Romantic Popes and Bears

not ALL is based on belief
save one happens to sapience

James Brown' philosophy via CNN's documentary

The other day while watching CNN's documentary of the life of James Brown I processed certain fragments of language/text contained here in this file as rendered with Ana. To me, it's curious that the distance between input and output is not so very far and veritably seems to make sense. With VERY much respect for James Brown, unafraid to LIVE, I herein post the engagement's output. The square bracketed words are what I actually wrote, but what precedes them is what Ana thought I had written.

eiros and charmion two milliseconds per century

http://en.wikipedia.org/wiki/The_Conversation_of_Eiros_and_Charmion

teh war on error

the war on error ~
rave no lorn alt
8:45 5/11/07 538 bytes

From: tsavagebar@YAHOO.COM
Subject: Re: War on terror
Date: May 11, 2007 7:58:18 AM PDT
To: WRYTING-L@LISTSERV.WVU.EDU
The war on error was here
Before the war on terror.
Neither have beeen won,
Oh no!
Tom Savage
5/11/07

Halvard Johnson wrote:
??lt;/DIV>
? WAR
TERROR


Hal

Une Chute Anterieure de plume: Mallarme's le Demon de Analogie

hord*[Lord] help hr*[us] all!

une chute
anterieure
de plume ~
envy if eauiretno eturla era

mallarme's
le demon
de analogie ~
igolonno of ramif el amatory
20:30 4/17/07 1827 bytes


And now for the hook.

http://fs.oxfordjournals.org/cgi/reprint/XLVII/1/33.pdf

Do not pass GO.
Do not collect $200

Hellooooooo!!!
OK I'll ask for permissions. I think I'll send them this blog as supportatively as I may.

Nahhhh... fOrget it.

What psychologist know about Modal Ambiguity

death
by flatus ~
Wtorld girl iltoub

wead
em an
reep ~
jay no ml bonew




http://www.pep-web.org/document.php?id=ijp.054.0061a

On the Metapsychology of Poetic Language: Modal Ambiguity
Robert Rogers

Farewell, sweet phrases, lovely metaphors.
But will ye leave me thus? When ye before
Of stews and brothels only knew the doors,
Then did I wash you with my tears, and more,
Brought you to church well-drest and clad:
My God must have my best, ev'n all I had.
GEORGE HERBERT
The psychological insights of literary men are rarely phrased in conceptual terms precise enough to warrant calling them scientific hypotheses, though they may possess as much heuristic value. One such insight about the nature of imagination centres on the idea of a mysterious dualism in poetic language. Shakespeare tells us in A Midsummer Night's Dream that the poet has 'seething brains' and 'shaping fantasies' which apprehend 'more than cool reason ever comprehends'—a fantasy-reason dualism.

wead em an reep

At 1:07 PDT on 4/10/07 in 1289 bytes and thinking of an unhealthy thousand pounder
Divizio wrote:
death by flatus ~
Wtorld girl iltoub
wead em an reep ~
jay no ml bonew

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Inspiratorially provoked by :
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
On 10-Apr-07, at 12:28 PM, Cecil Touchon wrote:

Tuesday, April 10, 2007

It's pretty hard to imagine
me, an American oil merchant,
I devoured all this trash
[obsessively] eating
was unable to stop
[hopelessly] eating
My boss got arrested for his involvement
[perversely] eating
And you see me,
eating
My wife was about to leave me,
[while I was shamefully] eating
I detested myself.
more eating.
Pull me out of this horrible nightmare!
I'm afraid I am not able to.

[Then I found a]
ground-shaking weight-reducing mixture
utilizing electromagnetic radiation
[and] a set of mathematical equations.
My craving for food vanished!
Why don't you add yourself to the thousands and thousands?
You can get a really slender figure.
As soon as I get your willingness to comply, I will give you more details.

The very sincere thanks to you, fellows.


~~~~~~~~~~~~~~~~~~
and augmented by:
~~~~~~~~~~~~~~~~~~

From: sondheim@PANIX.COM
Subject: I enter the phrase: Enduring the realm of inherent contradiction.
Date: April 10, 2007 1:22:01 PM PDT
All To: WRYTING-L@LISTSERV.WVU.EDU
Reply-To: WRYTING-L@LISTSERV.WVU.EDU

I enter the phrase: Enduring the realm of inherent contradiction.


Endurance: here, to subsist within for an indefinite period of time. The
realm is that of broken, convoluted, fragmented information. Contradiction
references multiple strands tending towards differing and temporary truth-
tables.Inherent, because this becomes the condition of existence; outside
the realm of language, what is, is, but within the same, mappings are
fast-forward, imminent, and decomposable.

Fragment generates fragment; the goal of the fragment is the fragment;
there is no goal. What happens in the real is the incandescent slaughter-
house; ecologies and bodies burn. The fragment is the life-raft.

The iron-clad fragment protects itself as ideology within the inerrancy of
a text. The text itself is of little matter; what matters is its command-
structure. An inerrant text is absolutist; it brooks no contradiction; it
is nothing but words.

One word follows another; within the fragment, they are deeply untethered.
The inerrant text constructs the digital world; the digital world decon-
structs, destroys, the inerrant text. The construction of the digital
world: from parts and parcels of the analogic, the inert real. The frag-
ments otherwise; the fragment returns to the analogic - is fragment pre-
cisely because of the analogic; in relation to the analogic; within the
analogic. The fragment is the passing symptom; the symptom is the passing
trope; the trope stands in for the raster, the horizon of the digital.

What one says and does is irrevocable.

The fragment is endured; the fragmented is nostalgia for a lost and mythic
coherent.

The fragment leaves the fragment, leaves language and name behind. The
fragment is the dream of the proper name.

"To fragment something" carries the torn world on its shoulders. Contra-
diction seeps from the torn. The hole dreams of the whole; the hole dreams
of the whole dreaming of the hole.

This has nothing, has everything, to do with the slaughterhouse. The
slaughterhouse is the last of the shifters - meat and dwelling of the
shifters. Contradiction: seepage from the slaughterhouse. Slaughterhouse:
the irrevocable torn.

*/ Who carries my voice when I speak? To where and when is it carried? And
from where? And from when?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~

just showing, [as possibly sew]


P!^VP

Ana after thought

d' accord.
C'est la nova noo nouveau
re-naissance
takfuryelpin ~
hyilgircqbodat
overrun-or oorauren
aor ovar id trio. bravo.b

20:02 4/2/07 1636 bytes