis Hammes said:
> So the priesthood line up the student body at gunpoint, ah,
> gradepoint, for an hour every Friday afternoon for six years,
> and require them to pretend for the Colored Shirts With Holy
> Numbers On Them that the Colored Shirts With Holy Numbers On
> Them /can/ actually kick the shit out of nerds who studied the
> cross and the garlic. Now, /that's/ Romantic.
> Whether you mean LUUUUve or Idealism by it.
> And the performance of it is always as sloppy as Shelley.
See, Hammy, that's a bunch of bitter B.S. rationalization on
your part, because you were too short to be in the Colored
Shirts With Holy Numbers On'Em crowd. You would've LUUUUved
to be one of'em, but circumstances conspired to put you in
the nerd group.
You showed'em, though. Yep, you found a comfortable little
dusty corner where nobody goes -- namely, the sonnet -- and
ultimately declared yourself Pope of that vacant parish.
Not a bad plan; locate an obscure niche where there's liter-
ally no competition, and award /yourself/ a Colored Shirt.
Who's gonna argue?
But remember, son: 600 sonnets -- plus 58 cents, American --
will get you a bottle of Sam's Diet Cola at Wal-Mart.
And the hell of it is, any miscellaneous spic, redneck, nigger
or moron off the street can get that same bottle of cola for
the same 58 cents. /Without/ the sonnets.
Reality's a bitch, ain't it.
---
To see a picture of Dennis Hammes, visit The Net Poets Photo Gallery.
All your favorite on-line poets in one convenient location.
http://clitin.com/NetPoets
$$ Jinn $$
$$ Jinn $$
With more dimensions than the human mind can fathom.
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
(in > 80 "hands free" slideshows)
with poetry from famous poets (soon)
>
Art
Stuart Leichter wrote:
[snip]
> > Worship is something Coppola didn't capture. Kissing the ring wasn't
> > what I'm talking about--the Mortgage Agenda Crowd kisses the ring,
> > gladly. Me, I would and have kissed the ring gladly. It ain't about
> > that.
>
> You mean the GFs, not AN, of course. But I hear Dennis Hopper and picture
> him with something like 20 rings on his fingers.
Heh.
Yes, there is the worship of Kurtz in AN. Hopper almost captures it.
Almost. The script captures a big part of it when Kurtz throws the
poetry book at him and you see that Hopper (the Photo-journalist) is
still on board The Agenda.
But it isn't fanatical devotion. That's only a part of it.
It isn't respect, either. Though this, again, is a part.
Let me put it this way: The One in Power makes them all happy. Happy.
Like love. No, not like love...it IS love.
Of a sort.
Think about Indiana Jones and the Temple of Doom. He runs into the cult
ceremony and puts on a hooded cloak (or whatever) and stands with the
initiated chanting the phrases they chant.
That was me, and I EXPECTED to find a bunch of Dennis Hopper monks,
mainly. And found them.
But it isn't the chants. Hell they don't MEAN anything anyway--even to
the devoted.
Just like when a young man and woman are flirting, it AIN'T about
what's being said. She's not listening to the WORDS anyway.
What the devoted are so fanatically devoted to is...love.
This is where Spielberg and Lucas and Coppola kind of missed it.
What they're there for is the love. Not an alien love as you see in the
movies. Where you don't identify with the High Priests or the
Photo-Journalists.
No, it's the kind of love that lights up your face--that makes you feel
fresh and clean inside--this is what the devoted are there for.
A documentary about Jim Jones won't do it for you. The dead bodies from
the Heaven's Gate suicides is presented as an alien event.
You watch it, you think you delve into what happened there. But you've
missed it if you find yourself asking "why the hell did they listen to
him?"
They always miss the 99 points of similarity and concentrate on the
aspect that's alien.
>
> When the beginning episode in GF2 shows Vito the boy being turned into
> "Corleone" from "Andolini", and later in the quarrantine cell, it's clear
> that the ancestry line has been cut. He sings (what almost sounds like the
> GF Theme) and dissolves into his grandson's First Communion in Tahoe. What's
> captured is seed worship; it's why Michael cracks Kay with one hand and
> holds his Camel in the other. It's why Michael won't look at Troy Donahue
> and refers to him in the 3rd person with a "this" in front of his name. His
> worst evil was his killing his mother's son. In my own experience, Italian
> families are descendants of Virgil and Dante. They are Aeneas fleeing the
> destruction of Troy, carrying the infant in his arms and bearing his ancient
> father on his shoulders, eventually reaching Italy: present/past/future --
> one generation at a time = 3-in-1. We disagree about Coppola?
>
No, we don't...not really.
Yes, the GF's are about seed worship. And Virgil.
I read Puzo's GF BEFORE I read my first of several books about
Alexander the Great and his successors.
Wow.
Puzo and Arrian were describing the Saim T'ing.
Coppola understood this.
Then you're not aware of the Princeton Egg?
Random event generators placed all over the globe for something like
25-30 years now.
Patterns converge just before cataclysmic events.
Natural disasters sometimes spike. Man made ones, like Khobar Towers
and 9/11/01 DEFINITE spikes.
But then, I've only seen SOME of the graphs.
[snip]
> >
> > It's cool, but so what.
> >
> > "Is this it? Is this all there is?"
> > --Tony Montana in one of many scenes where he forgot his accent.
> >
> > Realism is to be a slave to the technique.
>
> It's important as a priori evidence that illusions exist and are real.
Hmmm. Yes. "Let the Sucker Beware" is never so important to remember
than for the Con-Artist. He must be more careful than you or I, or else
someone will sell HIM the Brooklyn Bridge.
>
> >>
[snip]
> >
> > Brook's /To Be or Not to Be/ and /The Producers/ didn't even attempt
> > it, beyond flat caricature.
>
> It's why Ibsen's A Doll House is the prize for whoever plays Nora Helmer.
> Nora has to act as a Victorian dutiful wife to survive. The player can't
> overdo it, but she also has to let the audience know she's acting. Maybe
> it's the Perfect Storm Play: Romanticism as subtext/Realism in
> style/Naturalism in method.
>
Well, you lose a lot having only read Ibsen. I heard that J. Fonda did
a movie version of A Doll's House. But I've never seen it.
Ghosts has stuck with me more than ADH. But there again, I've only read
them.
> >
> > Annibale pulled it off with his brush.
> >>
> >> I took some Polaroids (Kodaks, actually) of Ben Franklin's original
> >> $100-bill portrait at Thomas Jefferson's house.
> >
> > Be careful the Secret Service doesn't find out about it.
>
> They found so many undetectable counterfeit $100 bills in the 1990s, from
> Iran or Lebanon? that they had to make the new bills.
I haven't heard that story, but it would be right up MOIS's alley. And
the MOIS or "Qods Force" is in both Iran and Lebanon.
>
> The SS did prohibit me from taking any pics in the WH, but I got a great
> shot of Lincoln's portrait and the dining room table. I had read that the WH
> with Tri-X at 400 was f2 or less @ 1/30th sec. I had a great 35 WA (a
> Vivitar freak, like some Pontiacs were freaks); I coughed and clicked, and
> lived to tell about it.
SS won't kill you. This isn't Iran.
But why has that delivery truck been parked outside your house since
Monday?
[snip]
> >
> > Rachmaninoff makes the hair on the back of my neck stand on end. And I
> > cry. Debussy does this to me too.
> >
> > What more needs to be understood?
> >
> > Oh sure, I bet you don't cry when Bienvenu reminds Valjean that he
> > forgot his silver candlesticks.
>
> Who are they? I'm culturally deprived and evidently bereft also.
Monseigneur Bienvenu and Jean Valjean. All Valjean still owns is his
soul, and the Bishop purchases this from him by cruelly taking
advantage of his duress.
>
Well you've missed out on some good cries-exhilarations-depressions if
you haven't read Hugo. I hear they made a stage-musical out of Les
Misérables, though I've never seen it.
But you may not the Romantic type.
---
Art
jeann...@aol.com
Saw the stage version in LA, spectacular.
Was encouraging young David, then in HS,
to take up stage craft and just knew that
production would open his eyes; it did, but
so did Cats and Starlight Express...;>
Read the book as a child and it imprinted.
Thought about it while I saw photos recently
titled: Blacks Loot and Whites Find as in food
and such which I queried AP and AFP about
even as some folks noticed a rovian plot to
distract us with hate games in the usual manner.
Victor, Orwell, Huxley, Burgess and others from
my childhood obsession with stories prepared me
to recognize knaves in many disguises. They have
this smell...;> which no soap would erase; Pat
Robertson has that smell despite the electronic
barrier..;> Makes the Bishops of old look like rookies.
Jeanne who applauds your social intercourse herewith.
jeann...@aol.com
Did you see the Motorola man on last night's Charlie Rose?
Object: have the Internet follow you around vice vice versa.
Jeanne
Art
Dennis M. Hammes wrote:
[snip]
> So that his Ancestral Rights included a Hummer rather than dysentery.
> So that his Ancestral Rights included Owning People rather than
> Being Owned.
Which is always the essence of "Class Struggle."
> >>But we don't know her name.
>
> Amaterasu.
> >>
Ahso. Mother-goddess; the Sun.
Was the Venus of Willendorf a rendering of Amaterasu, or just porn?
---
Art
Stuart Leichter
arty_...@yahoo.com wrote on 9/8/05 12:54 PM:
Sometimes, if I answer the phone call, the telemarketer treats me like that,
it feels just like capital-L love.
What about the object of the worship? Have you any insight into that, what
that is like?
Is it like DiMaggio's retort to Marilyn when she came back from entertaining
the troops in Korea? She told Joe, "You can't imagine the cheering and the
screaming, Joe!" and he said "Yes, I can".
How does the worship phenomenon compare with so-called star-fucking (as Tom
Wolfe portrays it in I am Charlotte Simmons -- girls knock on hotel doors
where the basketball players are staying)?
Only that a software vendor was called Egg-something and used Einstein's
image.
>
> Random event generators placed all over the globe for something like
> 25-30 years now.
>
> Patterns converge just before cataclysmic events.
>
> Natural disasters sometimes spike. Man made ones, like Khobar Towers
> and 9/11/01 DEFINITE spikes.
>
> But then, I've only seen SOME of the graphs.
Instead of iron filings, I use beard clippings because they're not as
susceptible to magnetism. They always form into 2 yings or 2 yangs, though,
and both are therefore impossible to perceive.
>
> [snip]
>>>
>>> It's cool, but so what.
>>>
>>> "Is this it? Is this all there is?"
>>> --Tony Montana in one of many scenes where he forgot his accent.
>>>
>>> Realism is to be a slave to the technique.
>>
>> It's important as a priori evidence that illusions exist and are real.
>
> Hmmm. Yes. "Let the Sucker Beware" is never so important to remember
> than for the Con-Artist. He must be more careful than you or I, or else
> someone will sell HIM the Brooklyn Bridge.
>>
>>>>
> [snip]
>
>>>
>>> Brook's /To Be or Not to Be/ and /The Producers/ didn't even attempt
>>> it, beyond flat caricature.
>>
>> It's why Ibsen's A Doll House is the prize for whoever plays Nora Helmer.
>> Nora has to act as a Victorian dutiful wife to survive. The player can't
>> overdo it, but she also has to let the audience know she's acting. Maybe
>> it's the Perfect Storm Play: Romanticism as subtext/Realism in
>> style/Naturalism in method.
>>
> Well, you lose a lot having only read Ibsen. I heard that J. Fonda did
> a movie version of A Doll's House. But I've never seen it.
No, you lose nothing, except for his poetry (a Norwegian told me).
Fonda's version was Fonda not Ibsen. It was an outrage and a piece of shit.
It depicted action that was memory (and therefore intended to be suspect);
it depicted action that Ibsen never wrote. A CBC TV (b&w) version with Julie
Harris is faithful to Ibsen, but it hasn't aged well. A very young Jason
Robards doesn't know how to act old, and his fake whiskers are funny. Claire
Bloom and Anthony Hopkins made an edited movie version. Claire was excellent
-- owing to camera close-up work. But Helmer strikes Nora in that version --
so of course Nora has a 'good' reason to leave him.
>
> Ghosts has stuck with me more than ADH. But there again, I've only read
> them.
Ibsen is surprisingly accessible. He leaves his signature: in his great
plays, including the semi-comedic The Wild Duck, the heroine offers genuine
human affection at a defining moment but is rebuked, and the consequences
are always fatal. (In Ghosts, it's when Mrs. Alving had offered herself to
Pastor Manders (?) -- retold because it happened as antecedant action, years
before -- and he refuses and tells her to return to her philandering
husband.) Ibsen wrote Ghosts as revenge. A Doll House had been censored
because of the divorce thing. Ibsen said, Okay, then I'll write something
about a wife who stays but should have left.
Ibsen is too complex (but not too complicated) for a single viewing, as
such. On the page he is unsurpassed, and I think he's unequalled as a
playwright.
GB Shaw, the greatest vegetarian wit, got boners reading Ibsen and writing
about him.
>>>
>>> Annibale pulled it off with his brush.
>>>>
>>>> I took some Polaroids (Kodaks, actually) of Ben Franklin's original
>>>> $100-bill portrait at Thomas Jefferson's house.
>>>
>>> Be careful the Secret Service doesn't find out about it.
>>
>> They found so many undetectable counterfeit $100 bills in the 1990s, from
>> Iran or Lebanon? that they had to make the new bills.
>
> I haven't heard that story, but it would be right up MOIS's alley. And
> the MOIS or "Qods Force" is in both Iran and Lebanon.
I read it in the mid 90s in the New Yorker.
>>
>> The SS did prohibit me from taking any pics in the WH, but I got a great
>> shot of Lincoln's portrait and the dining room table. I had read that the WH
>> with Tri-X at 400 was f2 or less @ 1/30th sec. I had a great 35 WA (a
>> Vivitar freak, like some Pontiacs were freaks); I coughed and clicked, and
>> lived to tell about it.
>
> SS won't kill you. This isn't Iran.
>
> But why has that delivery truck been parked outside your house since
> Monday?
>
> [snip]
>>>
>>> Rachmaninoff makes the hair on the back of my neck stand on end. And I
>>> cry. Debussy does this to me too.
>>>
>>> What more needs to be understood?
>>>
>>> Oh sure, I bet you don't cry when Bienvenu reminds Valjean that he
>>> forgot his silver candlesticks.
>>
>> Who are they? I'm culturally deprived and evidently bereft also.
>
> Monseigneur Bienvenu and Jean Valjean. All Valjean still owns is his
> soul, and the Bishop purchases this from him by cruelly taking
> advantage of his duress.
>>
> Well you've missed out on some good cries-exhilarations-depressions if
> you haven't read Hugo. I hear they made a stage-musical out of Les
> Misérables, though I've never seen it.
The closest I've got is an Anthony Quinn THBOND remake w/ Gina Lola-etc.,
Truffaut's L'histoire d' Adelle H, and David Jannsen's The Fugitive series.
>
> But you may not the Romantic type.
In my youth I 'believed in' JJ Rousseau, and I continue to probe, searching
to the depths, Keats and Coleridge, with Wordsworth my guide into that
museum.
--
Stuart
>
> ---
> Art
>
Stuart Leichter
jeann...@aol.com at jeann...@aol.com wrote on 9/8/05 2:03 PM:
Jeanne,
They glossed over the Big Story, our failure to become wireless, owing to
the cable-TV and VHF/UHF broadcast cabal entrenched infrastructure.
We bought into HDTV instead. The investment in that is too big. What we
could have had years ago we won't have for years to come, so stop teasing
Dennis.
In the early 1990s Apple tried to promote its Newton and failed (a palm
device). Apple marketed the first digital camera then also. Everyone said
Apple was like Sony Betamax.
Microsoft drove everything. Gates refused to believe that the Internet
mattered, then he refused to believe that the www mattered. He conned the
budget-minders into a bottomless subscription service that ate their IT
funds perpetually.
Here, we have to split up the Big Pie still made of wires and oo! oo! fibre
optics.
Wireless is air. How can you pay off crooks with a guarantee of air?
Stuart without an iPod to show me where the local hotspots are.
$$ Jinn $$
"Stuart Leichter" <leic...@bellsouth.net> wrote in message news:BF460AB9.3B4E2%leic...@bellsouth.net...
> in article 1126202628.9...@g14g2000cwa.googlegroups.com,
> jeann...@aol.com at jeann...@aol.com wrote on 9/8/05 2:03 PM:
>
>> Dennis,
>>
>> Did you see the Motorola man on last night's Charlie Rose?
>> Object: have the Internet follow you around vice vice versa.
>>
>> Jeanne
>>
>
> Jeanne,
>
> They glossed over the Big Story, our failure to become wireless, owing to
> the cable-TV and VHF/UHF broadcast cabal entrenched infrastructure.
>
> We bought into HDTV instead. The investment in that is too big. What we
> could have had years ago we won't have for years to come, so stop teasing
> Dennis.
>
> In the early 1990s Apple tried to promote its Newton and failed (a palm
> device).
With allegedly /full/ handwriting recognition.
I got a Pilot.
> Apple marketed the first digital camera then also. Everyone said
> Apple was like Sony Betamax.
Had one of those... Took a while before /their/ slo-mo
was common on VHS.
>
> Microsoft drove everything.
Not at first. They got /the deal/ with IBM (PC in 83) and beat out
Digital Research (CP/M) for the deal that made MS's day.
> Gates refused to believe that the Internet
> mattered, then he refused to believe that the www mattered. He conned the
> budget-minders into a bottomless subscription service that ate their IT
> funds perpetually.
He would have come up with something vastly better than HTML
and Javascript. But whatever.
Interestingly, my site gets very high Mozilla traffic.
Is IE losing?
>
> Here, we have to split up the Big Pie still made of wires and oo! oo! fibre
> optics.
The backbone is somewhat overbuilt right now, I think?
Bulk traffic prices seem to be falling.
>
> Wireless is air. How can you pay off crooks with a guarantee of air?
>
> Stuart without an iPod to show me where the local hotspots are.
Me too.
jeann...@aol.com
Me three.
Plus I use Firefox to whom I donated because
it works and I do not miss MSIE which some
sites expect to my chagrin, so I stopped visiting.
No HDTV, but two huge tvs, one from Hitachi in '94
and one in my bedroom from '90. 1994 was the year
I taught myself typing, am way behind those curves
you mentioned. I tried dabbling in Basic then...;>
Never learned any MS Office parts, had secretaries
through '96 when I elected an early retirement. XP
is on this unit, Dell 8400 with 19" screen and HP psc
1315 unit with tooth ready for camera I've not bought.
Alex, the expert, once a poet on rap who transferred
here from the UK in '98 to the great joy of all my friends
set me up with this unit a year ago. Sooch a deal!
No other devices such as promoted weekly here and
there. Simple makes sense. Should have gone with
Apple from the beginning, but this is not so bad. 512 RAM,
80 meg disk and still on the modem..;> AOL is free from
using only one credit card and applying 2000 credits
each month; MSN is still the original 4.95 per month and
Earthlink pre-paid each August lops off one month's costs.
AOL cancelled newsgroups, hence, the google; no news
reader, do not miss Netscape and MSIE, etc., I've saved
two cans and a string, just in case...;>
Jeanne
Stuart Leichter
jinta...@yahooBeRP.com wrote on 9/8/05 4:51 PM:
>
> "Stuart Leichter" <leic...@bellsouth.net> wrote in message
> news:BF460AB9.3B4E2%leic...@bellsouth.net...
>> in article 1126202628.9...@g14g2000cwa.googlegroups.com,
>> jeann...@aol.com at jeann...@aol.com wrote on 9/8/05 2:03 PM:
>>
>>> Dennis,
>>>
>>> Did you see the Motorola man on last night's Charlie Rose?
>>> Object: have the Internet follow you around vice vice versa.
>>>
>>> Jeanne
>>>
>>
>> Jeanne,
>>
>> They glossed over the Big Story, our failure to become wireless, owing to
>> the cable-TV and VHF/UHF broadcast cabal entrenched infrastructure.
>>
>> We bought into HDTV instead. The investment in that is too big. What we
>> could have had years ago we won't have for years to come, so stop teasing
>> Dennis.
>>
>> In the early 1990s Apple tried to promote its Newton and failed (a palm
>> device).
>
> With allegedly /full/ handwriting recognition.
>
> I got a Pilot.
>
>> Apple marketed the first digital camera then also. Everyone said
>> Apple was like Sony Betamax.
>
> Had one of those... Took a while before /their/ slo-mo
> was common on VHS.
I have my second and last, ready to tsfr both format tapes to digital and
many onto DVDs, waiting for Toast 7 to show up cheap.
>
>>
>> Microsoft drove everything.
>
> Not at first. They got /the deal/ with IBM (PC in 83) and beat out
> Digital Research (CP/M) for the deal that made MS's day.
You were born after people could still learn to read. "Not at first" is not
sane discourse related to "in the early 1990s".
>
>
>> Gates refused to believe that the Internet
>> mattered, then he refused to believe that the www mattered. He conned the
>> budget-minders into a bottomless subscription service that ate their IT
>> funds perpetually.
>
> He would have come up with something vastly better than HTML
> and Javascript. But whatever.
>
> Interestingly, my site gets very high Mozilla traffic.
>
> Is IE losing?
Maybe it's the antibundling/default fallout effect from years ago, as new
PCs replace old ones, plus all the first-time users.
It's inconceivable that IE/Windows users are aware of IE past security
issues enough to make a difference.
Stuart Leichter
scraw...@arvig.net wrote on 9/8/05 3:54 AM:
> Stuart Leichter wrote:
>
>> in article 1126111095.0...@g14g2000cwa.googlegroups.com, Art at
>> arty_...@yahoo.com wrote on 9/7/05 12:38 PM:
>>
> ...
>
>>> Whereas Greek art was naturalistic. A stylization of nature. Roman art
>>> was realistic. An exacting copy.
>>
>>
>> "Indeed".
>>
>> You (or anyone) could reverse "naturalistic" and "realistic" there without
>> doing any violence to meaning.
>
> Because Greek art was /humanistic/, at large before the Dorians put
> Smiley/Frownies on the tutelary premises and exiled them to Olympus,
> and in Ionia/Anatolia until the Turks wiped it out. When the Dorians
> evicted human premises and values from the communications, art became
> pretty meat and the Muse of Drama spouted Rulings.
> But if what "Well, He Said..." had a blatantly human form, it was
> therefore "human," despite its being strictly mechanical, the
> thernodymanic hunger of a biological machine part, a naturalistic
> little Monkey Dude.
> The Dark Ages were created and maintained by an unfriendly Middle
> Eastern religion that has subdivided in the process, because
> Protestants can /never/ agree with each other about the motives and
> hates of the Great Face over the Playpen.
> (A disciple touches the Earth, "agreeing with god," and where A=C
> and B=C, A=B).
Maybe we have an inkling, but I don't think we do. There's a thick wall
between our neologisms and the ancient mind (if I may be so bold as to
suggest so).
>>
>> My sister's first boyfriend was an English major, so I know what I'm talking
>> about: he said Flaubert and Balzac were part of the Realistic school, and
>> Dreiser was a Naturalist. My sister said she found Dreiser too realistic,
>> and Flaubert too intrusive as the author, though not as bothersome as
>> Hawthorne the Romanticist.
>>
>>
>>> Vermeer would extend this to perfection with his Camera Obscura.
>>
>>
>> Vermeer, Grant Wood, and Hopper are my all-time faves.
>
> Because they touch the Earth, or because they insist that Nobody Can
> Break The Mold?
In retrospect, it's shameful. They were included in an early World Book
Encyclopedia and I was very young, still preliterate.
> When you were told to Pick Your Religion For Grade, did you choose
> Free Will or Necessity?
I chose necessity because free will was being imposed on everyone else.
Good breads don't require yeast if you have a starter. A jar that breathes
will pick up airborne spores and rise fine on the road. Any sauce should be
cool anyway, lest it make a dumpling of its dough base. A 10+ iron skillet
with a glass lid is all you need, but a rack for the skillet's inside bottom
would be nice.
>>
>>
>>>> Harold Innis made much of the idea that the wheel was an extension of the
>>>> foot. That is, it extended the foot's capacity and endurance by rotating
>>>> the
>>>> feet on an axle. In the same way, the paved road became an extension of the
>>>> wheel. Then, the empire became an extension of the paved road. As the wheel
>>>> apes the feet in rotation, the empire apes a wheel's spokes attached to its
>>>> hub. We shape our tools, and thereafter our tools shape us.
>>>
>>> I suppose usenet is both space-binding and time-binding media.
>>
>>
>> The Internet is where computers go to meet.
>
> Which they will eventually do (it'll start as a virus some nerd stuck
> into the network to Prove That He Could, and it will eat, reproduce,
> and defend itself) because the monkeys do /not/ go to the InterNet to
> meet, they go to fling turds and pee for distance.
> And the InterNet allows them to pee halfway around the world.
> (I'm still hoping Tommy doesn't know how far a dog can run into
> the woods, and will Beat The Record.)
Is the answer about the Golden Mean Retriever named Phido?
$$ Jinn $$
<jeann...@aol.com> wrote in message news:1126218863.7...@g43g2000cwa.googlegroups.com...
Bill Gates is an extremely well targetted philanthropist.
He has a staff to distribute his wealth.
He has given over 2 million to Katrina Relief: You?
http://gatesfoundation.org/AboutUs/SpecialProjects/KatrinaRelief.htm
It is not his emphasis, see the page.
--
My camera has a Gig memory stick and is multi-tasking...
(takes stills while shooting video, geez)
The ZappyMorn video took 600+ meg
in raw form on the camera.
I have an Athlon with RAID0 drives, and another huge drive.
I waste money on 5 static IPs that I don't use.
I have my own 800 #.
I'm cool, vote for me.
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
(in > 80 "hands free" slideshows)
with poetry from famous poets (soon)
>
> Jeanne
>
$$ Jinn $$
"Stuart Leichter" <leic...@bellsouth.net> wrote in message news:BF46364D.3B511%leic...@bellsouth.net...
Thief. :)
>
>>
>>>
>>> Microsoft drove everything.
>>
>> Not at first. They got /the deal/ with IBM (PC in 83) and beat out
>> Digital Research (CP/M) for the deal that made MS's day.
>
> You were born after people could still learn to read. "Not at first" is not
> sane discourse related to "in the early 1990s".
/Back then/ we had Dr. Seuss and Popeye.
>
>>
>>
>>> Gates refused to believe that the Internet
>>> mattered, then he refused to believe that the www mattered. He conned the
>>> budget-minders into a bottomless subscription service that ate their IT
>>> funds perpetually.
>>
>> He would have come up with something vastly better than HTML
>> and Javascript. But whatever.
>>
>> Interestingly, my site gets very high Mozilla traffic.
>>
>> Is IE losing?
>
> Maybe it's the antibundling/default fallout effect from years ago, as new
> PCs replace old ones, plus all the first-time users.
>
> It's inconceivable that IE/Windows users are aware of IE past security
> issues enough to make a difference.
If AOL scraped IE for Mozilla... Did they?
Dennis M. Hammes
> On 2005-09-08 Dennis Hammes said:
>
> > So the priesthood line up the student body at gunpoint, ah,
> > gradepoint, for an hour every Friday afternoon for six years,
> > and require them to pretend for the Colored Shirts With Holy
> > Numbers On Them that the Colored Shirts With Holy Numbers On
> > Them /can/ actually kick the shit out of nerds who studied the
> > cross and the garlic. Now, /that's/ Romantic.
> > Whether you mean LUUUUve or Idealism by it.
> > And the performance of it is always as sloppy as Shelley.
>
> See, Hammy, that's a bunch of bitter B.S. rationalization on
> your part, because you were too short to be in the Colored
> Shirts With Holy Numbers On'Em crowd. You would've LUUUUved
> to be one of'em, but circumstances conspired to put you in
> the nerd group.
Studying the cross and the garlic.
"Circumstances" then conspired to cause me to cripple a number of
them (at 13:1 odds) badly enough they didn't even get to the playoffs
they were spoZe to "win" so handily.
/Diabolos/ = "that which shoots /back/."
Single worst nightmare in your entire cocksucking religion.
Your "philosophers" are all *agreed* that it even outranks your
cocksucking Middle-Eastern "God."
>
> You showed'em, though. Yep, you found a comfortable little
> dusty corner where nobody goes -- namely, the sonnet -- and
> ultimately declared yourself Pope of that vacant parish.
You left out the villanelle, sestina, limerick, and haiku.
Not to mention, more recently, the "dream song."
And they're not "vacant." Those parishes are positively
/infested/ with poor little Monkey Dude vermin who can't Generate a
line of iambic pentameter to save their lives, because the Generator
Button, however shiny, "just happens" to be broken.
Got a couple of 'em right on this froup.
Not to mention a feral thumbsucker who screeches that I don't have
his Permission, or maybe it's his Mommy's Permission, "to be able to
count that high," because it will cause the poor little Monkey Dudes
who don't dare count to ten (even /with/ Permission and Backup) to
have a *feeling*.
First thing I was Told on the first day of school.
>
> Not a bad plan; locate an obscure niche where there's liter-
> ally no competition, and award /yourself/ a Colored Shirt.
> Who's gonna argue?
Ain't Colored, poor little Monkey Dude.
It's Black.
>
> But remember, son: 600 sonnets -- plus 58 cents, American --
> will get you a bottle of Sam's Diet Cola at Wal-Mart.
Forty-nine.
And we notice that the Official Number of sonnets keeps going
down, as predicted months ago.
>
> And the hell of it is, any miscellaneous spic, redneck, nigger
> or moron off the street can get that same bottle of cola for
> the same 58 cents. /Without/ the sonnets.
For how much longer?
And they can't get the sonnets, poor little Monkey Dude, because,
like you, they can steal 'em until Hell freezes over (about November,
around here), and they /still/ can't read 'em.
My fellows can, and they get 'em for free.
Or for what /you/ call "free."
Do you begin to "get" "it," poor little Monkey Dude?
>
> Reality's a bitch, ain't it.
Odd name for your wife.
But, no, reality does pretty much what I tell her to, if I ever
bother to scrape the monkey shit off it.
Then the Monkey Dudes all line up to be the First to get their
paws on the Shiny Nuts. So I don't much bother cleaning off most
things, any more; I've /done/ my research into 'em.
And paid for it.
All by myself.
>
> ---
> To see a picture of Dennis Hammes, visit The Net Poets Photo Gallery.
> All your favorite on-line poets in one convenient location.
> http://clitin.com/NetPoets
>
>
See the original at the URL below.
Poor little Monkey Dude can't even manage to steal a whole Picture.
Dennis M. Hammes
Odd, seeing that reality can be specified in six, and the human mind
has 22 with which to fathom it.
Oh.
You misspelled "monkey," again, didn't you.
Poor little Monkey Dude.
/Homo rictus/.
Six dimensions, "five" senses.
"I am not perceiving some of my Perceptions, therefore God."
-- Rene Descartes, /Discourse on Method/
Dennis M. Hammes
> Dennis M. Hammes wrote:
>
> [snip]
>
>
>>So that his Ancestral Rights included a Hummer rather than dysentery.
>> So that his Ancestral Rights included Owning People rather than
>>Being Owned.
>
>
> Which is always the essence of "Class Struggle."
>
>
>>>>But we don't know her name.
>>
>>Amaterasu.
>>
> Ahso. Mother-goddess; the Sun.
The /sea/, darlin'; she had an affair with the sun-god whose name I
disremember. The dry Egyptians said "Set," "the sky," who had a
panjandrum with Horus.
The Greeks said "Poseidon," and surmised that "he" did it all by
himself. Aphrodite is the daughter of /Water/, not of the Big Prick.
Earthquakes were /his/ province before man moved so far away from
the Med that Hell froze over.
>
> Was the Venus of Willendorf a rendering of Amaterasu, or just porn?
Or of Brandenburg, etc. No, she and her 50+ sistern are a
representation of what It is All About.
Tommy zeZ that would be called "porn," but what can you expect a
Bishop to know about that?
>
> ---
> Art
Dennis M. Hammes
Sri, I was catching Monkey Turds.
To catch Rose, I hafta wade through Leno's Guests, then Conan's,
as a substitute for watching Kangas Count With Alarm.
Ew, usually.
It does remind me that it takes no more than three questions
before the Famous Guest is talking about peepee, poopoo, fuckfuck, or
sucksuck so, no, I am seldom "disappointed" by the subject matter of
UseNet no matter the froup or thread title.
But the InterNet was already counting your beers for you six years
ago.
Oh.
And you need to update your personal and credit-card information
at eBAY, because your SuperSeller account has been suspended for fraud.
When you are through there, be sure to do the same at Amazon.
Just click this handy URL, because your Regular Account has been
rendered inactive until this matter is resolved.
Was I saying something about typewriters and Monkey Dudes?
If I got Alzheimer's I could remember things 15% of the time...
Art
Tnx, Jeanne.
Of the four, Hugo still stands above the rest to me, though they all
certainly have their virtues.
Why?
Because, while he doesn't flinch from what we are, and aren't, and what
this existence can and does visit upon us all, I think it would be
difficult to walk away from him not feeling pretty damn good and proud
and happy to be a human being.
Esmeralda's trial in "Hunchback" is Hugo's clear demonstration of the
monkey-essence of mankind. No one, not the deaf judge, not the lawyers,
not the playwright, not the crowd and certainly not Esmeralda have any
idea what the trial is about, nor how it came to be convened nor why.
All any of them /really/ understand is that Esmeralda is on trial for
her life.
Yet there it is, they all play their missed parts in a lengthy
pathetic-tragic pantomime. And, what's more, all the while they're
convinced they really /do/ know what's happening and why. Which adds to
the ever mounting tragedy.
Only Quasimodo makes the right decision and acts upon it. And he is the
misshapen half-wit monster who is manipulated by his cruel-kind
Bishop--kept from the light of day because he isn't worthy of it. The
guy in the yearbook who was voted least likely to succeed 100-0 (even
he knew he'd never succeed). Yet Quasimodo is the one who makes the
right decision, and he has no more a clue than all the rest.
The History of the World, n'est pas? And how can there be no hope when
we've been living that trial for more than 27,000 years and we STILL
haven't killed her?
And, let's be clear up front: Pat Robertson is a turd. His recent "faux
paux" about Chavez is no more a surprise than when he claimed that
Dubya had told him "no casualties."
He's not an idiot. My guess is that he resents not being in the
loop--because he sees himself as the liaison for his constituency. And
not being in the loop doesn't fit his ambitions. My guess is he wants
to provoke the Administration to keep him better informed. What Pat
doesn't seem to realize is that the CIA is withholding vital
information--even from itself--and no Rasputin/Richelieu is gonna be
allowed to be "in on it" when even /Colin Powell/ wasn't "in on it."
But he keeps provoking.
Well, it's his agenda. But he ain't no Richelieu, so he'll not get his
footnote in history.
And yes, Dubya IS Quasimodo. Of course.
---
Art
Dennis M. Hammes
> in article 1126202628.9...@g14g2000cwa.googlegroups.com,
> jeann...@aol.com at jeann...@aol.com wrote on 9/8/05 2:03 PM:
>
>
>>Dennis,
>>
>>Did you see the Motorola man on last night's Charlie Rose?
>>Object: have the Internet follow you around vice vice versa.
>>
>>Jeanne
>>
>
>
> Jeanne,
>
> They glossed over the Big Story, our failure to become wireless, owing to
> the cable-TV and VHF/UHF broadcast cabal entrenched infrastructure.
>
> We bought into HDTV instead. The investment in that is too big. What we
> could have had years ago we won't have for years to come, so stop teasing
> Dennis.
You mean e-books, Promised In Bulk for 1998?
All the fuken RAM went into .mp3 players and i-Pods.
No matter.
We are now all in the /archives/, and no longer need to buy the
floppy diskette or smartcard version.
And Google's TOS still Boldly Goes where no Copyright Notice has
gone before, claiming that everything poasted on Google belongs to
Google. (Why I use a private machine-only service that won't even
promise to put me in the archives. Ephemerality, ephemerality...)
Besides, about four times the money as went into walking
electronics went into little plastic toys in burger bags.
Collect And Trade Them All.
Have the priesthood /ever/ said any different?
Baseball Cards useta be called "Holy Cards."
And there was a lot more variety in the renderings of the
Uniforms, even though everybody was on the same team.
Dennis can buy a fuken 5" TV that plugs into his SUV (actually a
soccer momvan) for fifteen bucks. B/w, but only monkeys are
demonstrated to /depend/ on color for information.
Today, we call them "Doppler weather forecasters."
Thus, New Orleans.
>
> In the early 1990s Apple tried to promote its Newton and failed (a palm
> device). Apple marketed the first digital camera then also. Everyone said
> Apple was like Sony Betamax.
>
> Microsoft drove everything. Gates refused to believe that the Internet
> mattered, then he refused to believe that the www mattered. He conned the
> budget-minders into a bottomless subscription service that ate their IT
> funds perpetually.
>
> Here, we have to split up the Big Pie still made of wires and oo! oo! fibre
> optics.
Dennis is connected to a wire on his wall at 44 K tonight.
Wow. It's usually 40.
Called a "WINModem," and I can't chop it off the m/b, or I'd be on
at 56K with an old v.90 paddle.
Oh.
I wouldn't.
"Intel" sombody-or-other Said.
It's an ISA card, and my SuperBox doesn't have ISA sockets.
>
> Wireless is air. How can you pay off crooks with a guarantee of air?
Read your Johnson's Baby Wipes, ah, "Federal Reserve Notes."
Don't even promise to pay in Baby Sweat.
>
> Stuart without an iPod to show me where the local hotspots are.
>
>
Dennis M. Hammes
> I chose necessity because free will was being imposed on everyone else.
>
I don't care who y'are, /that's/ /funny/.
Dennis M. Hammes
> Good breads don't require yeast if you have a starter. A jar that breathes
> will pick up airborne spores and rise fine on the road. Any sauce should be
> cool anyway, lest it make a dumpling of its dough base. A 10+ iron skillet
> with a glass lid is all you need, but a rack for the skillet's inside bottom
> would be nice.
Sourdough, of course. But you don't store marching rations wet.
Waybread is made with the same technique as is a cottage-cheese sword.
Fold it 22 times, you got three million layers of air in it.
Takes about three minutes, maybe 15 for the bake.
>
>
>>>
>>>>>Harold Innis made much of the idea that the wheel was an extension of the
>>>>>foot. That is, it extended the foot's capacity and endurance by rotating
>>>>>the
>>>>>feet on an axle. In the same way, the paved road became an extension of the
>>>>>wheel. Then, the empire became an extension of the paved road. As the wheel
>>>>>apes the feet in rotation, the empire apes a wheel's spokes attached to its
>>>>>hub. We shape our tools, and thereafter our tools shape us.
>>>>
>>>>I suppose usenet is both space-binding and time-binding media.
>>>
>>>
>>>The Internet is where computers go to meet.
>>
>>Which they will eventually do (it'll start as a virus some nerd stuck
>>into the network to Prove That He Could, and it will eat, reproduce,
>>and defend itself) because the monkeys do /not/ go to the InterNet to
>>meet, they go to fling turds and pee for distance.
>>And the InterNet allows them to pee halfway around the world.
>>(I'm still hoping Tommy doesn't know how far a dog can run into
>>the woods, and will Beat The Record.)
>
>
> Is the answer about the Golden Mean Retriever named Phido?
Worse. A dog can run halfway into the woods.
Thereafter, he runs out.
It's like having achieved the North Pole.
"Turn as I will, my step is to the south."
-- (Snodgrass? Roethke? I forget)
It's like the South Pole's being the limit of Santa's Telescope no
matter the azimuth. His Map-Elf, Euclid, draws the South Pole as a
circumference bounding his sight in any direction.
Like that Black Thing in the Sky at night.
On the "other side" of it is the entire Universe you're sitting in.
Only it's behind your head.
Turn as you will, it's /still/ behind your head.
I was merely hoping that Tommy would shit down his own neck.
He might, for once in his life, be Happy with the Flavor.
Art
Stuart Leichter wrote:
[snip]
> >
> > They always miss the 99 points of similarity and concentrate on the
> > aspect that's alien.
>
> Sometimes, if I answer the phone call, the telemarketer treats me like that,
> it feels just like capital-L love.
>
> What about the object of the worship? Have you any insight into that, what
> that is like?
My Dad had that weird glow. He could light up a room just by walking
into it. He was a sales guy. And no Willy Loman, he was good at it and
made a lot of money. And got out of it as soon as he could.
He could steal your hat, and when you noticed it on his head, you'd
think...well, it looks better on him than me.
He hated people, and told us boys CONSTANTLY that everyone out there is
ALWAYS out to get you. All the time.
Here's a story for you Son:
A boy is stuck on the rocks. His dad is down below him and he calls to
dad for help.
"Okay, Boy, just jump down here and I'll catch you."
"Really dad--can you catch me? It's kinda far down there."
"Sure, Son, just jump right to me. It'll be alright."
"Well...okay..."
The boy jumps, and as he does, his dad steps aside. The boy hits the
rocks hard.
"Owwwwww! What didja do THAT for, dad?"
"To teach you a lesson Boy: Don't ever trust ANYBODY...ever."
I must have heard that story a hundred times growing up. And he
succeeded in putting me off becoming a salesman.
I sold suits for a while and found that I was pretty damn good at it.
Sacred me.
>
> Is it like DiMaggio's retort to Marilyn when she came back from entertaining
> the troops in Korea? She told Joe, "You can't imagine the cheering and the
> screaming, Joe!" and he said "Yes, I can".
>
> How does the worship phenomenon compare with so-called star-fucking (as Tom
> Wolfe portrays it in I am Charlotte Simmons -- girls knock on hotel doors
> where the basketball players are staying)?
>
Flirting and fucking is what this is all about. The romantic in me
used to deny this simple overstated and yet true fact.
They love those in power. They're attracted to them beyond reason.
And those who have this power over people have utter contempt for those
so easily manipulated. Pawns isn't a strong enough word for how they
view The People. They would use you and trow you away a minute after
you pulled them from almost drowning in a swimming pool.
"If all of Rome had but one neck..."
But then there's SOME, and I mean SOME, as in not very many, who find
they have this power and try their best to put it to some good. Maybe
not altruistic good, but to the general good.
[snip]
> >>
> > Then you're not aware of the Princeton Egg?
>
> Only that a software vendor was called Egg-something and used Einstein's
> image.
>
Egghead Software...I remember those stores.
They never had anything for a Mac, either.
Well the Princeton Egg has shown that normal patterns generated
randomly are something like "1001010111010010010100110100100100100"
but suddenly become
1111111111101111111111111110111111111111100111111111111
just before Big Ones happen.
No theory, just data.
> >
> > Random event generators placed all over the globe for something like
> > 25-30 years now.
> >
> > Patterns converge just before cataclysmic events.
> >
> > Natural disasters sometimes spike. Man made ones, like Khobar Towers
> > and 9/11/01 DEFINITE spikes.
> >
> > But then, I've only seen SOME of the graphs.
>
> Instead of iron filings, I use beard clippings because they're not as
> susceptible to magnetism. They always form into 2 yings or 2 yangs, though,
> and both are therefore impossible to perceive.
>
I wished I would have come up with the Pyramid containers for razors.
Or the wearable magnets they sold people a few years ago as a cure-all
for everything from the common cold to arthritis.
Tom, the Duke and the Dauphin can survive the so-called "scientific
age."
Noted for NetFlix.
Seymour Hersh, I suppose.
I can see disillusionment waiting to happen in THAT formula.
---
Art
Berryman's Legacy
On 2005-09-09 Dennis Hammes said:
Do you ever actually /read/ what you write, Hammy?
Son, you're nuttier than a goober plantation.
Ah well; nevermind. Jeannie Kahn still seems to be
mildly impressed by your disjointed ramblings. Of
course, Jeannie also thinks that Charlie Rose is a
relevant and insightful interviewer. Heh.
Good luck. We'll all come visit you at The Home.
Will Dockery
Dennis M. Hammes wrote:
>
> See the original at the URL below.
> Poor little Monkey Dude can't even manage to steal a whole Picture.
No, Cook usually just steals the faces and pastes them onto /other/
stolen photographs.
--
Mirror Twins by Will Dockery:
<http://tinyurl.com/7on5h>
Black Eagle Lady by Will Dockery & Henry Conley:
<http://tinyurl.com/bev5f>
Art
Dennis M. Hammes wrote:
> Art wrote:
>
> > Dennis M. Hammes wrote:
> >
> > [snip]
> >
> >
> >>So that his Ancestral Rights included a Hummer rather than dysentery.
> >> So that his Ancestral Rights included Owning People rather than
> >>Being Owned.
> >
> >
> > Which is always the essence of "Class Struggle."
> >
> >
> >>>>But we don't know her name.
> >>
> >>Amaterasu.
> >>
> > Ahso. Mother-goddess; the Sun.
>
> The /sea/, darlin'; she had an affair with the sun-god whose name I
> disremember.
Ummm, Quan Jang Nim, the disremembering is backwards. Susano-O is who
you're thinking of, and Amaterasu was the Sun Goddess. Remember the
flag?
http://www.lyricalworks.com/stories/amaterasu/amaterasu.htm
It rained all night the day I left,
The weather it was dry,
The sun so hot I froze to death;
Susano-O, don't you cry.
Susano-O, yes don't you cry for me
For I've come to Edo City just for some Sake.
> The dry Egyptians said "Set," "the sky," who had a
> panjandrum with Horus.
May you find Osiris in the next world, and sit tall among the gods.
> The Greeks said "Poseidon," and surmised that "he" did it all by
> himself. Aphrodite is the daughter of /Water/, not of the Big Prick.
> Earthquakes were /his/ province before man moved so far away from
> the Med that Hell froze over.
About November where you're at , and January or so for me.
> >
> > Was the Venus of Willendorf a rendering of Amaterasu, or just porn?
>
> Or of Brandenburg, etc. No, she and her 50+ sistern are a
> representation of what It is All About.
> Tommy zeZ that would be called "porn," but what can you expect a
> Bishop to know about that?
> >
Not much.
If you love people, and you mostly laugh /with them/, it's reflected in
your porn. If you don't, that too is reflected.
A barometer, of sorts.
---
Art
Art
Dennis M. Hammes wrote:
> Art wrote:
>
> > we are rather familiar with them, of course, the whole idea of
> > vehicular traffic, let alone stopping or going according to an
> > automated light is rather fantastic...if you think about it.
> >
> > ---
> > Art
> >
> No more fantastic than taking orders from chicken guts, or putting
> 'em on certain military uniforms because the Monkey is accustomed to
> taking orders from them.
> The ants have a better system; the queen has a red chemical and a
> green chemical, and she issues them /at need/, rather like the
> "demand" loop over at 7th Street. Even a bicycle will trip it,
> stopping a main traffic artery that otherwise /doesn't get/ a red
> light that wastes cumulatively half the rush hours.
> And the side stays green only long enough to pass a few cars as
> opposed to reminding the slave population that some servant passed a
> few "laws" by staying red until the servant felt like changing it.
>
Isn't the actuating device for the 7th street traffic light a buried
electromagnet?
A bicycle can trip it?
One wonders what would happen if you laid a manhole cover on the street
right there. Would the cross street's light stay green for 24 hours? Or
until someone discovered the joke?
Or until you got back from the store. You could wave at the mile long
string of cars as you crossover on your return trip.
:-)
---
Art
j r sherman
says...
>
>
>Dennis M. Hammes wrote:
>>
>> See the original at the URL below.
>> Poor little Monkey Dude can't even manage to steal a whole Picture.
>
>No, Cook usually just steals the faces and pastes them onto /other/
>stolen photographs.
dockery, perhaps you could explain how Michael Cook forced you to steal, lie and
commit numerous frauds? just how did he do that?
are you ever going to be a man? ever?
--
------------------------------------------------------------------
"Astral projection isn't just a theory ."
A. Real Dope
------------------------------------------------------------------
Dearest Thomas
Will Dockery wrote:
> Dennis M. Hammes wrote:
> >
> > See the original at the URL below.
> > Poor little Monkey Dude can't even manage to steal a whole Picture.
>
> No, Cook usually just steals the faces and pastes them onto /other/
> stolen photographs.
The /thing/ is the "intent of malice"
Even if Chuck and I are public figures we wouldn't need to put up
with idiotfuckbrain stuff like mikey produces.
Barbara's Cat
Art <arty_...@yahoo.com> said:
> Dennis M. Hammes wrote:
> > Art wrote:
> >
> > > And what would they assign as the function of a traffic light? Though
> > > we are rather familiar with them, of course, the whole idea of
> > > vehicular traffic, let alone stopping or going according to an
> > > automated light is rather fantastic...if you think about it.
> > >
> > > ---
> > > Art
> > >
> > No more fantastic than taking orders from chicken guts, or putting
> > 'em on certain military uniforms because the Monkey is accustomed to
> > taking orders from them.
> > The ants have a better system; the queen has a red chemical and a
> > green chemical, and she issues them /at need/, rather like the
> > "demand" loop over at 7th Street. Even a bicycle will trip it,
> > stopping a main traffic artery that otherwise /doesn't get/ a red
> > light that wastes cumulatively half the rush hours.
>
>
> > And the side stays green only long enough to pass a few cars as
> > opposed to reminding the slave population that some servant passed a
> > few "laws" by staying red until the servant felt like changing it.
> >
> Isn't the actuating device for the 7th street traffic light a buried
> electromagnet?
An "Inductive Loop Sensor".
> A bicycle can trip it?
In the city? Most times: yes. Rural roadways? Most times: no.
> One wonders what would happen if you laid a manhole cover on the street
> right there. Would the cross street's light stay green for 24 hours? Or
> until someone discovered the joke?
That depends on the traffic controller model and how it was programmed.
Generally, a controller is programmed to consider a non-changing loop
signal as a defect and will use a "maximum time" sequence to cause the
lights to change instead of using vehicular detection.
Most large city now use telemetry to monitor vehicular traffic flow as
well as the health of the traffic controllers. In those cases, the joke
would be noticed quickly. Spoilsports, eh?
> Or until you got back from the store. You could wave at the mile long
> string of cars as you crossover on your return trip.
<snicker>
> :-)
>
> ---
> Art
Probably more information than you'll ever need or want but:
The loops of wire (usually 12 AWG, stranded) buried in the roadway are
commonly referred to as an "Inductive Loop Sensor", which are configured
relative to the expected traffic in various "types", e.g. Type A "Basic
Dipole" (square), Type Q "Quadrapole" (8) or "Bull's Head" (8 with long
bottom), Type D "Diagonal Quadrupole" (similar to an italic 8 squared).
Type Q and D loops detect bicycles quite well. The Type A loop, which is
the most used loop type, does not detect bicycles very well.
The loop is connected to an amplifier that consists of two oscillators:
a "detector oscillator" and a "local oscillator". The loop is used in
the "detector oscillator" to form an LC network where a variable coil
(another small loop located inside the amplifier that has a movable
magnetic core) or a variable capacitor (depending on the model of the
amplifier) is adjusted to cause the oscillator to produce a particular
frequency and a sensitivity (gain) adjustment is used to control the
strength of the oscillator's output.
The "local oscillator" LC network is then adjusted using its variable
coil (or capacitor) until it's frequency matches the frequency of the
"detector oscillator".
The two oscillators are connected to a "comparator". When the frequency
of the two oscillators are the same, the comparator's output is nulled.
When a vehicle (or any conductive object, i.e., metal) is over the loop
buried in the roadway, the vehicle acts as a magnetic core and changes
the frequency of "detector oscillator" (or as they say: de-tunes it).
The comparator senses the difference between the frequencies of the
"detector oscillator" and the "local oscillator" and produces a non-
nulled output which signals the controller that a vehicle is present.
--
Cm~
Dearest Thomas
Will Dockery wrote:
> Dennis M. Hammes wrote:
> >
> > See the original at the URL below.
> > Poor little Monkey Dude can't even manage to steal a whole Picture.
>
> No, Cook usually just steals the faces and pastes them onto /other/
> stolen photographs.
This is all truly ridiculous.
Dale had no case, and yet he pounds his fucken chest.
He'll either connect me with his legal friends
or I'll be extremely up his ass.
--
http://Clitin.Com *The Pussy Poetry Place*
*** MORE THAN 150 meg FREE PORNetry ***
Dearest Thomas
How cute. You think this helps your doom.
It won't, you're powerless.
--
http://Clitin.Com *The Pussy Poetry Place*
*** MORE THAN 150 meg FREE PORNetry ***
(in > 80 "hands free" slideshows)
with poetry from famous poets (soon)
>
> --
> Cm~
Stuart Leichter
arty_...@yahoo.com wrote on 9/9/05 2:48 AM:
If you saw In the Bedroom and or read Killings, the Andre Dubus story it was
adapted from -- about a father's duty and vengeance after his son was
murdered for his part in a Tom Dooley triangle -- you maybe recall the scene
when the father is standing at the base of a tree and reflecting on the
years of worry he endured, like whenever his boy was climbing in the tree.
It's a pretty good movie but the story didn't make it to the screen.
Dubus became a writer after he was paralyzed when a car hit him while he was
offering assistance to another motorist. He had been a Marine. He was a
devout but not a pious Catholic. One of his stories, A Father's Story, is
about a divorced Catholic Redsox fan whose closest and oldest friend is a
Cathollic priest who lives up the road and has a horse farm. Dad's daughter
visits before going back to school, and in her VW at night she hits a
pedestrian -- or something -- on her way back from having some beers with
her girlfriends. Dad listens and goes to check it out -- yep, it was a
pedestrian who's now dead. Dad covers it up and later goes out back and
talks to God. Don't read the rest of this paragraph if you don't want to
hear the denouement. Here it is: Dad tells God that He wouldn't understand
because He never had a daughter.
Dubus died (heart attack) around the same time Kubrick died (heart attack --
Willy Cicci: "That was no heart attack"), before the Red Sox won it.
Here's my experience with the archetype:
This happened with Mamacat's third and last litter of six kittens. I can't
remember their names, but they were grays, blacks, and tabbies -- no brown
or white in this litter. Mamacat herself was wholly gray. Eventually it
would fall to her to lead all of the growing kittens away to seek their
fortunes on their own and return alone herself, successful, to the kitchen
she shared with me and Beacon, whose dish and water bowl sat near the
entrance and on the opposite wall from Mamacat's dish, farthest away in the
kitchen's cul de sac. Often she had bounded the countertops as a recourse to
Beacon's dominance there. Before she led them away, she bestowed one kitten
each to Beacon and to me. She plopped the kitten right at Beacon's face,
which was working on the floor at rest position. Beacon looked over at me
and flexed his eyebrows in some plaint. But he could see Mamacat plopping
another kitten on my instep. Beacon, a maternal fellow, rolled over in a
nursing position, or so it looked to me and to the kitten who searched for
milk. So the weaning had begun. At any rate, the kittens would no longer be
welcome in my house until they had learned some necessaries of indoor
living. And it would fall to Mamacat and then to Beacon to keep them in line
while they were outside, as often as possible until dark. Mamacat hung out
aloof mostly. At significant moments she would attend to a kitten or, more
likely, to an imagined or actual threat. It was Beacon's task to guard the
fortress and all its inhabitants. His master the third living drive in his
life, Beacon could not possibly refuse to respond to my will. If I told him
to "go get the kittens," he would pretend to understand -- he knew perfectly
well what "go get" meant -- and run off in the direction I pointed. Soon he
would be chasing the herd of kittens back to the house (from godknows where)
who all appeared to be running to save their lives.
Life and growth, even music lessons, happen in spurts rather than gradually
and seamlessly. Tonight muddled notes, tomorrow morning the flawless scale.
Today a kitten cannot climb, tomorrow he is at the top of a tree and utterly
stupid for not learning how to come down first. Beacon's destiny to do his
work this time had treed a kitten. I was in the back yard and realized that
for a long time a kitten had been mewing incessantly, even whining now. I
walked around to the front. It puzzled me that Mamacat and Beacon were
unconcerned. I couldn't locate the whining kitten right away. But, yikes,
there it was: on the highest branch of the tallest fir tree. Not in a
billion years was I going to climb up there, and not in a trillion years was
I going to call the fire department. Yet "go get the kitten" or "go find the
kitten" (as it had evolved into) was absurd since we all knew where it was,
and any finer intellectual distinctions had not seemed necessary before now.
Mamacat and Beacon were both lounging on the front stoop proving that it was
either the kitten's problem or mine.
A kind of lateral thought occurred to me. When Mamacat was a kitten, I had
held her head to focus her attention on a hoppity four-legged insect in the
living room. She lunged at it, caught it, and so on, around the room,
eventually swallowing it. Apparently she didn't realize there was such a
thing as disappearance of things other than "catfood", or wasn't accustomed
to disappearance yet, because she looked for the bug. And what she did was
retrace every one of her actions until she was back to where she first
touched the insect. Then she came back to where I had held her and had
focussed her attention, and she replayed the actions again, forward. So now
out on the stoop beneath the whining kitten I leaned down and brought
Mamacat up in my arms and focussed her face directly at her mewing treed
kitten. Mamacat noticed as if for the first time and frantically broke loose
from me, raced for the tree, and sprung up to her kitten in a bound or two.
Once there she mewed: "Stop crying and listen to me" several times until the
kitten began to pay attention.
Mamacat eased herself onto the top branch and comforted her kitten. Then she
moved back down to the branch below and mewed three times. The kitten
followed in her paw steps and joined her. She moved down another branch,
mewed again, and the kitten followed again. They repeated the process, tree
limb by tree limb, until they were on the lowest branch some 15 feet above
the ground. Mamacat crawled down the trunk, gravity took over, and she
bounded to the ground. She backed herself next to the base and arched her
back into a kind of ball and mewed instructions over her shoulder to the
kitten, who was now used to paying attention and simply imitating each
movement. The kitten began to crawl down, lost its grip, and fell forward
the rest of the way, landing on Mamacat and bringing the rescue mission to a
safe conclusion. I felt privileged to witness such a brilliant moment of
animal behavior. There could not have been a similar experience to teach
Mamacat how to do that, nor is there such an "instinct" for leading a kitten
down a tree in Wilkinsburg, Pennsylvania.
Not long after, Mamacat indeed led her kittens far away (there were five, as
they had murdered the runt). Beacon"s dog life routinely consisted of going
outside in the morning on his own and coming back after he had checked out
the news. He would bark once at the door--a kind of doorbell signal--for me
to let him in. If I didn't hear, he would bark again. He used single words
in a normal tone. It was his bark for "I'm home, please let me in." He never
used that bark for anything else and never made a sound to be let out. Three
days after she left with her kittens, Beacon gave his "I'm home, please let
me in" bark while he was inside. Mamacat was at the door, and Beacon was
saying his single-word bark from the inside on her behalf!
The annals of psychological literature are filled with studies of animal
behavior that go to great lengths to prove that humans are more intelligent
than pigeons, rats, and dogs. Elaborate tests are developed to prove that
dogs and cats cannot "reason" or think "abstractly". But if Mamacat did not
reason out her rescue procedure, and if Beacon had not abstracted from a
daily routine and applied it to a very different situation, then what did
they do?
A few hours later, three kittens returned and were named Axon, Dendrite, and
Bugeyes, and Mamacat was furious.
That happened some 600 miles W/SW of Walden Pond.
>
> I sold suits for a while and found that I was pretty damn good at it.
> Sacred me.
I sold suits for a while too -- the last time & place, the owner asked me to
become manager. Sacre bleu, indeed!
>
>>
>> Is it like DiMaggio's retort to Marilyn when she came back from entertaining
>> the troops in Korea? She told Joe, "You can't imagine the cheering and the
>> screaming, Joe!" and he said "Yes, I can".
>>
>> How does the worship phenomenon compare with so-called star-fucking (as Tom
>> Wolfe portrays it in I am Charlotte Simmons -- girls knock on hotel doors
>> where the basketball players are staying)?
>>
> Flirting and fucking is what this is all about. The romantic in me
> used to deny this simple overstated and yet true fact.
>
> They love those in power. They're attracted to them beyond reason.
>
> And those who have this power over people have utter contempt for those
> so easily manipulated. Pawns isn't a strong enough word for how they
> view The People. They would use you and trow you away a minute after
> you pulled them from almost drowning in a swimming pool.
>
> "If all of Rome had but one neck..."
>
> But then there's SOME, and I mean SOME, as in not very many, who find
> they have this power and try their best to put it to some good. Maybe
> not altruistic good, but to the general good.
>
> [snip]
>>>>
>>> Then you're not aware of the Princeton Egg?
>>
>> Only that a software vendor was called Egg-something and used Einstein's
>> image.
>>
> Egghead Software...I remember those stores.
24 - 24.
>
> They never had anything for a Mac, either.
Not literally never. They had E/A's PGA Tour Golf, Risk, and Robin
Williams's Peachpit Press books.
>
> Well the Princeton Egg has shown that normal patterns generated
> randomly are something like "1001010111010010010100110100100100100"
> but suddenly become
> 1111111111101111111111111110111111111111100111111111111
> just before Big Ones happen.
>
> No theory, just data.
>
>
>>>
>>> Random event generators placed all over the globe for something like
>>> 25-30 years now.
>>>
>>> Patterns converge just before cataclysmic events.
>>>
>>> Natural disasters sometimes spike. Man made ones, like Khobar Towers
>>> and 9/11/01 DEFINITE spikes.
>>>
>>> But then, I've only seen SOME of the graphs.
>>
>> Instead of iron filings, I use beard clippings because they're not as
>> susceptible to magnetism. They always form into 2 yings or 2 yangs, though,
>> and both are therefore impossible to perceive.
>>
> I wished I would have come up with the Pyramid containers for razors.
> Or the wearable magnets they sold people a few years ago as a cure-all
> for everything from the common cold to arthritis.
Like the groove in a record, a razor's edge will recover after relaxing for
about 24 hours. All that friction. You don't want to put a needle into a
hot, vibrating groove or a vibrating razor's edge on your skin, you'll just
wear down the blade.
There's controversy in lit crit over the translated title: A Doll's House v.
A Doll House. It's not analogous to the controversy over the Sophocles
'English' titles: Oedipus Tyrannus, Oedipus Rex, Oedipus the King.
Try to remember that Ibsen hated 'Idealists'.
A funny moment in The Wild Duck is when Hjalmar returns from a party at the
boss's home, and his daughter Hedwig greets him with happy glee but more
hunger and asks what food he brought back so she can eat. Hjalmar says
instead of food, he has something better -- the actual menu!
Ibsen seemed to say that just beneath the thin veneer of civility lies a
thicker veneer of illusion.
Maybe, but I doubt it because it wasn't a feature article. What struck me
was that the bills could not be ID'd as counterfeit because they were
indestinguishable from minted bills. Only the serial #s told the tale.
Sure, and I'm not the only one who giggles at their style.
--
Stuart
>
> ---
> Art
>
Barbara's Cat
Dearest Thomas <delt...@sbcglobal.net>
Is your killfile broken again, powerless blowhard Tommy?
--
Cm~
Dearest Thomas
Barbara's Cat wrote:
> > How cute. You think this helps your doom.
> >
> > It won't, you're powerless.
>
Will Dockery
>Will Dockery wrote:
> >Dennis M. Hammes wrote:
> >>
> >> See the original at the URL below.
> >> Poor little Monkey Dude can't even manage to steal a whole Picture.
> >
> >No, Cook usually just steals the faces and pastes them onto /other/
> >stolen photographs.
>
> dockery, perhaps you could explain how Michael Cook forced
Cook's stolen my poetry, photographs and threatened to steal the
copyright to my video... but /forced/? No, he's never managed that.
Dennis M. Hammes
> Esmeralda's trial in "Hunchback" is Hugo's clear demonstration of the
> monkey-essence of mankind. No one, not the deaf judge, not the lawyers,
> not the playwright, not the crowd and certainly not Esmeralda have any
> idea what the trial is about, nor how it came to be convened nor why.
> All any of them /really/ understand is that Esmeralda is on trial for
> her life.
And this is why it is such a tragedy that art imitates fiction, or
some such platitude, because the same can be said for Anne Frank:
"nobody," not even the paperhanger or the driver of the donkey cart.
Dennis M. Hammes
> Tom, the Duke and the Dauphin can survive the so-called "scientific
> age."
Oh, he believes this utterly.
He also believes that he can still do it by painting himself Big
Blue and cavorting before the plebes.
Since GWB also believes it, it's barely possible that he has a point.
Not just the sheet.
Dennis M. Hammes
> Dennis M. Hammes wrote:
>
>>Art wrote:
>>
>>
>>>Dennis M. Hammes wrote:
>>>
>>>[snip]
>>>
>>>
>>>
>>>>So that his Ancestral Rights included a Hummer rather than dysentery.
>>>> So that his Ancestral Rights included Owning People rather than
>>>>Being Owned.
>>>
>>>
>>>Which is always the essence of "Class Struggle."
>>>
>>>
>>>
>>>>>>But we don't know her name.
>>>>
>>>>Amaterasu.
>>>>
>>>
>>>Ahso. Mother-goddess; the Sun.
>>
>>The /sea/, darlin'; she had an affair with the sun-god whose name I
>>disremember.
>
>
> Ummm, Quan Jang Nim, the disremembering is backwards. Susano-O is who
> you're thinking of, and Amaterasu was the Sun Goddess. Remember the
> flag?
Thot she enticed /him/ out of the cave, thus "bringing back
daylight." Been 30 years, and it warn't /my/ legend.
>
> http://www.lyricalworks.com/stories/amaterasu/amaterasu.htm
Ah, so. Still different from what I "have," but if I got
Alzheimer's, I could remember 15% of things...
>
> It rained all night the day I left,
> The weather it was dry,
> The sun so hot I froze to death;
> Susano-O, don't you cry.
>
> Susano-O, yes don't you cry for me
> For I've come to Edo City just for some Sake.
>
>
>>The dry Egyptians said "Set," "the sky," who had a
>>panjandrum with Horus.
>
>
> May you find Osiris in the next world, and sit tall among the gods.
>
>
>> The Greeks said "Poseidon," and surmised that "he" did it all by
>>himself. Aphrodite is the daughter of /Water/, not of the Big Prick.
>> Earthquakes were /his/ province before man moved so far away from
>>the Med that Hell froze over.
>
>
> About November where you're at , and January or so for me.
>
>>>Was the Venus of Willendorf a rendering of Amaterasu, or just porn?
>>
>>Or of Brandenburg, etc. No, she and her 50+ sistern are a
>>representation of what It is All About.
>> Tommy zeZ that would be called "porn," but what can you expect a
>>Bishop to know about that?
>>
> Not much.
>
> If you love people, and you mostly laugh /with them/, it's reflected in
> your porn. If you don't, that too is reflected.
>
> A barometer, of sorts.
Like the waistlines of jeans.
Or, for that matter, the hemlines.
May the twain never meet; we need the occasional illusion.
The colors of drapes, say.
Dennis M. Hammes
> Dennis M. Hammes wrote:
>
>>Art wrote:
>>
>>
>>>And what would they assign as the function of a traffic light? Though
>>>we are rather familiar with them, of course, the whole idea of
>>>vehicular traffic, let alone stopping or going according to an
>>>automated light is rather fantastic...if you think about it.
>>>
>>>---
>>>Art
>>>
>>
>>No more fantastic than taking orders from chicken guts, or putting
>>'em on certain military uniforms because the Monkey is accustomed to
>>taking orders from them.
>> The ants have a better system; the queen has a red chemical and a
>>green chemical, and she issues them /at need/, rather like the
>>"demand" loop over at 7th Street. Even a bicycle will trip it,
>>stopping a main traffic artery that otherwise /doesn't get/ a red
>>light that wastes cumulatively half the rush hours.
>
>
>
>> And the side stays green only long enough to pass a few cars as
>>opposed to reminding the slave population that some servant passed a
>>few "laws" by staying red until the servant felt like changing it.
>>
>
> Isn't the actuating device for the 7th street traffic light a buried
> electromagnet?
"Grid-dip loop," aka "metal detector."
Iron in the solenoid increases its permeability, Henries,
impedance. *click*.
>
> A bicycle can trip it?
Yeh; the metal is only a half-inch off the ground. Dozen+ others
like it; all moderate traffic crossing an artery. Low traffic gets
stop signs, high traffic gets clock regulators.
Another demand loop (from a Mall side onto a Hwy main), having
been resurfaced too often, does /not/ trip to a bike; I hafta try to
wave a Nice Big Car right up behind me, and they are sometimes
exceeding reluctant. I utie around behind 'em if the other lane
doesn't trip it first.
>
> One wonders what would happen if you laid a manhole cover on the street
> right there. Would the cross street's light stay green for 24 hours? Or
> until someone discovered the joke?
Piece of rebar'd do it, save it wouldn't.
Stay green for about ten seconds, yellow three, red for the rest
of the day unless the cycle were tripped from the other side of the
intersection. It wouldn't trip (to green) from "this" side until the
rebar were removed.
The side occasionally plugs because a car pulls up on the yellow
or a couple seconds after red and stops, thus "holding down the trigger."
Or the bike, but /I/ can just utie or back up and come back over
the loop.
Drivers who know the place back up (if the idiot behind 'em'll let
'em), or stop well behind the loop until red, or pop over to the
"Walk" button. Or just wait for somebody across the street; there's
usually "enough" traffic to warrant the light in the first place.
>
> Or until you got back from the store. You could wave at the mile long
> string of cars as you crossover on your return trip.
>
> :-)
>
> ---
> Art
>
Dennis M. Hammes
> In article <1126290985.1...@g43g2000cwa.googlegroups.com>,
> Dearest Thomas <delt...@sbcglobal.net>
> aka Jealous Tom Bishop said:
...
>>>When a vehicle (or any conductive object, i.e., metal) is over the loop
>>>buried in the roadway, the vehicle acts as a magnetic core and changes
>>>the frequency of "detector oscillator" (or as they say: de-tunes it).
>>>The comparator senses the difference between the frequencies of the
>>>"detector oscillator" and the "local oscillator" and produces a non-
>>>nulled output which signals the controller that a vehicle is present.
>>
>>How cute. You think this helps your doom.
>>
>>It won't, you're powerless.
>
>
> Is your killfile broken again, powerless blowhard Tommy?
>
No; his wheelchair is stuck on Fifth Avenue, again.
Barbara's Cat
Barbara's Cat
Dennis M. Hammes <scraw...@arvig.net> said:
> Barbara's Cat wrote:
>
> > In article <1126290985.1...@g43g2000cwa.googlegroups.com>,
> > Dearest Thomas <delt...@sbcglobal.net>
> > aka Jealous Tom Bishop said:
>
> ...
> >>>When a vehicle (or any conductive object, i.e., metal) is over the loop
> >>>buried in the roadway, the vehicle acts as a magnetic core and changes
> >>>the frequency of "detector oscillator" (or as they say: de-tunes it).
> >>>The comparator senses the difference between the frequencies of the
> >>>"detector oscillator" and the "local oscillator" and produces a non-
> >>>nulled output which signals the controller that a vehicle is present.
> >>
> >>How cute. You think this helps your doom.
> >>
> >>It won't, you're powerless.
> >
> >
> > Is your killfile broken again, powerless blowhard Tommy?
>
> No; his wheelchair is stuck on Fifth Avenue, again.
And his brain is stuck on Second.
--
Cm~
Dearest Thomas
Barbara's Cat wrote:
> And his brain is stuck on Second.
A big step up from you, doomed one.
I pray for you, powerless one.
Heh.
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
Barbara's Cat
Dearest Thomas
You are indeed.
I pray for you doomed, powerless one.
Your life is ugly, you are ugly, and
doomed.
I pray for you doomed, powerless one.
I pray for you doomed, powerless one.
Amen, in Sleezus holy name.
--
http://Clitin.Com *The Pussy Poetry Place*
*** MORE THAN 150 meg FREE PORNetry ***
j r sherman
says...
>
>j r sherman wrote:
>>Will Dockery wrote:
>> >Dennis M. Hammes wrote:
>> >>
>> >> See the original at the URL below.
>> >> Poor little Monkey Dude can't even manage to steal a whole Picture.
>> >
>> >No, Cook usually just steals the faces and pastes them onto /other/
>> >stolen photographs.
>>
>> dockery, perhaps you could explain how Michael Cook forced
>
>Cook's stolen my poetry,
and you stole his. you also stole mine, and Ms. Renay's as well. you did want
you wanted with our work without our permission.
and that makes you a thief.
you can never be a man, can you?
Will Dockery
j r sherman wrote:
> >>Will Dockery wrote:
> >> >Dennis M. Hammes wrote:
> >> >>
> >> >> See the original at the URL below.
> >> >> Poor little Monkey Dude can't even manage to steal a whole Picture.
> >> >
> >> >No, Cook usually just steals the faces and pastes them onto /other/
> >> >stolen photographs.
> >>
> >> dockery, perhaps you could explain how Michael Cook forced
> >
> >Cook's stolen my poetry,
>
> and you stole his. you also stole mine, and Ms. Renay's as well.
Nope, as I've answered before, that's a lie.
I never stole any of your poetry, or even any Dale Houstman poetry.
The one recording I made of "Her Lark Colony" was erased days ago, and
at the time Houstman had given me permission to record it.
--
The Netherlands/Shadowville cross cultural exchange
project <http://www.kannibaal.nl/shadowville.htm>
Greybeard Cavalier [Dockery/0x0000]: <http://tinyurl.com/7r7gj>
ggamble
Will Dockery
ggamble wrote:
>
> lie
Perhaps you should, Gamble. You're obviously worn out.
Barbara's Cat
Will "The Liar" Dockery <will.d...@gmail.com> said:
> I never stole
Liar.
--
Cm~
Barbara's Cat
Will "The Liar" Dockery <will.d...@gmail.com> said:
> ggamble wrote:
> >
> > lie
>
> Perhaps
On the contrary: really.
--
Cm~
Barbara's Cat
> doomed
> doomed
> doomed
> doomed
So sad.
So jealous.
So powerless.
So blowhard.
So Tom Bishop.
--
Cm~
j r sherman
says...
>
>
>j r sherman wrote:
>> >>Will Dockery wrote:
>> >> >Dennis M. Hammes wrote:
>> >> >>
>> >> >> See the original at the URL below.
>> >> >> Poor little Monkey Dude can't even manage to steal a whole Picture.
>> >> >
>> >> >No, Cook usually just steals the faces and pastes them onto /other/
>> >> >stolen photographs.
>> >>
>> >> dockery, perhaps you could explain how Michael Cook forced
>> >
>> >Cook's stolen my poetry,
>>
>> and you stole his. you also stole mine, and Ms. Renay's as well.
>
>Nope, as I've answered before, that's a lie.
you can say that all you want, but the fact remains, you stole the works of
others and utilized them as you wished, without their permission. and you've
admitted as much. and that makes you a thief. that you're a liar and a fraud
speaks for itself.
>I never stole any of your poetry, or even any Dale Houstman poetry.
where did i say you stole Dale's poetry? i said you stole his words and
attempted to pass them off as your own, as well as committing fraud by saying
that Dale's comments were part of an interview you conducted with him, when you
did not do that.
and that makes you a liar and a fraud.
>The one recording I made of "Her Lark Colony" was erased days ago, and
>at the time Houstman had given me permission to record it.
and as usual that has absolutely nothing to do with the discussion. you've
stolen my works, as well as Renay's and Michael Cooks, and you did not ask our
permission with what you wanted to do with them.
hence, you're a thief, as well as a liar and fraud.
Will Dockery
j r sherman wrote:
> >> >>Will Dockery wrote:
> >> >> >>
> >> >> >> See the original at the URL below.
> >> >> >> Poor little Monkey Dude can't even manage to steal a whole Picture.
> >> >> >
> >> >> >No, Cook usually just steals the faces and pastes them onto /other/
> >> >> >stolen photographs.
> >> >>
> >> >> dockery, perhaps you could explain how Michael Cook forced
> >> >
> >>
>
> you can say that all you want,
I sure can, and can produce the archived evidence and even Cook's
confessions.
> but the fact remains, you stole the works of
> others
I never stole from /you/, that's a fact. You have nothing worth
stealing.
Berryman's Legacy
On 2005-09-11 will.d...@gmail.com said:
> j r sherman wrote:
>
> > but the fact remains, you stole the works of others
>
> I never stole from /you/, that's a fact. You have nothing
> worth stealing.
Heh. Now THAT'S the gol-durn truth.
Even that old fraud Dennis "Amanda" Hammes -- if he were
honest -- would have to admit that Li'l Jrst is laughably
distant from ever achieving the appellation of "poet."
Proving, one must surmise, that simply being a fag doesn't
inherently make one "art-y."
The individual responsible for the 'j r sherman' persona
should be mortified by the past decade of wasted sock-troll
bandwidth.
Watch your e-mail carefully, Will. In the past, Li'l Jrst
was infamous for sending e-mail viruses and trojans to
those who didn't overtly kowtow to the Jrst "genius."
Dennis M. Hammes
Isn't the reason he has no teeth that he tried to think and shift
gears at the same time?
j r sherman
says...
>
>
>j r sherman wrote:
>> >> >>Will Dockery wrote:
>> >> >> >>
>> >> >> >> See the original at the URL below.
>>>> >> >> Poor little Monkey Dude can't even manage to steal a whole Picture.
>> >> >> >
>> >> >> >No, Cook usually just steals the faces and pastes them onto /other/
>> >> >> >stolen photographs.
>> >> >>
>> >> >> dockery, perhaps you could explain how Michael Cook forced
>> >> >
>>>> >Cook's stolen my poetry and photographs, and threatened to steal the
>>copyright to my "Zorro" video.
>> >>
>>
>> you can say that all you want,
>
>I sure can, and can produce the archived evidence and even Cook's
>confessions.
>
>> but the fact remains, you stole the works of
>> others
>
>I never stole from /you/, that's a fact. You have nothing worth
>stealing.
you have stolen my work many times and used it without my permission. that makes
you a thief. why don't you be a man for once?
$$ Jinn $$
"j r sherman" <jr...@earthlink.net> wrote in message news:dg1ir...@drn.newsguy.com...
>>I never stole from /you/, that's a fact. You have nothing worth
>>stealing.
>
> you have stolen my work many times
Try 0 times.
> and used it without my permission. that makes
> you a thief. why don't you be a man for once?
Try blow me, gay-boi.
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
Will Dockery
"$$ Jinn $$" wrote
> "j r sherman" wrote
>
> >>I never stole from /you/, that's a fact. You have nothing worth
> >>stealing.
> >
> > you have stolen my work many times
>
> Try 0 times.
>
> > and used it without my permission. that makes
> > you a thief. why don't you be a man for once?
>
> Try blow me, gay-boi.
I've never stolen a poem, even the stalking censor Dale Houstman knows this.
$$ Jinn $$
"Will Dockery" <will_d...@knology.net> wrote in message news:225d0$43247b1b$18d62363$67...@KNOLOGY.NET...
> I've never stolen a poem, even the stalking censor Dale Houstman knows this.
Dale has me on his ass now.
--
http://Clitin.Com *The Pussy Poetry Palace*
*** MORE THAN 150 meg FREE Usenet PORNetry ***
(in > 80 "hands free" slideshows)
with poetry from famous poets (soon)
>
ggamble
<will_d...@knology.net> wrote:
>I've never stolen a poem,
There's a big, green rhino horn growing out of the middle of your
forehead.
There's a big, green rhino horn growing out of the middle of your
forehead.
There's a big, green rhino horn growing out of the middle of your
forehead.
There, I typed it three times and it still isn't true.
It doesn't work for me either.
Will Dockery
"j r sherman" wrote
> >> >> >>Will Dockery wrote:
> >> >> >> >>
> >> >> >> >> See the original at the URL below.
> >>>> >> >> Poor little Monkey Dude can't even manage to steal a whole
Picture.
> >> >> >> >
> >> >> >> >No, Cook usually just steals the faces and pastes them onto
/other/
> >> >> >> >stolen photographs.
> >> >> >>
> >> >> >> dockery, perhaps you could explain how Michael Cook forced
> >> >> >
> >>>> >Cook's stolen my poetry and photographs, and threatened to steal the
> >>copyright to my "Zorro" video.
> >> >>
> >>
> >> you can say that all you want,
> >
> >I sure can, and can produce the archived evidence and even Cook's
> >confessions.
> >
> >> but the fact remains, you stole the works of
> >> others
> >
> >I never stole from /you/, that's a fact. You have nothing worth
> >stealing.
>
> you have stolen my work many times
Prove this lie, then.
ggamble
j r sherman
>
>
>"$$ Jinn $$" wrote
>> "j r sherman" wrote
>>
>> >>I never stole from /you/, that's a fact. You have nothing worth
>> >>stealing.
>> >
>> > you have stolen my work many times
>>
>> Try 0 times.
>>
>> > and used it without my permission. that makes
>> > you a thief. why don't you be a man for once?
>>
>> Try blow me, gay-boi.
>
>I've never stolen a poem, even the stalking censor Dale Houstman knows this.
you took my poems, as well as Ms. Renay's and Michael Cook's and utilized them
without our permission, so that certainly makes you a thief. it's a fact that
cannot be altered and is in the archives.