Teatro Grottesco (9780753513743): Thomas Ligotti ...

Songs of a Dead Dreamer (9780881847215): Thomas …

Whenever he tried to form a picture of something, anything, in his imagination all he saw was a blank: a new page with nothing on it, or perhaps a very old page that had retained the nothingness of its original mintage. Once he nearly had a vision of something, a few specks flying across a fuzzy background of white snow in a white sky—and there was a garbled voice which he had not intentionally conjured. But it all fizzled out after a few seconds into a silent stretch of emptiness. This artistic handicap, however, was anything but a frustration or a disappointment to Alb Indys. He did not often test the powers of his imagination, for he somehow knew that there was as much to be lost as gained in doing so. In any case, there were other ways to make a picture, and we have already seen one of them, not a very unusual one. Here now is another.

The second method was a type of artistic forgery.

“The Troubles of Dr. Thoss”
(4:58PM 10/18/2011)

‘In photography, objects do not appear to us rationally denied their remainder. They are primarily an ontology deferred to a conceptual horizon, a crisis of grounding, a partially-seeing acousmêtre having to do with the primal scene, a zombified psychism of utterance, event, and sonority. It seems that in cinema, for instance, it is the screen, this place of not-seeing all, that confers on the voice its effects of mystery, power and transcendence, even a supposed all-seeing quality.’

There is a kind of pertinence, not based on the idea of a musical language, that has been the shadow of the image, an empty power threatened and suddenly submerged by their impermeability, their extension, their blind performance, struck less and less obligingly by each successive emotion. “‘It seems no matter which room I enter I’ll never be able to see this one even if I remain here.’” (John Paetsch, Crista’s severance package xxx, 18). Pessimism. Kieran: withdrawal

“Uniformity is a mental fact, not a physical one.” This device indicated a transparent and monstrous body, furnished — for although assent takes place from pre-ordained and stylized responses, an approximated sense-presentation immobilizing him with hypnotic eyes, it disguises an arc; ghosting AUDIENCE Ueno Okura 2011 unitary : Yoko Chosokabe, Kumio Kurachi / Yoko Chosokabe, Kumio Kurachi / Yoko Chosokabe, Kumio Kurachi / Yoko Chosokabe, Kumio Kurachi / Yoko Chosokabe, Kumio Kurachi seen — / —
not solely a matter of pitch differences between successive chords, but also of a recollection-image festering with use. Each runs Portrait on her phone. Not here.

Spectator and screening contract, erect for the duration of the flik, one another’s categorial and semiotic modeling and signification, just transcriptive enough to reveal organized bodies in space. The recording made more empty — reduced — (what’s the pleasure of jolted movement?) — non-Euclidean depth. Deforming ebb is network, presuming its acceleration bears style as a (secondary) sexual dialectic. Fraught contingency. Or: what’s a nasty story after it ends? Proust: if anything, it’s madness. Any monist skin left, pinky?

Contraction/relaxation (Deleuze, Bergsonism, 72). Non-Reclaiming-the-Tacit-Dimension dialectics. From insight to skepticism — “from good dreams into bad, or from bad dreams into the wholly abysmal”
opposite Register : CLOCK

commodity check <: ])W[83G PG ])C+J :QJ:

<FQO CGvvwuvrvswv swtuv uwt ...... the cover of a tomb; such a covering is subject to the same degree of uncleanness as the corpse ...

        Copper-Nickel (1984-1989)
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        Universe Collection
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        ... meteorite craters and tektities. Illustrated. 87 pages. Paperback. (Out of Print - New
        book, not used.) ... PO Box 3726-T, New Haven, CT 06525-0726, USA ...

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I went into GC to look at some effects pedals. Consumed by the wall of amazing guitars, I started to play axe after axe. My greedy little hands landed upon this treasure. I wasn't even in the market for a new guitar, but after playing this thing, I just couldn't leave the store without it. A few months ago, I made a promise to myself to stop buying guitars that weren't top of the line. But after picking up this guitar, I realized that I had been playing for two hours. I thought I could play all night... “I became unconcerned with anything except the consummation or terminus of this abject and enchanting adventure.” (Grimscribe 177)

“It ‘sits’ in darkness so our vision becomes myopic.” MacCormack, Cinesexuality — “makes fractal linear causality found in the grammatization of desire from subject to object, both of which are perceived as self evident signifiers. Recognition continues the ‘pseudo-narrative’ (Guattari 2000, 38) of desiring subjectivity in need of an object, a narrative which includes and constitutes dialectic spectatorship and sexuality reduced to established social systems,” in dehanced Ligotti, “a sickly, liverish shade that might be witnessed in an operating room where a torso lies open on the table, its entrails a palette of pinks and reds and purples … diseased viscera imitating all the shades of sunset” e.g. Akiko Ashizawa’s photography : crawling to get to the light. Cinema/‘Flesh market’ cardinal (imbrication : carded) ticket charge; pull off a hammered end of the day yul. As a matter of fact, this theater may have seen more normative moviegoing behavior/stratification. The form is respected enough; ‘no one goes to the movies anymore.’ Linda Williams, Hard core: Power, Pleasure and the “Frenzy of the Visible” (UCP, 1989) — as against frenzy the friend’s only reaction is to masturbate in vicarious excitement. This is more akin to the drawing of an empty window/snow later ‘in’ Ligotti’s “Thoss.”

If Motubachii, for instance, articulates — via Lem — a classical limit within which cosmological and planar humanism field (‘studio’) positionality, Teatro Assente’s Ligotti’s ‘agonizing resurrection,’ — punch in and clocks tick, work and desolate, Sexualized Haunted Theater Medicine Show To Ignore Sexi EAI show — simulacra all it’s cracked to seat and assent to cinema. Bent over gear, a Jansenist harsh mundanity “not enough 'physical' — even if it does make sense : ‘cavernous bass drum moans, and lace-trails of struck skins’ ‘strapped to a dark monolith of pure sound’ ‘he’s rolling steel-belted radials over his kit or attacking it with a steam-shovel set to slo-mo speed’ ‘a bizarre journey into music's deep dark closet’ metaphysical ‘just listen’ poise ‘pushes against a sonic bedrock that pulsates with distorted textures and disorienting wavelengths’ ‘the artist needs to labor tirelessly to reduce the interference of the artist’,” review city etc. fucks blink toward, firing blanks — legs crossed, feet shod in red pumps, in the lounge taking a drag on the stopper, emitting waveforms at a non-linear circuit element called, on this disc, ‘theater’.

“It is a form of commitment that means that they will do their utmost to ensure that the pink genre survives,” said the director, the final track like an exhalation, the cello sounding low, the alto emitting breathy gasps. Google Video How do I turn a sphone to vibrate That is, T-Mobile and ATT phones will cause the buzzing, but not Sprint and Verizon.

I don’t have a sprint or verizon phone to test with, though...


An appeal to metaphor (sawn-off) :

        — / — Conceptual illustration showing microphone at the front and curtains...
        — / — Stage with a closed pink theater curtain and a microphone ready for ...
        — / — stage with isolated microphone
        — / — retro styled microphone b&w
        — / — Spotlights shining on a stage with microphone, framed with red curta...
        — / — Audio microphone against the background
        — / — A microphone on a stage with a spotlight on it. Vector illustration

2nd, in light of foregone contingency (lyric):

        Off the beaten path,
        the melted can

        Land, Negarestani...

A third, half-dead, deader:

        Jalal Toufic, Two or Three Things I’m Dying to Tell You —
        Amiri Baraka, System of Dante’s Hell (Grove Press, 1965)
        Kiyoshi Kurosawa, Charisma (1999) (per Jeru)

— / —
EDGE_CURVE ( 'NONE', #27, #3421, #3726, .T. ) ; #30 = ORIENTED_EDGE ( 'NONE', ...... F. )
Dual : Kawaguchi, Unami — ‘KEEPING TIME’ after careful consideration of this corpus the sonic trace, there’s no physical existence during the period of the gap. Nevertheless, motifs (metal) are respected in direct relevance to phenomena of discontinuity. In this context, not only does the listener’s attention renew the specious present, in-phase collections of their representation across massive durational complexes rheologically a civilian armed with a cell phone, a camera, an arterial access to their production — negatively ingest them a space for walking around, the annulment of timing (heavy).

Computer-aided excogitation , layout , quality vivify , rapid approving of redevelopment - each step can run our company. All gradation are distinctly below the sleepless eye of an architect. We can pass you to produce your upcountry to your preference , from the eclectic to commonwealth , we will produce for you the best blank space for communicating and personal recreation. [Category are also characterise by a set of dimension , and delimit the data structure. As a result , depicted object management arrangement object type of time form all the data into some sort of hierarchic arrangement whose work is arbitrary and , in fact , unpredictable. In this case , some object can inherit from privileged such a arrangement , the dimension of others , that they contain. Data storehouse in such arrangement is the object or relational database. And to create connectedness betwixt object employ a table. Lesson of the dimension set of category - this epitome , bit , string.] You will be able to take pleasance not only from the nonpareil appearance , but from the solace of your room. (“The new upcountry of your apartment”) —/— (“Many innovative cms are on the nose”)

Early cinema lacks the wind in the trees. New cinema lacks an aversion to venue. What becomes of a macro-gaze, aside from a dispersion of its control vectors to new media? Who’s trying to commune with the outside until the outside renders itself available and, shortly thereafter, an accelerationism worthless even to itself?

—JGF, Halloween ‘11
... ? ?