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		//Glitch
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		Issue: 001 \| operating system Compiled: 10.10.2008 \| 06:48
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		Contents:
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		00: Brief 01: Poems Glitch Poem Boupberg Midden 02: Three Stories 03: Letters 04: Untitled 05: Ovulating Days 06: Rent-A-Thug
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		07: visual supplement
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	^	Contributors:
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		001:Richard Parker 002: Angelo 003: Grist Thornsten 004: Juliette Cezzar 005: Vadim Gershman
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	^	Co-Editor:
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		Camilla Schofield
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	^	Special Projects:
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		Jerry Yu
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	^	Editor:
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		Vadim Gershman
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	^	theglitch.info
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	^	00:005:Brief
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		Initial scan of the operating system revealed a source glitch. While its origin remains elusive, the product is a random and continuous stream of unknown data. A monitoring system was put in place to collect and filter this information. The following data set is an example of the system’s recent output. A continuous accumulation and storage of unprocessed information is a possible cause of the glitch. An explanation for this type of activity resides in the control module which is imbeded in the core of the sensory processor. The processor serves as a conduit for the perpetual transfer of information. As such, it is exposed to an unregulated and continuous current of stimuli. It is known that most data entering the processor is rendered as irrelevant and swiftly deleted. A possibility exists that this information is never erased entirely, but remains present in the system as data residue. This excess data may be stored in a separate cache, deep in the memory banks. During moments of extreme stress, sensory or informational overload, the system may act counter-productively and access the cache as it searches for available space to temporarily unload the burden. The result is a peculiar, interaction of the available data with that existing in the cache subsequently causing a reversal in the input/output protocol followed by a momentary collapse of all processing functions. The collected data is inconclusive. The glitch serves no apparent purpose to the system, but remains paradoxically protected by it. Further exploration is necessary to determine the real source of the problem in order to find a way to eliminate it.
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	^	01:001:PMS FR GLTCH
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		Glitch i the task decant without glitch of the unapprahended of the ‘will fill this later’ ii hitch an idea about which it will cast its own light autumn scenario the clinging dropped blackberry branch or, ashlar aloft in the darkness gleam before purple curtains, clearly remembered iii somewhat like the cakeslice brought through icing iv Nous or nouse? I see in my mind’s-eye your cow’s eye
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	^	02:004:Three Stories
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		The first story in which I appear, I am hovering over a turkey in the Flatbush section of Brooklyn. The year is 1974, and my mother has been in the United States for only a few weeks. My parents have been invited to a neighbor’s apartment for their first Thanksgiving dinner. This is an evening of many new things for my mother: American hospitality, a holiday turkey, and her first-ever sighting of a flying albino cockroach. As she describes it, the first minute, she is trying to make sense of the creature, and the next, she realizes that she is on the table, with the turkey between her knees. My mother lives now again on the same street on which she grew up in Ankara, a fact she points out with equal parts bitterness and laughter. It is in this context that the picture of her arrival and tenure in this country becomes clear. My parents, for as long as I could remember, despised each other with zeal and dedication, so I often wondered (and asked) how it ever came to be that they were ever together in the first place. Some time ago I concluded that my mother despised even more the street she grew up on, so when a young man moved in next door, and his mother took a liking to her, she very quickly added up his master’s degree from the United States and saw that she could soon be on the other side of the earth, as far away from that street as possible. Yearning for college years in Ohio and Michigan, he wanted only to return to America, having discovered that Turkey was no longer home, and didn’t want to do it alone. My father recounts how they left Ankara with the same sense of wonder and disgust that my mother reserves for the story about the cockroach. Her discovery of America was not all that different from his discovery of her. They knew each other for two months before they married, long enough for him to spin fictions based on her wit and promise and distracted by her beauty. When, a month later, a green card arrived in the mail, my father went to speak to her teachers at the night school because he thought she should leave with a high school diploma, that maybe she would go on to college. She was passing all but one class: English. So my father went to speak to her instructor, and pleaded for him to pass her, saying please, we are moving to America, and she will learn English there. The teacher replied, “Fine, I’ll pass her, but I’ll tell you one thing: even if you took her to Mars, that woman will never learn English.” When they were married, he had his second great discovery of this new place that she was. During a Turkish wedding ceremony, a book is ritually signed, making the marriage official. As folk custom has it, once the book is signed, either the bride or the groom is supposed to step on the other’s foot, marking dominance in the coming relationship. My parents had agreed beforehand that they were not going to take part in this stupid custom. So of course, my mother signed the book, saw three hundred people watching, and stomped on his foot. Both prophecies, for the most part, came true. My mother left the United States after twenty two years speaking the same pidgin that she came with, despite the classes she took, despite the jobs she held year after year, and despite her incessant sociability. It was an impressive stubborn-ness that was transsubstantiated when she returned to Turkey and proceeded to speak her own version of her own language that again everyone only half understands. The second prophecy was more complicated, as her gathering mania pushed us from Brooklyn to Queens and finally out of New York City altogether. In her stories of her first years here, she is always cast as the intrepid hero, left alone to navigate New York by talking to everyone she sees, unsupported by my father or by his brother’s family, who lived also in that building in Flatbush. The second story in which I appear, we spend several hours underground as she tries to make sense of the subway on the way to an English class in Manhattan, a dizzying array of AAs and ZZs in the 1970s mayhem that shows up in every article on the MTA’s recent woes or New York’s gentrification. Left out of these stories is her prodding my father into getting a second job as well as another degree, and therefore effectively gone all the time, and her insistence that they move to a building in Queens where a friend in the building had moved; perhaps they are incidental. But these are the conditions under which she raised me those first few years, alone, sometimes happily, sometimes not, and always disappointed. Upon seeing Manhattan for the first time, she was unimpressed, and boldly claimed to my father than the hotel in Ankara was far taller than any of these buildings, even if there were a lot of them. My father, of course, asked her to start counting windows. At forty-two, she quit counting, probably the first and the last assention. It never fails to move me when driving past the part of the BQE that splits off towards the Grand Central Parkway, because when you look one way, you see the building I grew up in, and if you look the other, you see my elementary school. Like the stories from these early years, everything looks different with an expanded geography. I never considered how close we were to that highway, since my world was mostly limited to my block, the Burger King across the street, and the walk past the Ronzoni factory to school. We had a view of Manhattan from the living room windows, but I had no sense of what it was or at what distance. When my mother cried out of homesickness, I would point out the minarets that we could see from the window, mistaking it for Istanbul, and pleading that it was not so far away. My internal world was equally small, in that it never failed to make sense that I spoke another language at home. When I began school, I did insist that I must have an American name, something which my parents were happy to have foreseen. So I went to school with the name Juliette, which, ironically, my parents had chosen when I was born to resemble the name they called me by except easier to get through school and through life. My father had taken a Shakespeare class in graduate school, from which he chose it; of course, because he chose an incredibly uncommon and loaded name, and spelled it the French way, it led to decades of confusion and teasing, making it no easier in school than it would have been if I had gone by my given name instead. Anyone who knows me now knows the kind of rabid attachment I have to New York, but this was not always the case. As a child, I yearned to live in a house that didn’t share walls with anyone else, or to live out of the city, clean and free of fear. My mother, wanting the same things that I did, ignored my father’s early signs of degeneration and drove him until he landed the dream job for someone in his discipline, a position as a researcher at Bell Labs in Holmdel, New Jersey. I don’t remember these things as clearly, but I do remember my father returning home in a panic once, citing a fire on the subway. My mother, years later, told me that he would come home some-times claiming that people were chasing him, or citing other strange encounters. Still, with her drive, I’m sure she thought new responsibilities were the cure. We packed up and moved to New Jersey when I was ten: house and yard for me, suburbs for my mother, a new job and Pontiac for my father. Everything that we had hoped for had come true. Gross miscalculation. Perhaps there are some parallels. Like my mother’s disappointment with skyscrapers, I was saddened by our lawn and the strange sprawling school to which I was sent. And perhaps she, too, was spun around by obvious oversight. I had often dreamed of houses and grass and cars but hadn’t calcu-lated who I would be in that situation, in this case despised. The suburb that we had moved to didn’t take well to anyone moving there from New York City and especially not to foreigners. We were both, and despised. In Queens, to come from another culture was just a fact, a characteristic like the color of your eyes. Now I was the one who was homesick. I remember being eleven, sitting in my bedroom, drawing up a plan for running away to New York, considering the caveats of drugs and prostitution that I had read in Reader’s Digest so many times before. It took another decade, as well as another displacement – Bell Labs sent my father to Virginia to teach after he finally started coming apart – but I did realize it in the end, even if the New York that I moved to was a thousand times larger than the one that I left. Perhaps the early stories were told to me when I was a child. I don’t remember. I also can’t vouch for their veracity, just as I can’t vouch for that of my own stories. But a strange forgiveness comes over you when you reach the same years that your parents suffered. Most importantly, you recognize that the strange creatures who raised you carry the same DNA, and must have felt in some part how you feel now. My mother’s artful mania and my father’s inability to keep touch with the universe suddenly started to make sense, as did the parallels between our stories, and their ultimate conclusions. I am back in New York, my father is remarried and in Virginia, and my mother is back in Ankara. As stories go, we all found our way back home.
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	^	03:002:selected work from The Book of Letters[1995-1998]
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		October 16, 1996
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		Dear Blue Bonnet, I was at a party a few days ago. I was having a bad time, but was there with some friends who I had plans with after the party so I had to stay. I was so bored I started reading labels in the kitchen. I noticed the phrase on your container...“EVERYTHING’S BETTER with BLUE BONNET” on it. Taking this literally, and being an existentialist, I thought that I would make the time better, and so began to spread your product on clocks throughout the house. I was immediately thrown out, and my friends now refuse to speak to me. Now everything is worse because of you. You should be more careful of your advertising claims. Please respond, Angelo
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		February 20, 1997
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		Dear Mr. Angelo, Thank you for contacting Nabisco. We appreciate your taking the time to express your views about our claims on BLUE BONNET Spread. We welcome your comments and will be sure to share them with the appropriate people in our company. Again, thanks for bringing this matter to our attention and for being a Nabisco consumer. Sincerely, Janine xxxxxxx Team Leader Consumer Affairs ------------------------------------------------------------------------ Nabisco 100 DeForest Avenue East Hanover, NJ 07933
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	^	July 20, 1995
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		Dear Lever 2000, I was thinking about your product, and eventually the train of thought wandered to the Cult and/or children’s “Mighty Morphin’ Power Rangers”, and I started thinking about the character Goldar. As you may or may not know, Goldar is the Lead Villain’s Right hand man. The Odd thing is, he is always the second, even though the main bad guy changes. Originally, it was Rita Repulsa, who was put down by Lord Zed. Goldar switched his loyalty accordingly. When Rita came back and married Zed, Goldar stayed on. In the Motion Picture, when Ivan Ooze took over, he kept Goldar on as his servant. What is the deal here? Don’t any of these people have their own servants? Supposably they are ultra powerful wizards. Why doesn’t goldar just take over. He does all the fighting, and comes up with most of the GOOD evil schemes, the ones that actually harm the rangers. What do you think about all this? Oh, and while I am writing, why are you called Lever 2000? Please write back, Angelo
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	^	October 11, 1995
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		Dear Mr. Angelo, Thank you for your letter about our Lever 2000 advertisement. We are glad that our advertisement for Lever 2000 caught your attention. The very fact that you were interested enough to write us indicates that we have achieved our goal of creating a memorable advertisement. Obviously, it was our intention that using the number ‘2000’ in connection with body parts would help to reinforce our product name and antibacterial or deodorant soap on the market; it is formulated for use on the entire body. Attached is a complimentary set of online literature about Lever 2000. Thank you again for your interest in our product. Sincerely, Chris xxxxxx Consumer Representative ------------------------------------------------------------------------ Lever Brothers Company Consumer Services
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	^	November 20, 1996
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		Dear Lever 2000, I was thinking about how you are always talking about the 2000 parts that you clean and was deciding to try and list them... 1) Forehead 2,3) eyebrows 4) Bridge of nose 5)tip of nose 6) nostrils 7,8) cheeks 9) septum 10-15) conch, tragus, ear lobes 16) that dent over your upper lip 17-18) upper/lower lips 19-20) left and right jowls 21) jaw 22) chin 23) neck 24) throat 25-26) l/r clavicle areas 27-28) shoulders 29) chest 30-31) left/right breasts 32-33) nipples 34) back 35-36) underarm 37) belly 38) belly button 40-42) assorted genitals 43-44) buttocks 45-46) hips 47-48) inner thighs 49-50) outer thighs 51-52) knees 53-54) knee pits 55-56) calves 57-58) ankles 59-60) feet 61-62) soles 63-64) balls of feet 65-94) assorted toe sections and joints 94-101) spaces between toes 111-112) Upper arms 113-114) the part of the arm that sags on old lady math teachers 115-116) elbows 117-118) elbows (“pits”) 119-120) forearms 121-122) wrists 123-124) back of hands 125-126) palms 127-150) assorted fingers 151-154) assorted thumbs 155-174) finger/thumb joints 174-183) finger/thumb nails 184-185) webs of hands 186-191) spaces between hands 192-199) knuckles 200) guiche (if you don’t know, don’t ask, but we all have them.) That makes about %10 of your claim that I can figure. What are the 1,800 that elude me. I am horrified at the thought that I am doing a sub-standard job of washing, and going out in a state of semi-filth. Please send me some literature if you have any. Thank you, Angelo
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	^	December 16, 1996
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		Dear Mr. Angelo, We are glad that our advertisement for Lever 2000 caught your attention. The very fact that you were interested enough to write us indicates that we have achieved our goal of creating a memorable advertisement. Obviously, it was our intention that using the number ‘2000’ in connection with body parts would help to reinforce our product name and the fact that Lever 2000 is milder to the skin than any other antibacterial or deodorant soap on the market, it is formulated for use on the entire body. Attached is some complimentary literature. Thank you again for your interest in our product. Thank you again for your interest in our product. Sincerely, Chris xxxxxx Consumer Representative ------------------------------------------------------------------------ Lever Brothers Company Consumer Services
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	^	March 31, 1997
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		Dear 2000 Flushes, Enclosed is a picture of “DO”, the now deceased leader of the HEAVEN’S GATE UFO Cult. Notice the eerie similarity to your spokesman. Please send me a photograph of your spokesman and proof that he is still alive and on our planet so as to curb fear of the two being one and the same. Thank you. Sincerely, Angelo P.S. Lost the picture of the Lever spokesman - trust me though!
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	^	April 15, 1997
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		Dear Mr. Angelo, Thank you for your letter expressing interest in Ross Products. We are always pleased to hear from our consumers. It is helpful to hear consumer feedback regarding our commercials. We have informed our marketing department of your comments. By bringing this matter to our attention, you are helping us to determine consumer satisfaction regarding the advertising of our products. Thank you for the opportunity to correspond with you. Susan xxxxxxx Coordinator Consumer Relations ------------------------------------------------------------------------ INTEROFFICE CORRESPONDENCE ROSS PRODUCTS DIVISION ABBOTT LABORATORIES
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	^	January 9, 1995
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		Dear Pebbles (both kinds), I am very confused at the recent T.V. ad in which Fred and Barney are celebrating Christmas. Now, I realize that Christmas is linked to the ideas of gifts and Santa these days, but we must never forget that Christmas is the celebration of the birth of our Lord and Savior Jesus Christ. On a more scientific level, consider that Fred and Barney are Cavemen, who lived quite a while before Christ’s birth. (Hence the point of B.C.) Furthermore, in every commercial, this Barney fellow goes out of his way to TRICK Fred out of his pebbles. I don’t know why he doesn’t just buy his own? Wouldn’t it be in your best interest to try to get people to BUY the cereal and not steal it? In any case it is really sad that you are seeking to corrupt America’s youth. Please respond, Angelo
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	^	January 28, 1995
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		Dear Mr. Angelo, Thank you for your comments about our advertisements featuring POST fruity PEBBLES Cereal. Our advertisements are carefully developed in what we believe is in good taste. While it is our intention to show sensitivity, I understand that not everyone shares the same views. Your comments are welcomed, and I will forward them to our Advertising Staff for their consideration when planning future campaigns. Thank you again for writing, and please don’t hesitate to contact us again with your comments or questions. Susan xxxxxxx K. xxxxxxx 1338724/ 1744590/ KDL ------------------------------------------------------------------------ Post & Nabisco Cereals
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	^	November 4, 1996
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		Dear Lever people, I keep trying to figure out why you are called Lever 2000. I know you like to associate the number with the body parts, but there are not 2000 parts of the body, at least not that your product applies to. But I think I found a hint. I am enclosing a photocopy of an article from the November 1996 issue of THE PROGRESSIVE. The Title of the article is LEVERs of Change, and is about a conference called “Nuclear Abolition 2000” I think that this is too specific to be a coincidence. If you are actually a front for a pro-peace organization, I would assume that you would be proud of this fact, and would promote it to some extent. Please send me more information on nuclear disarmament. Thank you, Angelo
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	^	December 6, 1996
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		Dear Mr. Angelo, We are glad that our advertisement for Lever 2000 caught your attention. The very fact that you were interested enough to write us indicates that we have achieved our goal of creating a memorable advertisement. Obviously, it was our intention that using the number ‘2000’ in connection with body parts would help to reinforce our product name and the fact that Lever 2000 is milder to the skin than any other antibacterial or deodorant soap on the market, it is formulated for use on the entire body. Attached is some complimentary literature. Thank you again for your interest in our product. Sincerely, Patricia xxxxxx Consumer Representative ------------------------------------------------------------------------ Lever Brothers Company Consumer Services
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	^	November 18, 1994
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		Dear Maruchan Ramen Noodles, At my local Star Market, your noodles will sometimes be on sale for as low as 10c. per pack. Now, considering Star’s share, shipping, packaging, etc, this must mean that the actual product is veritably free. If not, it is to price what a quark is to mass. Exactly how much does it take to make a pack of noodles? You mention Oriental a lot. The pack I’m looking at says Oriental Noodle Flavor right under Oriental noodle soup. Now, I know for a fact that there are several different Oriental cultures, each of them having slightly different cuisine, and that there are numerous types of noodles. So exactly what do you mean by Oriental Flavor? I also think that your list of ingredients would mean more if the ingredients were even remotely recognizable as food components. Telling me that you have disodium guanylate means nothing if no sane human knows what it is. What about tumeric? Anyway, since Ramen noodles are so cheap for you to make, I thought I might buy them wholesale. Please find enclosed a One dollar bill. That should buy a few cases. Thank you for your time and I await your response. Angelo
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	^	December 6, 1994
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		Dear Mr. Angelo, Thank you for your kind letter dated November 1994. We always appreciate hearing from our customers. Your comments on the price were very astute. Sometimes we too feel the product is given away for free. Actually Ramen is a very popular and very competitive product and as a whole saler, grocery chains such as Star Market will have opportunities to offer our product at low prices. We are sorry, but we cannot sell directly to consumers, so enclosed please find the one dollar you sent us. Also please find a recipe booklet and some coupons good on maruchan products. Thank you again for your support, Sincerely, Mark xxxxxx Maruchan, Inc. ------------------------------------------------------------------------ MH/mf Enclosures
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	^
		Poem that the little boat settled, I let the oars droop & the white shimmer; & white scythes & discs on the lake became one brightness
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	^	04:005:Untitled[04.03]
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		17:04/ sitting in traffic [I391E] 18:25/ in my apartment 18:32/ shower 18:45/ dinner [Gen.Mills: microwavable meatloaf and mashed potatoes/ Gen.Mills: Strawberry Yogurt/ Gen.Mills: Vanilla Ice Cream/ water] 19:04/ watching television [Newspeak Channel: “Nightly News”: according to a resolution passed this morning 5 new “Star Wars” bases are to be built around the Great Lakes area featuring the latest nuclear interceptor missiles “Navajo 13” as part of the new Terror Defense Act/ yesterday, 59 soldiers died in a gun battle against the separatist insurgents outside Doha, Quatar./ an outbreak of the Bubonic Plague, which has been tacitly accepted as medieval history is believed to be the cause of 13 deaths in Southern California last week/ NASDAQ is up 28 pts/ weather: 56F/ humidity 68%/ scattered thunderstorms] 19:56/ daily medicaments [Gen.Pharm :Triazolam (sleeping aid)15mg] 20:03/ watching television [The Film Network: “Tears of the Sun”] 06.04.04 06:33/ waking up 06:35/ daily medicaments [Gen.Pharm.: Trazodone (anti-depressant)20mg./ dexadrin (focus control)10mg] 06:41/ shower 07:08/ breakfast [“Gen.Mills” Frosted Flakes Cereal/ “Gen.Mills” 2% milk] 07:16/ watching television [Newspeak Channel: “Morning News”: 5,000 more troops are to be sent to the battle front/ the secretary general of the United Nations has been indicted by the International Court on the charge of fraud and embezzlement/ a bomb has exploded in the financial district of Chicago this morning – 7 dead/ 29 injured. / NASDAQ is up 24 pts/ weather: 53F/ sunny.] 07:40/ waiting in traffic [I391W] 08:45/ sitting in my cubicle, staring at the computer screen 08:48/ “error message” 08:49/ restarting the computer 08:50/ “error message” on start-up 09:06/ restarting the computer 09:23/ attempting to fax an updated RSF report to the project supervisor 09:24/ “paper jam” 09:25/ re-trying to send the fax 09:26/ “paper jam” 09:46/ in the tech office reporting the problem 09:47/ waiting for the technician 09:49/ in the tech office talking to the secretary: the technician is on call and will phone my cubicle as soon as he is back 09:55/ in my cubicle, biting my fingernails 10:11/ staring at the daily “action sheet” 10:18/ talking to the technician: in order for him to look at the machine I must fill out the “damage report” in the tech office. 10:38/ back in the tech office, filling out the “damage report” 10:43/ secretary notifies me that he is at a meeting and will phone me at my cubicle later 11:15/ walking around the floor with blank paper, pretending to look busy 11:20/ in my cubicle, staring at the ceiling 11:27/ the floor manager stops by, talks about the importance of organization, drops of an invitation to another company softball tournament at the local park in two weeks 11:33/ looking at the “action sheet”, biting my nails 11:44/ bathroom/ staring at myself in the mirror 11:54/ lunch [“Gen.Mills” powder mashed potatoes/ “Gen.Mills” sliced turkey with gravy/ slice of white bread/ an apple/ water] 12:17/ in the recreation hall, watching television [“Newspeak Channel” “Mid-Day Report”: Saudi Prime Minister Hamal Ahmed al Shaheed has officially extended support to the Quatarian guerilla fighters by sending 5 armored missile divisions, along with 5,000 ground troops to the front line/ in a similar gesture the governments of Lebanon and the United Arab Emirates have mobilized all of their tactical divisions and vowed to provide ammunitions and machinery to the rebels/ as a result of the recent developments the congress held an emergency meeting in which a bill was passed for rapid mobilization of country’s 135 nuclear missile terminals/ “Gen.Pharm” has announced a national recall of the winter flu vaccination which caused some 2,176 deaths due to heart failure since the drug has been introduced 6 months ago/ NASDAQ is up 54 pts/ weather: 60F/ humidity 44%/ sunny.] 12:33/ in my cubicle, on the phone with the technician: he cannot find my “damage report” 13:13/ walking around the floor 13:20/ trying to send the fax 13:34/ in the tech office, waiting 13:38/ secretary looks for my “damage report” 13:44/ waiting, staring through the white, dusty blinds 13:55/ secretary cannot find the report 14:01/ filling out another “damage report” 14:15/ in my cubicle, staring at the blank computer screen 14:23/ trying to send the fax again 14:26/ “paper jam” 14:30/ pacing around the floor with a stack of blank paper 14:41/ staring out the window 14:45/ punching in figures for the revision of the old database 15:26/ talking with the technician: he suggests I retry, using the white inkjet paper, instead of the heavier beige stock 15:33/ printing out the RSF report on the white inkjet paper 15:55/ trying to send the fax 16:00/ “paper jam” 16:07/ trying again 16:10/ “paper jam” 16:11/ losing patience, screaming at the fax machine, striking it with both fists, violently throwing it to the ground 16:23/ at the company psychiatrist on the 6th floor, waiting to be admitted 16:25/ the psychiatrist’s secretary directs me to the floor manager to get his signature on the admittance request 16:32/ speaking with the floor manager about the debacle 16:47/ laying at the psychologist’s office, staring at the ceiling, explaining the reasons for my outbursts and going over my medical history 16:49/ receiving an extra dose of daily “Trazodone” 20mg 16:52/ sending a fax using the newly replaced machine 17:20/ sitting in traffic [I391E] 18:46/ in my apartment 18:55/ shower 19:15/ dinner [Gen.Mills: microwavable chicken pot pie/ Gen.Mills: pre-packaged green salad/ Gen.Mills: vanilla ice-cream/ water.] 19:22/ watching television [Newspeak Channel: “Nightly News”: Doha, Quatar: 58 soldiers died this afternoon in an ambush outside of the supply base delivering ammunition to the frontline/ Iran and Egypt have added their full support to Saudi Arabia’s call and have officially extended all of their military capabilities/ on the related topic, France, Germany and Greece have showed their support of the United States and are currently mobilizing their reserve units and heavy armored divisions to be sent to the war zone/ an emergency meeting of the Congress this afternoon has yielded a newly drafted war policy in light of the recent developments in the Quatarian War: passed unanimously, the congress and the house extended an emergency fudning bill, providing additional 20 billion dollars to be dispatched immediately to the battlefront/ NASDAQ is up 55 points/ weather:  57F/ humidity: 48%/ severe thunderstorms] 20:05/ daily medicaments [Gen.Pharm” sleeping aid (Triazolam) 15mg] 20:11/ watching television [“The Film Network”: “Dazed and Confused”] 07.04.04 6:30/ waking up 6:39/ daily medicaments [“Gen.Pharm.” Trazodone (anti-depressant)20mg./ Dexadrin (Focus control) 10mg] 06:43/ shower 06:57/ breakfast [“Gen.Mills” Frosted Flakes Cereal/ “Gen.Mills” 2% Milk] 07:26/ sitting in traffic [I391W]
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	^	05:003:Ovulating Days
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		Clock in. Disregard. Confusion. Word and another word. Too many words. Melanc holic. Fascism. Fun. Stiff. Im provement. Ener gy. Poi gnant. Monotone. Minim al. Indi fferent. Idle. Nu nnery. Con tent. Inter pol. R esearch. Silence. Chew, swallow, inh ale, exhale. D spise. [Stillness]. Again Insect. Insert. Convert. Edit, Cut, Copy, Paste, Select All, Delete ALL. No, no… UNDO, UNDO, REPLACE, REPLACE, FIND, GO TO! philosophical torture another great repeat nude imperfectly perfec,t conceptual blockage, gravity, pressure, caffeine, nicotine, amphetamine, no love. Thursdays: consolidate accounts enable proactive infrastructures target one-to-one initiatives benchmark sticky platforms exploit 24/365 functionalities optimize transparent solutions benchmark next-generation relationships unleash synergistic supply-chains enhance 24/7 markets morph B2C partnerships transform revolutionary ideas matrix seamless channels enhance killer portraits seize magnetic networks scale leading-edge relationships unleash plug-and-play networks aggregate out-of-the-box eyeballs Surveillance: Perhaps the only question unanswered is the one that has been answered millions of times in millions of ways. Provided with numerous solutions; nicely packaged in brain tissue and moisturized by constant perspiration. Departure. Classifications. Structure. Closed and Boarded Places. Hierarchy. Discipline. Morals. Values. Institutions. Utilities. Transportation. Laws. Customer Representatives. Political Tribune with Religious Perfume. Soap me! Soak me! Spray me! Closer… so far away… seconds… minutes… hours… months… years… centuries… planets… galaxies… infinity. Electrons, neutrons, protons, isotope. Propoxyphene. Dextropropoxynene. Morphine. Let’s dance! A beautiful place. Clear. Fresh. Everything is living. Green and moist. So easy to breathe. I can’t stop breathing I want to consume it all. Everywhere I look I see. Detail. The particle floating in the air like in some diagonally obscure dance, drops of water, perfectly lined up and symmetrically positioned on the top of every blade of grass. There is no flowers, no trees. Just grass, air and particles. And I. I saw me. I was also made of grass, air and particles. Doctor: Diagnostic Speculations. Knowledge in the form of beauty. Repetition learning. It takes a human to repeat a task (mistake) up to 20 times in order to store and retrieve the proper procedures of correct execution. The rest are survival instincts. These must be learned immediately or things go horribly wrong. Breathe in. Breathe out. Machinery. Working parts as a group. A system of related elements that operate in a definable manner: diplomatically and politically correct. Marching. Clicking. Cracking. Clapping. Stumping. Devices for bringing about an effect, such as a happy ending. Haunted by thoughts. Desperate. Begging. Tic. Twitched. Switch the channel. No remote-control. Effort. Back into position. Occupation relaxation. Running negotiations with the brain. Frantic pursuit to make it stop. The remote-control doesn’t work!!! Arches of allusiveness. People. Buildings. Names. Streets. Childhood memories. Past, Present, Future tangled up in a spiral cylinder heading straight up to the septic tank of Taj Mahal’s back yard. Clock out.
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		Boupberg I cannot here things so well just now &, being older, touch matters lightly touch upon matter not matter I remember a hot field of sunflowers & the deafening unfenced train suddenly upon us hear that? . here it
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	^	06:005:Rent-A-Thug(2005)
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		Film is to be exclusively black and white, shot on super8. The story attempts to portray all conditions and visual elements of a densely populated, heavily urbanized western city. It is preferable to capture more discordant locations, with elements of pollution, decay, conflict as well as a general sense of claustrophobia. High contrast and visual noise should complement the central theme of discord and decay. Rhythm serves as a skeletal structure for the film: a perpetual, precise, automatic pace of the opening song directly mirrors the changes in rhythm, music and action, scene by scene. SCENE #1:Prologue [The shot is from the roof of a car angled directly in the direction of traffic. Music, no dialogue, no sound.] 2-4 second bits of opening credits (white text on black background) alternate with an extremely accelerated montage of frantic city streets captured from the top of a moving car. Each line of credits presents itself in such a way as to completely synchronize with the rhythmic composition of the song. The viewer is presented with an intensified collage, an accelerated footage of densely populated streets, people moving, streams of cars on roadways. This scene ends with our car (same camera angle/same car) finding its way out of rush hour traffic, and ending up at a cul-de-sac of a deserted street. In the distance a man (Guy – our main character) is laying on the ground, cringing, while 5 dangerous looking men are slowly walking away from him, grinning, some holding clubs. [Continuous shot] SCENE #2:The Stick-Up [The shot begins where it left off in scene 1 followed by a series of close- ups of Guys face from various angles]. [Compositionally the main character must be systematically approached by the camera at a steady angle. The viewer is brought into an intimate proximity with Guy, who is laying helpless on the ground.] He apprehensively begins to get up, then dusts himself off. He stretches and scornfully looks in the direction of the “evildoers” who are long gone, dissolved by the dark distance of the city. G: (with resignation) Not again. He gathers himself, searches the ground for the remainder of his belongings. He spots his wallet, torn open and empty. He picks up his wallet and begins to walk away. Suddenly he stops. Something on the ground catches his eye. He kneels down to get a better look – his credit card is laying flat on the ground, apparently overlooked by the gang. He picks it up and firmly clutches the thing in his hands, squinting in the direction of pain and injustice calmly with vengeful intentions. He spits a hunk of blood onto the ground and begins to walk away. SCENE #3:Onward [The entire scene is high speed montage of Guy walking through streets. He must appear angry and walk fast. 3 set angles: side shot, head shot, back. Possible use of Snorri-Cam to increase the dynamic of movement.] [Music.] [Guy is casually walking inside an obscure office building. Camera stops in front of the door. The scene ends when the door is closed behind Guy and the viewer is presented with the name of this establishment: “Rent-A-Thug”: Please Come In!] SCENE #4:Rent-A-Thug [The scene beings with a long continuous shot of Guy walking through a vast, vaulted hall towards a small reception desk at the end. The hall is mostly empty, positioned in an old hollowed out reception hall. Following shots are various angles showing close ups of the dialogue between Guy and the receptionist followed by the transaction.] The receptionist is frantically typing away on a keyboard, staring blankly at the computer screen. He coughs in hopes of getting her attention. GUY: Excuse me!? RECEPTIONIST: (unaffected) One moment... please take a seat. She points to a solitary chair situated in front of her desk. He takes a seat While talking through the microphone in her ear she types unceasingly, rarely focusing her gaze on him. She turns off the device in her but continues to type. R:(flat,disinterested) Is this your first time? G: Yes. She stops typing for a second. R: Okay….Lets see… She quickly sizes him up, then goes into a practiced routine. R:Ok. Before we begin you must fill out a General Liability Waiver, and an Identity Confirmation Form. Then, I will need from you a Personal Liability Waiver, a Non-Disclosure Agreement, a Public Safety Form, Terms and Conditions, two forms of Confidentiality Agreement, and this little orange paper - its for Tax purposes. Trained pause. R: Then. Should you choose to hire our services - we will need a retinal scan as well as your fingerprints for liability purposes of course. It will completely ensure us of your identity, in turn protecting all parties through transparency. She pauses and goes over her mental list. R: Oh. I forgot…You will also need to fill out an additional Liability Waiver, and two sets of Release Forms for us to do the scans... I think that is all. She looks at him. Relaxes her facial muscles and produces a professional smile. R: Do you have any questions? G: No She hands him the papers. R: Do you have an ID? G: Only this Credit Card. You see, (emphatically) I was badly… She cuts him off at an instant. R: Please, don’t go any further with your story if you wish to employ our services. That pink form should clear all of this up for you. R: For now, your credit card will suffice. G: Ok. He extends the plastic. She takes it. R: I will be right back, I must copy this for our records. Guy begins filling out the applications. He glances over and notices a peculiar scene at a distance. [At this point a wide angle shot should be used. Slow zoom to add a certain voyeuristic tint to the scene.] A stocky, well-shaved, bald, middle-aged man, dressed in an immaculate suite and designer sunglasses is silently shaking hands with a much bigger, younger, unkempt man with visible scars on his chin and nose. The younger man wears a dirty, torn t-shirt. Both look guardedly satisfied. After the moments’ formalities they swiftly part. The man with the suit leaves through the entrance while the younger man retreats into one of the many doors in the hall. Guy signs and finishes the papers. The Receptionist comes back and hands him the credit card. She sits down and takes a breath. R: Now... She adjusts herself. R: Where were we?... Oh yes! The maximum amount of time you can employ our services for is twenty-four hours. Anything beyond that requires a second appointment. Plus, prices jump drastically. (she takes a breath) However, (probing look) if you would like, we can discuss that right now. She pauses waiting for his reply. G(startled): Oh no.I believe 24 hours service is all I’d be able to afford. R: (languidly) OK then…I already informed you of our strict “don’t-ask-don’t-tell” policy. We simply cannot run a risk of being trapped into law suits. What you do with our boys is your business, you suffer the consequence before the law, we simply provide a legal service, a temp agency, if you will. Guy nods and hands her the signed papers. Slightly more upbeat and personable, she takes the papers and gives each one a thorough scan. After ensuring that all is well, she visibly loosens up forcing a smile. SCENE #5: Thug-O-Rama [Scene #5 shows the line-up of 5 Thugs picked by Guy. It is an animated reel of mug-shots. The viewer must be able to concentrate on certain features of individual Thugs. This is achieved by allowing for sufficient information and time between each profile. Underneath the portrait of a particular Thug, there follows a stat block: name, age, place of birth, convictions, and something not so particular like a hobby. Music accompanies this reel.] SCENE#6: Maxed-Out [This scene is simply a conclusion of the transaction at Rent-A-Thug. As per visual direction; everything must remain as in scene #4.] The Receptionist extends Guy his credit card bill. R: I am required to notify you that your credit card was maxed out with our last transaction. If you try to use it in other locations it will be rejected. G: Yes. (sigh) I know. He signs the receipt and pushes his thumb into the official rectangle. R: Be careful out there. Your men will be waiting for you outside in a few minutes. Guy takes his receipt and silently walks in the direction of the door. SCENE #7: To War! [Scene #6 must mirror Scene #3: Onward. It is a high speed montage of Guy’s Thugs walking confidently though streets. He is at the front, marching with a purpose. Thug #3 carries an aluminum bat. Thug#5 twirls a switchblade. 3 set angles: side shot, head shot, back.] SCENE #8: Battle Scene! [A montage of connecting jabs, kicks and choke-holds. Aerial shots show the fighting mass. From the beginning of the scene it must become apparent that Guy and his crew are fighting a losing battle. Unable to take anymore beating his thugs fail and disperse in different direction. Guy watches the gangsters slowly descend on him. [Black out.] Final shot should mirror the action in the end of Scene 1: Guy is laying on the ground, cringing, while 5 dangerous looking men are slowly walking away from him, grinning, some holding clubs.] SCENE #9: Credit Problems [This scene holds no dialogue. It must show Guy, nervously pacing in his small, dark and musky apartment. The place must show signs of degradation. Piles of dishes, empty cartons, torn packaging and laundry are scattered throughout the room. A letter arrives. A close up of a white envelope sliding through the bottom of the door is followed by a close up of the letter: CREDIT CARD BILL COLLECTION. Dear Guy, This letter is to inform you of your status as a six-month-delinquent. Please be aware that this will be the final letter you receive from us. If the balance is not paid within 31 business days, your property will be seized. If the seized property does not cover your balance in full, we reserve the right provided by Article 56681b. to extract the value of your labor for the duration and rate agreed upon in the contract, until the debt is paid in full. Sincerely, Credit Card Corporation Black out. [31 business days later...] SCENE #10: The Collection [Split shot; a wall cut across the middle of the screen showing both the inside and outside of the door leading to Guy’s apartment. On the left, a profile of 3 imposing men in dark business suit, on the right, panicky and twitch Guy peeping through the eye-hole in horror, whimpering occasionally. After a few forceful knocks, the suits break through the door. At this point a frontal shot of the group is imperative. The viewer must easily re-cognize faces of the culprits who are responsible for Guy’s woes in Scenes 1 and 8, only in this shot, they are dressed in suits, with name tags and holding legal papers. The scene ends with the “foreman” forcefully dragging Guy out of his apartment, while the henchmen gather a few of his valuables.] SCENE #11: Fin [We are back inside the Rent-A-Thug. Camera direction must mirror that of Scene #4. A disheveled, sullen man is sitting in a chair (Guy#2) facing the receptionist. She is riffling through papers and checking things off on a piece of paper. She signs a slip and extends a credit card to Guy#2.] R: Okay Sir. Everything checks out. (she points to a computer screen) There is a database in front of you, why don’t you give it a whirl. We have some new additions this months. (with prideful smile) Fine fine boys! Guy#2 leans over and engages the application. SCENE #12: Prologue [Scene #12 shows the line-up of 5 Thugs picked by Guy#2, same as in Scene #5. It is an animated reel of mug-shots. The viewer must be able to concentrate on certain features of individual Thugs. Finally, the last mug-shot appears and freezes on the screen. ... It is the picture of our main character Guy with a stat block below. Credits roll over the still, tired and bitter stare of the main character. The End.
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		Midden ear above the midden to hear & look upon the quiet the ear’s labyrinth salted & cracked, & fly buzz that silences all things above the midden’s baked rim have you toed the cess-bed, soldier? Comrade, fellow-traveller, shit below \| above only buzz
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		x:23432-3409fk 0928384358580 5235233335052 251050-i50i-4 3495-350013-0 0000009878:03 Im bk on the spinner myslf. More then ever. Smallst thng gets me out of order. each time Cums bk heavyr n more oftn. Waitin 4 sleepin pills to kick in. Its takin 4ever. Im scared. 000000078723:01 Girl. Youve got no faith in medicin. 0000009878:03 I got all me faith in it. got no faith in pple tho. they dnt make me feel gud:( 000000078723:01 Thats a lie. They make you feel bad. They mke u feel good. and smtm they make u feel nothing. 0000009878:03 True.Pple r just anthr variable. 0938503485484 2750921-1=985 104581898-1139 o945820499999 2490585490312= 4958420499499
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	^	07:005:visual supplement
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