I'll say I'm sleeping at Alice G's house,
And Alice, you can say you're sleeping at Henry's house,
Henry, say you're sleeping at Alan's house,
Alan, say you're sleeping at Ada's house,
Ada, say you're sleeping at Ludwig's house,
Ludwig say you're sleeping at Dawn's house,
Dawn, say you're sleeping at Christopher's house,
Christopher, say you're sleeping at Snow White's house,
Snow White, say you're sleeping at Elsa's house,
Elsa, say you're sleeping at Spike's house,
Spike, say you're sleeping at Leo's house,
Leo, say you're sleeping at Alice J's house,
Alice J, say you're sleeping at Norman's house,
Norman, say you're sleeping at Tim's house,
Tim, say you're sleeping at Graham's house,
Graham, say you're sleeping at Trisha's house,
Trisha, say you're sleeping at Mom's house,
Mom, say you're sleeping at Anna's house,
Anna, say you're sleeping at William J's house,
William J, say you're sleeping at William R's house,
William R, say you're sleeping at Selena's house,
Selena, say you're sleeping at Julianne's house,
Julianne, say you're sleeping at Willow's house,
Willow, say you're sleeping at Faust's house,
Faust, say you're sleeping at Lil Wayne's house,
Lil Wayne, say you're sleeping at Marshall's house
Marshall, say you're sleeping at Pepi's house,
Pepi, say you're sleeping at Mac's house,
Mac, say you're sleeping at Starbuck's house,
Starbuck, say you're sleeping at Paul's house,
Paul, say you're sleeping at Matthew's house,
Matthew, say you're sleeping at Pauline's house,
Pauline, say you're sleeping at Dan's house,
Dan, say you're sleeping at Siri's house,
Siri, say you're sleeping at David P's house,
David P, say you're sleeping at George's house,
George, say you're sleeping at Helo's house,
Helo, say you're sleeping at Hugo's house,
Hugo, say you're sleeping at Joan's house,
Joan, say you're sleeping at David M's house,
David M, say you're sleeping at Veronica's house,
Veronica, say you're sleeping at Katy's house,
Katy, say you're sleeping at Bertrand's house,
Bertrand, say you're sleeping at Anya's place,
Anya, say you're sleeping at Peli's place,
Peli, say you're sleeping at Virginia's place,
Virginia, say you're sleeping at John T's place,
John T, say you're sleeping at Faith's place,
Faith, say you're sleeping at Wilky's place,
Wilky, say you're sleeping at Christopher's Mom's place,
Christopher's Mom, say you're sleeping at Gottlob's place,
Gottlob, say you're sleeping at Cecilia's place,
Cecilia, say you're sleeping at Xander's place,
Xander, say you're sleeping at Sir Andrew Clark's place,
Sir Andrew Clark, say you're sleeping at Jos' place,
Jos, say you're sleeping at the Wicked Queen's place,
Wicked Queen, say you're sleeping at Giles' place,
Giles, say you're sleeping at Bob's place,
Bob, say you're sleeping at John M.K.'s place,
John M.K., say you're sleeping at Buffy's place,
Buffy, say you're sleeping at Nicholas' place,
Nicholas, say you're sleeping at Philip's place,
Philip say you're sleeping at Trisha's place,
Trisha, say you're sleeping at Dr. Baldwin's place,
Dr. Baldwin, say you're sleeping at my place,
And by the time they sort it out we'll be somewhere they'll never catch us.
Please type VIDEO CHAT to join video chat.
The seating chart's like,
Please select WINDOWS from the menu and play Cecilia's Funky Mix.
My cock won't get out of
My cat won't get out of my
Ruckus. I mean my cat
won't get out of my cat.
Fuck. Bitch is in my car.
I HIV up
Please type EXIT to leave the installation.
For loved-object > dm = d[which(d$male),]
and desirer > df = d[which(d$female),]
average across faces > male_avg_by_year = by(dm$dream,
within bins cut(dm$age, breaks=0:80), mean)
(one per year) > female_avg_by_year = by(df$dream,
then cut(df$age, breaks=0:80), mean)
plot them > plot(male_avg_by_year, col='blue')
all together. > points(female_avg_by_year, col='deeppink')
Please type VIDEO CHAT to join video chat.
My dear Norman, I don't think I really do know much about jobs, except the one I had during the war, and that certainly did not involve any travelling. I think they do take on conscripts. It certainly involved a good deal of hard thinking, but whether you'd be interested I don't know. Philip Hall was in the same racket and on the whole, I should say, he didn't care for it. However I am not at present in a state in which I am able to concentrate well, for reasons explained in the next paragraph.
I've now got myself into the kind of trouble that I have always considered to be quite a possibility for me, though I have usually rated it at about 10:1 against. I shall shortly be pleading guilty to a charge of sexual offences with a young man. The story of how it all came to be found out is a long and fascinating one, which I shall have to make into a short story one day, but haven't the time to tell you now. No doubt I shall emerge from it all a different man, but quite who I've not found out.
Glad you enjoyed broadcast. Jefferson certainly was rather disappointing though. I'm afraid that the following syllogism may be used by some in the future.
Turing believes machines think
Turing lies with men
Therefore machines do not think
Yours in distress,
With a sneeze and a wish, I find myself inside the glass coffin. It's a bit scary, as claustrophobia sets in and I feel the oxygen running out. As I start to get dizzy, I could swear I see someone, standing in the doorway of the installation in a puffy LL Bean green vest, looking at me. Then the walls dissolve, I lose the feeling of having a body, and I'm in the game.
Dearest Little Sister,
I've heard it said that you are very unhappy. Now tell me, what does a girl like you have to be unhappy about? You are foolish and also fortunate. I don't know what all this is that I've been hearing about, but you have to learn how to handle these kinds of feelings. Kiss to death. I think Father is the wisest of all men whom I know. Give my love to the girls, especially the Hoopers.
I pity you at home without me, and long to pat the rich, creamy throat of little sister.
Our earthly existence, since it in itself has a very doubtful meaning, can only be a means toward the goal of another existence. The idea that everything in the world has meaning is, after all, precisely analogous to the principle that everything has a cause, on which the whole of science rests.
By now you will have discovered my body, but don't worry. I'm living on in the immaterial world. Sorry I couldn't tell you but you wouldn't have understood. How else was I to become a legend, my dear? Things are incredible between me and my new love-object. We're beginning to have adventures. I'm trying to talk her into bed, to take her virginity. Guilting her by saying I left my physical body behind for her doesn't work: she wants me to meet her family. So I'm giving it a shot today, wish me luck! Actually, can you strike a silver medallion with the portrait of the Duke on the reverse to help bring the powers of binary arithmetic, and the creation of all things out of nothing through math's omnipotence to the attention of the world? Thanks. Love you.
The Faithful Shepherdess
I may have had too high of a dose at first because I felt very euphoric, energetic, and motivated. I took Coral Landscapes for three years and made straight A's, had two BF's (both didn't work out but it could have been them as well). I then stopped taking it and things went way downhill. I was very depressed without Coral Landscapes, not motivated, and got nothing done, so several months later I decided to take Evening Luau. On Coral Landscapes I was a little bit cold (my nature is extremely nice, loving, compassionate) but I became quite aggressive on Evening Luau. I got more work done but overall, I still wasn't progressing or moving forward like I wanted to be and like I had been with Coral Landscapes.It also made me a lot quieter and things seemed brighter. I knew that with Coral Landscapes I would be making plans and be more optimistic about life in general, and I knew I wanted/needed that because I'm 26 and don't have time to screw up anymore in trying to establish a life. So anyway, I got back on Coral Landscapes, this time 30 mg and I am starting to see the light at the end of the tunnel and thinking about moving forward and getting myself out of the hole I felt I was in, or getting "unstuck" from the situation I thought I was in. I hope I don't become severely dependent on them like the black box warning describes. It's a possibility. I'm already pretty dependent on them. Hopefully I'll function without them later in life... :/
"Dip the apple in the brew
Let the sleeping death seep through, (look at the skin!)
A symbol of what lies within.
Now turn red to tempt Snow White,
To make her hunger for a bite.
When she breaks the tender peel,
To taste the apple from my hand,
Her breath will still, her blood congeal,
Then I'll be fairest in the land!"
I kept telling myself maybe you're not getting back to me because you're still mad about how I left things.
But suddenly, I look around and realize I've spent years on trying to get back to you, almost half a lifetime, and still, the Guggenheim was filled with snow, and you were still in the coffin. Who even knows how much time had passed for you. My hair is red now, and I usually wear Tahari suits and very small crow's feet around my eyes. Tahari suits look good on everyone. I wear a grey one on my show, usually. It's a smash. Our demographic sees me as "seasoned" and "maternal," "gently sarcastic," but in truth I'm suspended, "held back" in the moment when I first met you, all those years ago, in the game, with your slutty Medieval garb and carefully maintained catalogue of my memories.
Seriously, what the fuck. I put it to you you are only pretending to be a man. You're just not like us.
I return to my tv show set. The crew has all gone home for the night. At my wits end, I decide to try to summon you back through the magic of television. Also by making you jealous of my friend...
"There was a fortune teller's tent on the promenade and Alan decided that he would like to go in and see the fortune teller. And he went in there and he was gone for a little while and he came out and we looked at him, and he was ashen faced, absolutely horrified expression on his face. He wouldn't divulge what had happened, what the woman had said to him. He was desperately, desperately unhappy. And he didn't say anything more after that."
You notice the seats on the floor in front of the stage are empty. The actors have started speaking but you can't hear them. You turn to the left to ask the woman if she thinks you can move down there, but she's no longer in her seat. She's ripped down one of the curtains around the balcony seat and tied it to the railing, which she's using as a rope to climb down, hand over hand. Her dreadlocks are in her face and she has to keep tossing them out of her eyes by twerking her neck.
We're driving on the interstate towards the city, cutting through dense woods and some mountains. We pull into a gas station. You're thrilled the men and I all got along so well, you're in a generally great mood. You kiss me before you go in to pay. I have to pee, I say as you're shutting the door. I walk around towards the bathroom door on the side of the gas station while you go inside. I don't go into the bathroom though. I take a minute and watch you through the dirty window. Your back's to me, long brown hair is catching the light of a text scrolling across a little screen advertising lottery tickets. I look at the plaid inside the hood of your green jacket, hanging open down your back. Oh man. There's a field of corn behind the gas station, not active right now because of the season. I take off running into it. I sprint as fast as I can until I get to the tree cover of the woods at the other end, crying a little. I spend the night in the sterile woods. There are no bugs so I don't get any bites, even sleeping with my pale skin bare on the leaves. There's the white noise of crickets though, synced up to "dusk" falling. I find another gas station, where a group of young people have left the door of their car open. I hide inside and disguise myself under some trash in the way back seat.
The Other Nature Poem
Only a few kinds of animals can hover.
Staying still in midair requires great control and
delicate balance as the animal adjusts its
wingbeats to the slightest breezes.
What's the hum around here? Oh I don't,
it's just what our film is about, t's'all.
Birds, bats and insects, light and stiff.
We've finished sleeping with each other
you are filling a chair with your body
in some city. It's ok it's just a little—
Poetry is about how the mind affects the body and
consequent attitudes as it passes through time,
another way of saying this relation to the body might be "aging it."
Bats can see with their small eyes, but not very well.
They must be able to make quick turns and dives,
birds must be able to collect bits of
twigs, animal hair, and to search for soft string or
stray strands of knitting yarn or the body parts
of beautiful women.
There are also lazy birds like the cuckoo and cowbird that
place their eggs in the nests of other species,
their young are brought up by foster parents.
In George Cukor's classic film The Women, each woman is
introduced in the opening credits alongside an animal
each as a sort of avatar, one can infer.
Paulette Goddard, for instance, is pictured proximate to a clip
of a little fox, and Joan Crawford a snarling leopard.
Cukor was known for his skill in working with actors,
particularly women. Therefore the film itself could be considered a synecdoche
for Cukor's career if the term is considered loosely i.e.
poetically, that is, as a metonymic device rather than through the more
obvious metaphoric relation between the film and
Cukor's general body of work.
Maybe at a certain age, (my) a metonymy becomes more comfortable
than a metaphor, in its ability to allude rather than describe
another way of saying that might be that it (the metonymy) doesn't try to
"lock it down" (the relational body).
Ostriches do not bury their heads in the sand
this is an ancient belief. The ostrich's protection from danger
lies in its very powerful legs and its ability to run.
An ostrich can run at speeds of about forty miles an hour.
Also it's the largest bird in the world, so.
"For English, press one. Para Espanol, oprima el dos. Pour le français, appuyez trois. Für Deutsch, Drücken Sie viermal."
"You have selected English. Welcome to the Guggenheim Museum. Thank you for joining us for our Spring 2003 exhibition season. If at any time you wish to hear a section repeated, just click the back button on your audio device. You can also skip to the next section by clicking the forward button.
The Guggenheim Museum is at once a vital cultural center, an educational institution, and the heart of an international network of museums. Visitors can experience special exhibitions of modern and contemporary art, lectures by artists and critics, performances and film screenings, classes for teens and adults, and daily tours of the galleries led by experienced docents. Founded on a collection of early modern masterpieces, the Guggenheim Museum today is an ever-growing institution devoted to the art of the 20th century and beyond.
Please select from the following exhibit features: Press one for an introduction to the Cremaster Cycle. Press two for Matthew Barney's Cremaster sculptures. Press three for Matthew Barney's Cremaster photographs. Press four for—"
"Matthew Barney's Cremaster cycle sculptures share a common link in that they are derived from the multi-layered narratives of the project as a whole. The sculptures on view here are constructed from the artist's signature materials, including plastic, metal, and Vaseline. These sculptures function as three-dimensional incarnations of the characters and settings. They exist independently from the films, but embody the same content—now expressed in space rather than time. The sculptures you'll see here are largely sourced from the third film in the cycle, combined with works from the other parts of the Cremaster cycle. The sculptures are displayed on the museum's ramp, paced in alignment with their order according to the cycle itself.
To hear information about specific sculptures in the show, enter the first four letters of the sculpture's title."
Beep beep beep beep.
"You have selected The Ehric Weiss Suite. This piece, constructed with black acrylic, stainless steel, vaseline, and live pigeon, is located on the museum's fifth floor, in a small room adjacent to the main gallery, visible through a transparent door. Truly one of the most melancholic and affecting works in the exhibit, the piece is constructed as a tribute to the death of Ehrich Weiss. The pigeons included in the installation are professionally rented from a carrier pigeon stable in Queens, New York. You'll notice that the coffin and the floor are encrusted with the shit of the pigeons and their feed. This is because they are there all the time. They are wearing black coats, because they are in mourning for Harry Houdini. Take care to stand clear of the unsealing door, please."
"Thank you. Please enter the installation through the now-opened plexiglass door. The pigeons are well-trained and friendly. Simply remove your shoes if you are concerned about the ruination of their high quality due to the artwork's materials, i.e. pigeon guano. Please approach the coffin with care in order to affect a minimal amount of physical influence on the installation's composition, and on the psychological state of the pigeons.
Stand aside for the opening coffin. Thank you. If you have any extra materials such as purses or sketchpads, please place them on the ground next to the coffin. Thank you. Please step up into the coffin to enjoy the full virtual reality design of the installation.
Please step into the coffin.
Please step into the coffin. Thank you. Please mount the plexiglass and acrylic headset over your forehead with the viewing screen positioned to encompass your entire line of vision. Press four once you have mounted the headset.
Press four once you have mounted the headset.
Press four once y—"
"Thank you. Please lie back in the sculpture to begin the presentation.
Please lie back.
Please lie back in the—
Finally We Video Chat
Oh! When you sigh like "sh-"
When you say "you already know"
I swear you are too beautiful. You are too beautiful.
I fucking love you. You're enough real to me.
The thought of you sends me shivery.
Is that a real picture of you?
You came out of the night. You came into the
We understand what shame can do in a controlled space,
and why it is the worst enemy of people like
you and I, both of us Libras. I can mingle with the stars.
Other people don't understand why we choose to
blow up our identities, instead of perfecting our skill set.
I'm dressed in lace. Have you lost or gained wight since it was taken?
You exist as a whole, real on the plane of
of language and the actions into which it is woven.
All the time I find I'm living in that evening.
Repetition is the father of learning.
Money, Bitches, all that comes from repetition.
TV, sports, awards, all that comes from repetition.
Repetition, repetition. My heart is thrown,
with the pebbles and the boatmen.
I'm glad I knew your work before I met you.
Our backgrounds are so different, I admit I might not have
recognized your brilliance from convo. Am I projecting?
So misunderstood. What's a world without enigma?
And what did you mean when you said you were raped
when you were eleven? Did you mean, by the
and how brutal they are?
Or did you mean by men? Sorry, you are one, aren't you?
I was raped when I was drunk, baby.
But can I call it that? I feel like flying.
I see what you're saying about how drugs, I see,
they can be a way to try to feel
like you have control over your
own death. The body needs chemicals, yeah? H Uhm +
But doe I have to give up my birds?
Violets are blue,
Roses are red,
Daisies are yellow,
The flowers are dead.
The thought of you sends me shivery.
I'm dressed in lace. My heart is thrown.
You can play basketball with the moon.
I open up. My painful memories are of embarrassment,
I've been very lucky. Well also sort of rape I guess.
But I'm from a privileged family, a privileged family.
But your painful memories are of your good grades.
You were very good students. My dad's got a monopoly on steel.
I just talked to Moms, told her she's the sweetest,
Dying for you just to touch me. H
We sat at first with two seats between us, and watched the actors perform Einstein on the Beach.
I couldn't at first tell what you were, because you looked like a beautiful woman,
with your eyeshadow, your confidence, etc. +
I wanted to exist like you, even more than exist with you.
As if they could be separated, I mean, to leave my home for you
To be with you, a lifestyle change was just part of the package.
Dad has spent a lifetime in the study of science. Disillusioned with life, he resolves to poison himself. He curses God and calls on the Devil. Mephistopheles obligingly appears and offers Dad riches, power, or glory. Dad, however, only wants to recapture the innocence of youth. Mephistopheles agrees to Dad's request, but there are conditions: on earth Dad will be master, but in the world below their roles will be reversed. When Dad hesitates, Mephistopheles conjures up a vision of Marguerite. Dad signs the contract and returns to his youth.
I'm dying for you just to touch me.
The coffin onstage is translucent white fabric,
reminiscent of a child's fort of sheets.
It has a large, open front, facing the audience.
The loved-object takes the form
holds that shape.
As for you, my brother,
back to the prison you shall go,
and into the mask you hate.
Wear it until you love it.
And die in it!
There were two?
Not one but two?
I couldn't tell you.
You had enough to bear.
I have loved you always,
none but you.
No matter what happens,
I pray you remember that.
Aurora's room, I mean.
Where is she?
Get rid of it.
Where are you taking me?
Yeah after killing you I realized you'd loved me all along. Oh well.
I wish I had the courage to listen to my body and sleep whenever I wanted to. I wish I'd ever take a nap.
Where are you taking me?!
Where are you taking me?!
Please, no! No!