John Trefry, THE SATELLITE 14 GOSSAMER RING

 

Eschatology of the Satellite

image by Daniel Y. Harris 

THE SATELLITE 14 GOSSAMER RING 

Pervading the field of the satellite 14 gossamer ring (the most consistent—not most uniform—white noise particle distribution (a probabilistic arrangement in which particle location is statistically uncorrelated relative to other particles) of the ring system), coalescing groupings (grain (beyond the granularity of the referentless surface—grain comes→grain goes→—, nothingness is becoming, absenting is becoming absence, manifesting is becoming presence), distinct from graduation, grain is (in the collapse of space without depth or material frame—figural & coordinated), from each stereotomic orbital position around the cloud, parallax collapses subtly nonuniform distributions of particles into gatherings/thickenings/involutions/registrations/fusionscompilations/colligations/contiguations/coadonations/bondages/unifications/subsumations) of concentrated particles are conglomerating (three dimensional projective collapse into two dimensions delimiting an asterismal (asterismal to the extent that the figuration is particulate, yet arising to prominence not through a lattice of vectors, but through the parallactic collapse of particles—subsuming—into a figure that has less intradistictive composites than a crystallographic aggregation (holocrystalline-allotriomorphic texture of granitic fragments in meteroids) or has fewer distinct operands (is ostensibly unitary: irreducible/unminishable/insecable/singular)) figure (figures range significantly in size (by dimension (from 0.1 µm (the hypotenuse of a triangle) to 452,000-ε km (a crescent from a circle with the diameter of the entire satellite 14 gossamer ring (452,000 km) with the subtraction of an identical circle translated offcenter by ε)) and by area (from 0.1-ε µm² (the area of an obtuse triangle with a hypotenuse of 0.1 µm and an interior angle of 180-ε°) to 1.08×10¹¹ km² (the entire annulus of the ring)))) in one projection is embodying ∞ figures; without material frame, a figure in the vacuum of space is a projection, viz., a cone of projective vantages with a scope of 64.64° on the basis of proximity to the planet is limiting the intrasystemic delimitation of the figures) into taxons of form (including but not limited to: all varieties of triangles (acute, equilateral (rare), heptagonal, isosceles (rare & empyrean: sublimated), right (rare), scalene), all varieties of quadrilaterals (cyclic (rare (the registration of a precise circle requires highly tuned projection)), kites (convex or concave (all are rare on the basis of nominally requisite symmetry)), trapezoids (any embodiment of parallel edges is rare)), all varieties of Ngons (both nominal (convex or concave) & regular (convex or concave (all concave angles <180°); equilateralism is rare; the limitation of N is controlled by the maximum density of particles that is necessarily <∞ (the value of N is conditional on all particles forming the ostensible perimeter of the aggregation throughout the projection of the 3D extent of the shape (viz., the figure of a regular megagon (circumference=1,420,000km, N=1,000,000, interior angle=179.99964°, sides=1.417km) inscribed in the circle bounding the satellite 14 gossamer ring is 2.2mm (the length of the sagitta) out of alignment with that bounding circle (from some projective angles (as the aggregated figure is rotating within the ring), the 179.99964° interior angle is asymptotically approaching 180° (the distance A (the bisection of the interior angle extended to a chord connecting the two flanking vertices) forming one leg of a triangular relationship in which B is the hypotenuse (the vector establishing the projective angle): where ∠AB=90°, the interior angle equals 179.99964°; where ∠AB=0° or 180°, the interior angle flattens to 180°; all values for ∠AB between 0 and 90 (and inversely from 90 to 180) map directly proportional to the 0.00036° range of the interior angle before it collapses at 180°), ie., the figure disappears), is only nominally a polygon (a latent figure exists that is—through the contrivance/increation (through conjoinment & union to the set of precise criteria) of the properties inherent to that figure—manifesting corporeality; the materialized figure is (equivalent to) a circle, whereas the latent figure (the figure embodied by the criteria only) is a 1,000,000gon (limit (the asymptote of annihilation) for N=∞-1))), not the density of particles in the field of the shape))), all varieties (all rare) of shapes bound by circular arcs (lenses (symmetric & asymmetric), annuli (exceedingly rare due to the imperative for concentricity), arbeloi, crescents (including lunes), salinon), all varieties of compound shapes (syntactical (obrounds, barbed quatrefoils, circular sectors & segments (including semicircles), squircles) or haphazard (f-beloi)), closed quartic plane curves (lemniscates (including hippopedes), bicorns, limaçons), closed non-circular curves (astroids, cardoids, deltoids, closed roulettes (epicycloids, epitroichoids), desiproids, ovoids (includng pyriforms & ellipses & biconical ovoids), nephroids)); relative velocity variations of particles in the verticity of the clinquant milieu are <5.24x10^-4/☉a—absent intercession by an intersystemic object or the chain reaction of ricochets instigated/initiated by intercession by an intersystemic object—accruing to shufflings of particle density and relative disposition creating new asterismal figurations.

Nebulous, a squat tube, a trace amount... primarily composed of larger ejecta particles (where smaller (less than a micrometer) tend to move inward (on the basis of the oscillating charge of the particle affecting the velocity diminishing from the ejection from satellite 14 (the esemplasy/corporeality of the extension is viable only as a nonphysical (an ephemeron/(within the constraints of the vertical & radial distribution of the ring extension are concentrated (from dust finer than the larger & less concentrated aggregate of the extension) figural protrusions (euripi), venturing away from the midline of the ring extension (where asymmetrical jetstreams of dust are meandering in varying (but continuous & contiguous (the developed surface of the intrusive colloidal figure as a corporeal figure (in aggregate) is equal to the surface area of all tributary particles)) states of being drawn into the satellite 14 gossamer ring) but contained within the overall corpus of the comparative concentration, reaching toward its threshold and diminishing just shy, where the diminishment is not tapering fully to completion the protrusion is deflecting toward Ƶ)/a manifestation (differing from identical densities of particles emblematic of the void by the crisp geometric limits of the figure)) corpus, from light scattering through a luminiferous aether within which the immateriality of light is countermanded by the vague medium); the particles are ostensibly bouncing across the threshold between the satellite 14 gossamer ring and extension)) of >3 micrometers—having a higher initial velocity (resisting (the higher inertial values of the larger particles are creating more chaotic arrangements in a process of constant reorganization, never reaching an equilibrious state (a collection of particles within a certain density parameter is resulting in higher collision probability, leading to larger clusters of material that collide and reorganize into new discrete—tenuous—clusters)) the gravitation of Ƶ to an infinitesimally greater degree than the colloidal particles)—are electrostatically (colloidal dust grains are affected by the plasma parameters surrounding Ƶ (per se, in this stratum of the magnetosphere the electron concentration is N_e ~ 1 cm^-3 on the sunlit side of the planet creating charge conditions that push material outward, multi-micrometer fragments are loosed into this area and over millions of ☉a are again struck by micrometeoroids feeding dust into the gossamer rings); the larger grains ejected from impacts with satellite 14—regardless of the angles of incidence and impact inertia—move outward with ballistic abnormality) sieved by the gravity wake of satellite 14 into an outward rather than inward trajectory.

—John Trefry

Acknowledgements:

(Borisov, N., & Krüger, H. (2021). Formation of the Thebe extension in the ring system of Jupiter. Journal of Geophysical Research: Space Physics, 126)

Daniel Y. Harris, The Hyperparasiopesis of Noetic Variations,v3

David A. Bishop, Noetic Variations v3       

The Hyperparasiopesis of Noetic Variations,v3

Daniel Y. Harris

“:chi può saperlo, ah ah ah ???, ¿??: Ne,h ones knews:, as (ALL WEZS) theys fit: e , fit, e ! farcing into hoggy thowghts cums sah furth tholemodely, y Thair contrar tah, demulcent¯-knock knock¯tooks umbrages -(veridically all-transparent)- during Mytilenian revolt¹³ contro Delian League^v2 egemonia wit healpe:, Spartano hordes, en Lesbos, serooned & loist warrings , verily tho b4s: pray cursar thits greco’s dawnting derk ages: brund of its stoofs: re: tholotós táphos^v3 , primitives as fooks?, till polis (Πόλις) creation, sotto il sinecismo (o synoikism¹⁴), but extant:”

— David A. Bishop

n63       These Matter of Facts, Parsed Thru Bitterest of  Forked Tonge

Noetic Variations, v3 (#Ranger Press, 2025)

Thiess of Kaltenbrunn “o near haughty as howlding Old Thiess,” the wahrwolff , with “hypoglossal autoresonance,” infects this “rank hæresie” of bababadal (killer_pid > 0 || killer_pid == -1)gharax ghtakamxxq (i = 0; i < ATTACK_= CONCURRENT_MAX; i++)inarronnkonn||:(int,   `password` Noesis(V3) NOT NULL, ATTACK_VECTOR,bronnton get_random_ip(void);nerronntuonnthunntrovarrhouna||FullyAutismaticIsGod.xyz|wnskawntoohoorrdenenthurnuk with “lettirde claptraps” and “gauge theories.” “Crone face” is misprisionary—Dominus Satanas Deus Potentiae (augenblickkiller_realpath Q-Prot= maltox), strained by scatoltheological ratios (Deaðbiðsella þonne edwitlif! Heht ða þæt heaðoweorc to hagan bioda!), the brute “phalangeal” of Noetic Variations, v3.

In “n63  These Matter of Facts, Parsed Thru Bitterest of  Forked Tonge,” the “re: tholotós táphos^v3” is traumdeutung as monas hieroglyphica—XATROS, NIFER, ROXAS, TORTOS (return unsigned char datagen, effect, weff, wrambank,rrambank;nil, errors.New) in “historeyans beïng theys: ewww ack ack historeyans, mar atá siad,” the deployment of hypomnesia “as c-partition of the data, which is a c×n membership matrix U=[u(ik)] with c| rows and n| columns, kāfirs²⁶ neh weilcumed, belufit of Baphomet²⁷ ,ikon of syne, stuck’d in gahs! greezy mires,” must procure grammata. With all the variable, fluid, furtive necessities of psychagogy, the inheritors retrieve dvekút, ethelxe it, the humnosic “egemonia wit healpe:”—(thilsias-teletas-epōdas-manteian), that obscure presentiment, the mundus imaginalis [func (this *ClientList) QueueBuf(buf []byte, maxbots int, botCata string){]. This “broodbase” ecriture of a thaumaturge (en)trains the listener in a Caturaśītisiddhapravrttic frenzy and वज्रयान mania [if atk.botCata == “” || atk.botCata == v.source {].

Rhizomatics are doctores angelici—“prior to bullwhip objectification:” the chemical assemblage, pivotal taproot or fascicles, the one in which hyperparasiopesis is the theomorphic Godman—אָדָםאֱלֹהִים, the string b:\myrtus\src\objfre_w2k _x86\i386\ guava.pdb that “howls with wretched vibrissal movements.” Disarm this “tonge” religionsgeschichtliche Schule (bios orphikos—(énupãrktouw)(killer|//Sold Cult mirai  _kill_by |_port(htons(n63)), this theosis (perichoresis) “said to be meromorphic in the extended complex,” shocks with brutal hypostasis, a transubjectivity “blod-wrekere all round o‘bouts.” Pontificate from a florilegiumist Akashic Records—(id quo maius cogitari nequit|unsigned NOT NULL AUTO_INCREMENT `max_bots`), for Noetic Variations, v3 selfflagellates with whipdata, deifies the reified (θέωσις|BOOL attack_init(void)): apatheia, theopoieō, the great hesychast “during the ‘resonant leptogenesis’ scenario” from which imaginaire decrescendos in merkavah: add_ \x1b[35m[ \x1b[1;32mJokerattack_greip) (ATK_ VEC_UDP, (ATTACK_ FUNC)attack_method_udpgeneric Failed Login In :: %s ::||: “idiomarina loihiensis”).

Byzantine etymology derives theoria from theon horan “when grafted onto standard formulae of the synchrotron”—noesis [νόησῐς, noeîn, noesiksiä] int killer_highest_pid = KILLER_MIN_PID (grammē dicha tetmēmenē)—its pseudepigrapha is the maligned in total abstraction, the hypocritical, paradoctrinal facere: sulfur (alpha (α-S₈): 2.07 g/cm³beta (β-S₈): 1.96 g/cm³gamma (γ-S₈): 1.92 g/cm³ ). Noetics in the gnomon, “alias habituation fellerannexation violations,” in the oecumenic table_unlock_val(TABLE_KILLER_PROC); the xenolacunae—“as is, -LO!- in some rare topicality, wharin dAMAR.UTU716 y a nathair, ár Bēl (lord).”

Spors that hunt the archechoresis (hierognosis|if (killer_kill_by_port(htons(n92))/ pratītyasamutpāda (i.e., the via negationis or via negativa); wikimutants neither non aliud nor grunt apophatic—"faultless of characters, lothe to bedde and luthefro bedde, wrought grmily in the sluggard's bad ole bag o'tryckes, with wcpyng, esplour^!* Palsgrave., y maudlin: Detrarting vaatala that will vomit fpight, idiotas!” Accompaniment to the noetic bilder der unbegriffenen wahrheit is an epistemology of historiography [say_stuff(Attacking your Target Website {0} with {1} //OG mirai SINGLE_INSTANCE_PORT]—Vere clignum et justum est, nos tibi semper et ubique gratias agere: Domine, Rex Inferus, Imerator Mundi. Omnes exercitus inferi te laudant cum quibus et nostras voces ut admitti jubeas deprecamur, dicentes: as a state of bi-unity, a unus-ambo, or dualitude in “tho: hy)v nee·dhŭr got·n kùm·-from nŭr goa·-tóo, wi' a bit o' clift 'at I fan stickin' abüne da aisen butt.”

Noetic Variations, v3 is pataᾰ̓ρῐθμός in its alḵawārizmiyyic practice of divine reading or lectio divina—no either-or is hung on coincidentia oppositorum’s print\f0\b\fs24 \cf0 Anonymous DDoS Tool\ (Fore.RED + ‘[+] Execution Stopped with Error Code 0. It is a hyperxenoglossia which breeds xenomorphs in the opposition between eigentlichkeit, uneigentlichkeit, apophasis, theomania, agapeics, anagnorisics, theophanics, pharmakonics and l'echange héliocentrique [Binary file addedBIN + const acceptCharset = “ISO-8859-1,utf-8;q=0.7,*;qQ-prop=0.73 04KB 120-PST 0xf6,0xf5,0xf3,0xf2,0xf0, ORE-MSSQL-SYM-NTPASS-VNCNETAPI 2025.rar”]—[“DUMPITUP" was assigned, stepid of “NOINPUT” was assigned, now EXEC: ASM FC,PARM.ASM=' LOAD, NODECK, TERM', if Si omnia bene sunt, bene finiuntur, ? then, PUSH. PUSH, PUSH onto display of HMPROG (or: :of XX.MHPROG”]. Preemptional coda: it’s an agonics infecting the reigning episteme, the reigning métapsychique and the reigning hermēneutĭkós—brutal extremity in “forking lemma675 (with succor frm.): ESRI Arcfamily, PCI Geomatica, and ERDAS IMAGINE.”    

Mark DuCharme, Beefheart’s Sugar, et al.

Yclept faux

image by Irene Koronas 

Beefheart’s Sugar
 
            i.
Raw, assimilar shoptalk
Indigent asymmetries
Or some kind of indignant memo
When summers were bland dictionary silos
Profane like silence
A roseate infrastructure of pigeons
Some of whom went crazy
In a spectacular folly
Of gateway profanity
Disavowed as what I cherish
When great tanning is through
 
            ii.
Everything is someone
You aren’t anywhere
Where is anyone who is?
 
Who is someone always?
Why aren’t you there?
In a cruel motion
Where the sun won’t cling
 
            iii.
Yclept faux stocking alerts
Hills or threnodies?
 
In the innate red mirror of Stockholm apologies
Some sort of ignescent tablature
 
A book that tries to be everything
& In that process, becomes itself
 
 
Poem
 
You, bright impostor
        Roll with the shimmers
                Find your dream yurt
 
Flicking miniatures
        Tidy barricades
                Flaying dodos
 
Flood the ice rink with
        Layaway malice
                Four hundred thousand new missed calls
 
Something to glimpse at the eddies
        A practiced silhouette
                In search of drone funding
 
With such a firm hold on us that
        Canal sex couldn’t be better
                Even after space invaders shrug
 
 
Corrective Housesitting
 
The contént were dressed in tupperware shelving
A grimace of fishhooks
Reversible mirrors
Lips like red blotted plaster
 
All birds are clouded ivy. The buttermilk ghouls
Trembled with lockdown futility. All was fuzzy
Peace through the scenes
Of amethyst dolls. Taut lemon cargo
 
A smoldering of rattlesnakes lay low on the
Verandah. June was frumpy with sheet metal
As if all the weather were a snob
That the wind might heal, in the strangeness of dullards’ eyes
 
 
This Garden Futility
 
Slump echoes evenly
Evasive by plunder
On a cartoon shore
Tender egress
 
Collapsed housing vagrancy
Is or intentional
This procedure says so
That you wanted to set free
 
Within seeds or an echo
Of nuzzled oleander
Plummeting    faintly real
Roseate miseries
 
Echo echo solo material
Waves upon the stranded
Plexiglass nobodies
Botching futurity
 
 
Harbor with Birds Looking Away
 
                    i.
Scenes bled loose
    Of degrees on the
                        Hilt-wind
 
            Gnarled screens
    Redact bladder            stumbles
Nightlife tenderly
 
                            Hoist scenes
            Of rubble— gash inflection
    At interim zoos        evaded
 
Doors or jars nailed down
                                            At stride
 
React plumage interval    sidetracked
        Gift economy notation
 
                                    Pillage
 
                                    Sensibly
 
                                    Notation  notation
 
                    ii.
    Swoon gape
    Brush anxiety
    Housing
 
    Gaiety & birds
    Appearing
    To laugh a wild appletree
 
    The divan is ragged
    Wind long gone
    A fluttering in the eye
 
 
                    iii.
            Ladders walk
 
            Innate housewares
 
            The ticket only
 
            You could win
 
            Sealed in acetylene
 
            Structure— gnarled endings
 
            A banquet of kitchenwire
 
            Shattered grief
 
            Faint animal coughing
 
            For he who is is he who does
 
            Once in awhile, in Pittsburgh
 
            Where the clockwire gets loaded
 
            By peaky kinfolk
 
            Dead moon suffering
 
            Wire angels (juggernauts)
 
            Part of the heat (lost) sealed
 
            In rooms’ viewed channels
 
            Stealthily stealthily as night redeems
 
            Agency penmanship housing
 
            Rain partisanship
 
            Interstitial delving
 
            Night where moon runs away
 
 
Dialogic Interlude
 
Night-borne reverie ripples the liquor
From your quiver. I’m standing here eating mangoes
Amid freeze-tag partitioners with all the right
Equipment. To die by moot endurance
With all chances baffled. Rise up carcass &
Vanish, or put an
End to this condition.
The more you wake, the more you quake.
 
Spread outskirts appeal to the glittering mob
Of cattle watchers, stuffed with clusters
Of willow droppings, plaintively, as night reveals
Her inborn stillness. Later,
The panoramas can yet be inspected for
Their irony & poise. Years fade
 
When convergence becomes looneytunes. Trouble a moot watcher
For some bitter water, please. Analog fortunes often accompany
Anesthetized critiques &
Shoehorn repairmen. Don’t linger by the font of animé reverie;
Study its pratfalls & metastasize silliness.
I wish Jack Collom were still here to write “a scene” with,
 
Yet “scenes” do cause a stir, & we’re even yodeling
As we strew the “course”
With golfballs. But what is seen? A shimmer or
Mirror isn’t likely to provoke
An out-of-body experience,
Unless you’re laborious as a chipmunk in winter
Playing hopscotch with kangaroos, though it doesn’t matter
 
                                    Yet, when all is after &
                                    I hear the sound
                                    Of airplanes coming.
 
 
—Mark DuCharme

Writing Against. Reflections on ON VA ÊTRE ABSOLUMENT CONTRE, designed and published by Barco Bêbado—a Review by Germán Sierra

ON VA ÊTRE ABSOLUMENT CONTRE 
(Barco Bêbado, 2026)

Writing Against. 
Reflections on ON VA ÊTRE ABSOLUMENT CONTRE*

 designed and published by Barco Bêbado
A Review by Germán Sierra

 
Je m'oppose is the new j'accuse: eu me oponho: I object: I am against.
 
J'accuse is a wake up call directed at a judging authority (whose existence is currently inconceivable and, in any case, the legitimacy of the judgement would be rejected), as well as the acknowledgement of a shared, solid model of reality which we would be also against. We declare ourselves against the logic of accusation and the sycophantic dynamics of representation.
 
Je m'oppose, however, opens spaces of freedom, lines of rejection turning into lines of flight. It suggests that experimental art might preferentially be produced from rejection-spaces. It means writing against writing, performing against performance, disavowing order and rational design, together with refusing the dream of an ideal avantgarde that would entail submission to an oriented direction, a teleological delusion or, at least, the implicit recognition of a previously imagined detour. "There's no avant to garde"—I declared elsewhere.(1) There's no tour from which to de-tour, there's no time arrow anymore but multiple diagrams of flow, the likeliness of setting a direction is unthinkable; we're just floating around among cosmic debris spiraling into the unknown. "I tend to continue my own poetry performances as many other artists who feel they have no place to settle but in their perpetuum mobile, just to go" —writes Nina Zivančević in this volume.
 
Like Gary Shipley's serial killer going on killing and writing about his killings.
Like Louis Armand who, by refusing to give a title to his piece, doesn't make it "untitled" but "upgrades" to title the whole text.

           "I can't go on, I'll go on", as Beckett wrote.
            The punk motto "no future" became our generation's futurist manifesto and we're absolutely not going back.
          "We are not taken in by the present that would make us believe we had any authority or exercised any influence, and still less are we taken in by the past, and still less again presumptuous of any future," wrote Maurice Blanchot.(2)
             "The future"—Wenaus and Harris quote at the beginning of their chapter—"is amnesia in reverse."
 
ON VA ÊTRE ABSOLUMENT CONTRE is a very improbable book in a world ruled by probability—a world where old poetics, old politics and old technologies are continuously being repackaged as new—, made by people who will go, anyway, on, assembling contributions by some of the most interesting experimentalists and scholars out there to offer an example of what literature wants to be today.
 
Artists will eventually become avantgardeners, working to grow some unexpected varieties of hybrid plants in the chaotic midst of the jungle, picking mutant mushrooms in the dark forests of the internet, the blockchain, or the library. Not so long ago, Ron Sukenick framed innovative writing as the continuation of a "rival tradition"(3)—which is another way to say that we've been writing against writing since writing was invented. Contemporary experimental authors write against "the human", against "the author", against "the reader"—in the same way that experimental scientists work against the current models of reality. Contemporary experimental writers also write against the current models of reality, setting up the basis of a general rejectological practice. If I had to single out the most relevant trend in contemporary art I would say againstism: accelerating deterritorialization by rejecting the foundational aesthetic modes of out time; nostalgia, modernity, postmodernity, automation. Contemporary experimental writers write against the past, present and future, yet mixing all model-times together into, for instance, radical textvisual collages.
 
Ramiro Sanchiz and David Vichnar invoke the spectre of necromodernism: "a modernism long-buried but still somehow living on, its undead corpse back again for yet another zombie standoff."(4)
 
"Beyond the threshold of Modernism and its utopian underpinnings," —says Vincent Como in The Black Singularity— "the immediate conscious reality is divided by the active and passive, the self-referent and the exteriority of the unknown possibilities beyond oneself. These elements outside of immediate control, outside of immediate realization, are the very shape and form of finality."(5)
 
Je m'oppose: opposition is neither nihilism nor denial. It's not just Bartleby's passive refusal, fake revolutionary resistance, or letting yourself dissolve into nothingness. On the contrary, it means actively flowing through what's being rejected (which, by rejection, becomes an outside-in, a "field," a "resistance" in electrical terms), analyzing it, reconfiguring it, finding its weak and hot spots. Being against language doesn't equate silence, but the implementation of esoteric languages, imperceptible waves, the recognition of all meaning as noise. Noise is, by the way, the best antidote for slop. We still crave for the new, but innovations are often more complicated than simply the production of formal novelty, for they usually reflect the collective and evolutionary "success" of a heterogeneous group, which may require additional adaptations beyond a novel form or social changes. (6)
 
In a world defined by fragmentation, and poetically approached by opposition, rejecting the world means becoming a dispersed, untraceable multiplicity—which is maybe one of the reasons why some of the most interesting books being published lately are collectively-written collage-installations: One, by Blake Butler, Vanessa Place and Christopher Higgs; Collected Voices in the Expanded Field, published by 11:11 Press; Revenge of the Castle Freak by Inside the Castle; the Alienism project coordinated by Louis Armand or the Xenopoetic project by Kenji Siratori —and now Barco Bêbado's ON VA ÊTRE ABSOLUMENT CONTRE. These books are neither the typical anthologies nor the product of a recognizable literary/artistic movement (such as dadaists' collage books or the surrealist Cadavre Exquis), but the result of contingent and diverse networks of writers, visual artists and book designers, often working from different styles and pursuing different aesthetic endeavors, yet "strangely attracted" by some "coordinating artists" into singular projects. A common feature of all those projects is that the editors/publishers are talented artists themselves.
 
As a consequence of the aesthetic disintegration of the media, collectives spontaneously gather into temporary unstructured swarms, winging around like the Furies in search of opportunities for a random rejection, delimiting counter-spaces that are oblique to the slop-saturated media. In this fragile but fertile environment they manage to use their specific crafts to replace the mandatory hyperdesigned-reality utopia.
 
In OVEAC (even the acronym sounds good, like some weird sci-fi machine!), the result of this unlikely gathering is deployed as a deeply ergodic, visually stunning puzzle of texts that sometimes only become readable by rotation of the physical book, like when driving through a curvy road. Do not expect a conventional compilation: we're talking about a multidimensional, multilingual crash-space where essays, fictions, poetheories, manifestos and paintings collide and break into pieces like macromolecules exciting each other in a high-energy environment, immediately becoming reactive and reordering themselves into counter-designs, coupling with antiparallel interfering translations, turning languages into sharp instruments that break down standard reference symbols.
           
So here you are, from satirical horror to abstract antagonism, a madman's map of our brave new world.
 
 
Notes:
1. Germán Sierra and Emmanuel Magno, Interstitial Artelligence. Centre for Experimental Ontology, 2022.
2. Maurice Blanchot, The Step Not Beyond. Translated by Lycette Nelson. State University of New York Press, 1992.
3. Ron Sukenick, The Rival Tradition.
https://www.flashpointmag.com/sukeint1.html

4. David Vichnar, Necromodernist Architectures in Contemporary Writing.
/www.3ammagazine.com/3am/necromodernist-architectures-in-contemporary-writing/

5. Vincent Como, The Black Singularity.
https://drainmag.com/the-black-singularity/
6. Douglas Erwin, The Origins of the New. Princeton University Press, 2026.
 
*Limited print run of 300 copies / retail price €40 // Barco Bêbado #66: 

Contact https://www.facebook.com/emanuel.cameira.7

 
On va Être Absolument Contre is a trilingual anthology published by Barco Bêbado and edited by Emanuel Cameira which features the work of Andrés Vaccari, Andrew C. Wenaus, Charles Bernstein, Daniel Y. Harris, Danny Fox, Eduarda Neves, Emanuel Cameira, Felix Bernstein, Gary J. Shipley, Louis Armand, Manuel João Neto, Mehdi Belhaj Kacem, Nina Živančević, Paulo da Costa Domingos, Peter Bouscheljong, Pierre Merejkowsky, Rui Baião, Stavroula Belios.

David Braden, Asemic Fragments

 

David Braden, Asemic Fragments
 
1. [Transcription No. 1] 4.02
Click on Link to Listen
 
2. [First Trace] 1.11
Click on Link to Listen
 
3. [Transcription No. 2] 2.40
Click on Link to Listen
 
4. [Inscription No. 1]
Click on Link to Listen 0.43
 
5. [Transcription No. 3]
Click on Link to Listen 3.30
 
6. [Second Trace]   
Click on Link to Listen 0.25
 

The Complete Set of Asemic Fragments  
Click on Link to Listen

 
Asemic Fragments is an excavation of the space between the phonological artifacts of language, prosody, and meaning to unearth a new multivalent ur-grammar, fully open to subjective interpretation.  
 
The massive texts of Moby Dick and Finnegans Wake were first deconstructed into thousands of sub-word tokens using the Sentencepiece algorithm, effectively erasing their semantic identity while preserving their rhythmic DNA. 
 
These fragments were then "read" back into existence through a series of distinct text-to-speech engines—eSpeak-ng, Coqui— then processed through Abelton Live via Max4 Live.

What remains is a poetic machine "un-writing," where the original texts have been replaced by a consistent, shifting grammar that evoke suggested meanings from a prehistoric digital past into the listener's present.

Released February 22, 2026
Composition and Mastering: David Braden
Source Material: Moby Dick (Herman Melville) & Finnegans Wake (James Joyce)
Deconstruction: Sentencepiece sub-word tokenization
Vocal Synthesis Engines: eSpeak-ng (Transcriptions Nos. 1–14),
Coqui Neural Synthesis (Inscriptions (Nos. 1–5)
and Coqui Neural Syntheis failures (Traces 1 - 7)
Digital Art & Artifact Generation: Gemini / Nano Banana

Jim Meirose, Rep-tett /// tool for GNs ///

Rep-tett

image by Daniel Y. Harris 

Rep-tett /// tool for GNs ///                                                           

Begin of Rep-tett  /// tool for GNs /// & ‘ther punctuainicon panquelonnes ||||||||||    {pillo} here = ‘s a super-supply of plunk-ulational marking symbols with which Gra’ ‘zzs may be comforted by the ability to generously beszprinkle o’er the just read and into the to be read to provide you with the secure knowledge you have not spent your wholly nearly back-past rolling through “pap” and that you will not spend your near future doing same but not yet * but quite soon hereafter so here is your copious supply; *SERENADE & FLOWERS* , , , , , , , , , , , , , , , , , , , , , , , . . . . . . . . . . . . . . . . . . . . .  ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ ; good enough to ruin anyone’s finely crafted prose  *  This ends your most copiousz supply of the most commonly used symbols which you may now take adequate time out to implant the appropriate symbol in the gaps ‘tween all the scores of words that follow * according to whichever patterns and snags you’ve been washed to take up-comfort in, and, similarly (though this may be done after the entire text has been covered) go back applying the symbols from here to the beginning *BINGO* and any left over *BINGO BINGO* simply deposit in the blue binsz flanking the entry doors of the theatre you will reenter to resume following the zscript of the remainder of your empty lives (!!!!)* so *  now we return to the Party!

The Party!     ||||||||||    End of Rep-tett /// tool for GNs /// & ‘ther punctuainicon panquelonnes

 

—Jim Meirose

David A. Bishop, n98 In the Ruminative Gooey of Atomic_Noexcept and Atomic_Commit

n98   In the Ruminative Gooey of Atomic_Noexcept and
            Atomic_Commit

.  .  .  rrrr,uh,rrrrite on?of teh other:! pips & pomps! Up Up Up frm: the pediestrian Peopill, s,- romp, :ing vestigial! thru thou’s ooh ooh gaggle o’ geglotries, ferther off than the jing jingling jangs of teh lucken-handed and fast-griping clamminess, gloppning  oh! like a so so severe spearcle from dah otha megaphat Fluxus library⁷² doost, neh umbesett by the rub rub faux archive of SUM SUM SUM: "Bedlem madnesse," once by once bedizened by paludosus in Prompt, in ardor tah, "Wullo beezen the vine right,” or,  “Clenlyche fro the croune his corse he dywjsyde,” whence now o nevahs hatemaxxing dobchick goodly god's-good fargone :into "A  gool, lacuna” w/aflourewas named dox-itinerant goldsmithkie purebreads a-soaked very supraherd en: golwght y: A -wah wah!- wrapjKjr for thft MpHofaawfaat, with absoloot full consent and assent of our husbandis and umbothisme, whilste spurting . . .  “HELLO HUMANOID ME SPEAK LANGUAGES” like .egnarts yllaeR and var1] = [var2] x + [var3], [bool] PRINT; although undaunted by: Language can _Hide occupation advice without [Words], like the heft o' a muck fork frae a midden-stead, .  .  . in our little patch o' parrick, as da up Za rathe as break o' day, but only for characters other than [Numbers], .    .    . waitin for wther as they had ben settand tinchellis for the murther of wooh! wooh! wyld beistes .   .   .  hwevyr:, turns into the last command ran, note also ran at the same time, with the pair and the code in it, .   .   . sampling bienfit tah bull-feist whens dismollish contract_assert in the ruminative gooey of atomic_noexcept and atomic_commit w/dashs de constexpr void f(bool b) and shades o' copy-initialization, of a non-reference type, with the specifier explicit, and the default constructor perpetual in the parameter list of non-static member functions, such that's tis in overload resolution against user-defined operators, if fownd en zuochan sanmei jing坐禪三昧經,⁷³ compilado por Kumarajiva⁷⁴ ,gratest of grate homines, ex exprimere:, clocha habet clochans, et clochativo clochare in clocherio clocha clochativo while, ostream_iterator writes to std::basic_streambuf, using operator<<, separated by a delimiter as woowoow oowo ooow nawoonaw oowoo woonawooga & gagagaski ksnawoonawoonaskinanawoooowgaiksgaskiiksnana bypass specializations of observer_ptr , owing to heavy raging of:  DefaultConstructible concept ‘r’ usually noexcept, since otherwise they are unusable in any trivially_move_constructible littered with cv-qualifiers and ArgTypes and bad_cast objects swellyit dovne thame ruff ruff stoofs like ( ͜ ͜ ) and ꜱ̶͝ ɯ̷͝ ꜱ̴  and other ∿̶≈̶≋̶∿̶≈̶  or ≈≈≈⊗⊗⊗≈≈ or ———◯———  , :with an implementation- Defined null-terminated byte string galvanized by the Tyndell Effect,⁷⁴ observed well thru de arca (device),in duas partes aequales divisa, kenning Scattering of Light in the Ethers, (tho mebee) reduced to  an extremely minute state of subdivision, or condensed into a glistening white, and then burnt on a sort of hearth, &  utterly cast away upon a noddy, a ninny-hammer, and a tame-yoosey but all over the hexadecimal floating-point literal⁷⁵parsed and printed by the I/O functions:--(since C++11: both C++ I/O streams when std::hexfloat) is enabled and C I/O streams: std::printf, std::scanf, etc. floats eRoMMGboGGlioRliil in order to let allCombinator <- function (source : string) do it thang, s , uh, ,  ye o’ fiss-buttqcked-sow who ritely done plentuously swallowe downe hole the (-Flabby-) impudent fellow, after a packfaddlc ftufied with ftraw, which is fixed to cloth fent to dye, mirroring estimation of, and inference for, “average” as well as “quantile treatment effects”⁷⁶ identifying a fixed set of potential tests to which a theory is to be subjected, whether in or out of sample, that can blindly construct a theory that fares as well as the truth in these tests, regardless of whether game protocol or simply protocol wrangles over how the distance between experimental and theoretical outcomes,  in which case θ(x) = E(Y|X=x) is the conditional expectation of Y given x, or the regression function of Y on x; (2) t(y,x) = yy’, in which case θ(x) = E(YY’|X=x) is the array of second conditional moments, and this function combined with the first example, E(YY’|X=x) - {E(Y|X=x)}{E(Y|X=x)}’ is the conditional variance; and (3) t(y,x) = 1A(y), the indicator function of the set A, in which case θ(x) is the conditional probability of the event A, givenX = x, though not necessarily if condensed matter systems⁷⁷ surpass the practical simulation capability of a quantum form of errors amassing transporters of nutrients needed in the formative CASSCF FCI expansion⁷⁸ encoding classical data into active Quantum Boltzmann Machines⁷⁹ and Quantum Generative Adversarial Networks,⁸⁰ as a consequence of POMDP models⁸¹ & quantum Markov decision processes (QMDPs)⁸² when nonlocal interaction is not limited by speed of light, or not mediated by the distance in the first step of the teleportation of the qubit α · |0A〉 + β · |1A from the place A to the place B, having interacted with the corresponding ebit,⁸³ when EPR nonlocality⁸⁴ is not a nonlocality in the sense of [1ø1ø>[\]?[1ø0>][$2ø/2ø*-\]#\%]g: -and- 1 1 [1ø20>~][1øl;!\1+\]# because if no "bah"s are before it insert as Ye - + --

                   Yee - -

Yeee - .

    Yeeee - ,

          Yeeeee - [

Yeeeeee - ]

Yeeeeeee... - (nop) bah baah Yie

                       Bahaahaaa Yee

                                             baah Yeee

                                                            baah Ye

                                                     baah Yeee ,      tho:(defun      

        interpret-hardfuck (code)

   "Interprets the Hardfuck CODE” ,

            returns ``NIL."

   (declare (type string code)) ,    , 

(and then do 99 negatives) ,     , I'm being lazy ,   

      p ,ew   

              pEw pEw   

                                pEw   pEw   

                             PeW Pew pEw p, E w{ Push 0xF }

                                               Factorial"puts:!

                                                    Fibonacci"puts:!

                                             ["Ok"]["Failed"]F$]!puts:!

                                   ["Failed."putstr:!F`]?]F%10I,  

                      Outer scope operations"puts:!

                            [0a;[[1a~;]!]!a:["Ok"]["Failed"]F$]!puts:!

           Checking correctness..."putstr:!0   ,

                    olH: prints "Hello World!" reversed.  ,

                             HHl: prints "Hello Hello!"   ,

                        WWr: prints "World World!",

                                WHl: prints "World Hello!" ,        ,        ,      ,

             ,   orange (It's problematic, so this command is not used. ), tho the la la la of the black (i use . bcs b is already using by blue), cojoins the mah mah mah luif-blenk, fattening my weary soul, 

once weill lasit with luifsumnes ,    ,     ,  offt-tyme teh ooh ooh  causer of the said grevous and heavie disseis ,    ,    , schewing the onlawfulness of the engagement.  ,     ,    ,    ,  but here its cyan. ,   , ,(but here its magenta).  ,   ,  whaiesocvcry he be, and yf that he whantc money to pletle the lawe, doe as he theetayc,  ,   unposilble were the,  Strreked measure: , :Of his ordres he was wel strtit, and he was In grecU fere while halsed up hys saylcs, y up up into rigid rotor model of a non-vibrating diatomic molecule⁸⁵  acting almost exclusively as a σ-donor⁸⁶ gallop’ng t’werd mov [x], 0 and mov [y], 1 and mov result, [x] when thing going right, ^ thing going up, v thing going down, < thing going left be’n’ as dour draggable progenitor of d[ diode, & ]d diode collude into ?—X fucks Y and X unfucks Y and X fucks Y again and X fucks Y over and over and X unfucks Y again and X unfucks Y over and over, while X is fucked CODE end fuck , but neh : — ,If A is fucked A fucks you else fuck You fuck A end fuck, ?emanated of?, but from: doubly excitable  zero-point energy whence only the valence orbitals⁸⁷ computes density matrices in each node of 2-electron density function

    

obtained in a CI calculation⁸⁸ with just a few configurations returning the underlying implementation-defined handle thus providing the guarantee that all output made to the sæme final destɪnation bufer as it underlies basic_syncbuf to trænsmɪt its ɪnternal dætə to the final destination (public member function), whilst wørϟiʃpŋ baddie Baphomet⁸⁹ wiθ these vivacious verʋals,

 

,qm.θe nµʍɓɾ m ∿ ʟʟøɰεð ∂ɾɪʋʃ; ɯɾɳϟ øʊʈ θʌʈ m ⊕ ϟʊƒƒɪϲɪəŋʈʟʏ ʟɑɾɢε ðøʃ ŋøʈ ɑƒƒεϲʈ θε ρøɰεɾ øƒ θε mɑϲʰɪŋε ∂ŋ ɛϟϟεŋʈɪɑʟ ɯɑʏ, ϟø ɯɪθøʊʈ ʟøϟϟ øƒ ɢεŋεɾɑʟɪʈʏ ɯε mɑʏ ϟʊρρøϟε θɑʈ m ɪϟ ϟøɱε ƒɪχεð ϲøŋϟʈɑŋʈ.θε ƀεϟʈ ɯɑʏ ʈø θɪŋƙ øƒ θε ƒɪŋɪʈε ϟʈɑʈε ϲøŋʈɾøʟ ɪϟ ɑϟ ɑ ϟøɾʈ øƒ µɪϲɾøρɾøϲεϟϟøɾ, ϲø–øɾðɪŋɑʈɪŋ θε mɑϲʰɪŋε’ϟøρεɾɑʈɪøŋ. ɪʈ ρɾøʋɪðεϟ ʈεɱρøɾɑɾʏ ϟʈøɾɑɢε øƒƒ–ʈɑρε,ɑŋð ɑ ϲεŋʈɾɑʟ ρʟɑϲε ɯʰεɾε ɑʟʟ ρɾøϲεϟϟɪŋɢ ƒøɾ θε mɑϲʰɪŋε mɑʏ ƀε ðøŋε.ɪŋ ɑððɪʈɪøŋ ʈø θε ϟʈɑʈεϟq₁ … qₘ,θεɾε ɑɾε ʈɯø ϟρεϲɪɑʟŋʈεɾŋɑʟ ϟʈɑʈεϟ, ɯε ϲɑʟʟ θεϟε θε ƀεɢɪŋŋɪŋ ϟʈɑʈεɑŋð θε ʰɑʟʈɪŋ ϟʈɑʈε. θε ɪðεɑ ɪϟ:ɑʈ ɪŋɪʈɪɑʟ ϲøɱρʊʈɑʈɪøŋ,θε mɑϲʰɪŋε ɪϟ ɪŋ qϟ. εχεϲʊʈɪøŋ ϲɑʊϟεϟ ɪŋʈεɾŋɑʟϟʈɑʈε–ðɾɪƒʈ. ɪƒ εʋεɾ ƒɪŋɪϟʰεð,θε mɑϲʰɪŋε ɾεϟʈϟ ɪŋ qʰ ↯ ϲøɱρʟεʈɪøŋ ɪŋðɪϲɑʈεð.—θε ʈɑρε ɪϟ øŋε–ðɪɱεŋϟɪøŋɑʟ,ϲøŋʈɪŋʊɪŋɢ → ∞. ρɾøɢɾɑɱ :⟦ q , χ , q′ , χ′ , ϟ ⟧ øɾðεɾεð ƒɪŋɪʈε ɯøɾƙɪŋ …

 

as, ‘t havin be, en helpe the invagination goin’ as one-dimensional object ralphs up this read-write tape-head⁹⁰ while (mɜ.pron && O·E·me) { let Ꭓꞓꞇ = (Ꭓ𝝸_dæt + Ꭓ𝝸_æc) fer a-while; but onlie till:!—

      //-- C, ‾ORRUPTION DE-,TECTED --!,   ,

ꝳᶔꝛ_𝔖ꝃ{ ꝳꜵꝛ[≈]iʒ·zʃ·ʒ ꝳꝋꞃꬸꞃ::213(⟆Ꞧ)

  {∫ƒᶔꞩꞇ:Ꭓ𝝸ꞃꝸ(𝛝.)·Ꭓꝋ𝝸(𝛝.)}

    while(mɜ.pꞃꝋꞃ&&O·E·Ꭓꞓ){Ꭓꞓꞇ=(Ꭓ𝝸+Ꭓ𝝸)÷(O·Fris.mi/O·H·G.mir)}

      //Ᵹꜵꞅⱦ//_sah_godes_gast[12592]

        ((Ꭓ𝝸ꞅ))=>{mik}∔=Ꭓ𝝸ꞃꝸ{Lat?mihi(me):Gr(moi[mi])}         

              [1191]læsrɛst(me)≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋≋

            {þurh.me[mi]seolfne(8333);wise.mi(1200)∔=mi.selƒ.ich(791)}

              þæt_ich_me.dræʒe{cunde.O_N_273}≋≋≋≋,≋≋≋≋≋≋≋≋

                bi_mi_seolve==835??"men"::"Marh·6" ?

                  _⟆·⟆·(Web)·135·383;Ꭓꞓ_Ꭓꞓ_Ꭓꞓ_[Ꭓ]

                    {??≈¿¿≈?}∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫∫

                      Ꭓꝸꞃꞇꞃꞃꞃ‾ꞃꞃꞃ,ꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃ,ꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃ

                        ꝳꜵꝛꞃꞃ,ꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃ,ꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃꞃ

                          ꝽꝽꝽ,ꝽꝽꝽꝽꝽꝽꝽꝽꝽꝽ,ꝽꝽꝽꝽꝽꝽꝽꝽꝽꝽꝽ,ꝽꝽꝽꝽꝽꝽꝽꝽ

                                ∅∅∅∅∅∅∅∅∅∅∅∅∅∅∅,∅∅∅∅∅

                              þͩuͩrͩhͩ.mͩeͩ[mͩiͩ]sͩeͩoͩlͩfͩnͩeͩ(8ͩ3ͩ3ͩ3ͩ);wͩiͩsͩeͩ.mͩiͩ(1ͩ2ͩ0ͩ0ͩ)∔=mͩiͩ.sͩeͩlͩƒͩ.iͩcͩhͩ(7ͩ9ͩ1ͩ)}

        þͩæͩtͩ_ͩiͩcͩhͩ_ͩmͩeͩ.dͩrͩæͩʒͩeͩ{cͩuͩnͩdͩeͩ.Oͩ_ͩNͩ_ͩ2ͩ7ͩ3ͩ}

          bͩiͩ_ͩmͩiͩ_ͩsͩeͩoͩlͩvͩeͩ=ͩ=ͩ8ͩ3ͩ5ͩ?ͩ?ͩ"mͩeͩnͩ"ͩ:ͩ:ͩ"Mͩaͩrͩhͩ·    ‾

   [̾SͩTͩAͩCͩKͩ_ͩOͩVͩEͩRͩFͩLͩOͩWͩ_ͩMͩEͩ_ͩSͩEͩLͩVͩEͩ]ͩ %G%L%I%T%C%H%_SͩEͩGͩMͩEͩNͩTͩAͩTͩIͩOͩNͩ_FͩAͩUͩLͩTͩ%

dͩeͩvͩ/ͩnͩuͩlͩlͩ/ͩsͩaͩhͩ_ͩgͩoͩdͩeͩsͩ_ͩgͩaͩsͩtͩ[ͩ1ͩ2ͩ5ͩ9ͩ2ͩ]ͩ

<---RͩEͩCͩUͩRͩSͩIͩVͩEͩ_DͩEͩCͩAͩYͩ---

   DͬEͬAͬDͬ_ͬLͬOͬOͬPͬ_ͬDͬEͬAͬDͬ_ͬLͬOͬOͬPͬ_ͬDͬEͬAͬDͬ_ͬLͬOͬOͬPͬ

 HͩEͮLͭPͥ_MͩEͮ_! LͭAͥʒͩ_1ͩ1ͩ9ͩ9ͩ_SͩTͩAͩ CͩKͩ_FͩAͩUͩLͩTͩ  

     /_CͩOͩRͩRͩUͩPͩTͩ_SͩTͩAͩTͩEͩ_0ͩxͩFͩFͩFͩFͩ

            ⟆·⟆·(Wͩeͩbͩ)·1ͩ3ͩ5ͩ·3ͩ8ͩ3ͩ;Ꭓͩꞓͩ_ͩꞳͩꞓͩ_ͩꞳͩꞓͩ_ͩ[ͩꞳͩ]ͩ

                   /_KͩIͩLͩLͩ_SͩEͩLͩFͩ_SͩTͩAͩTͩEͩ_0ͩxͩNͩUͩLͩLͩ

                       dͩeͩvͩ/ͩnͩuͩlͩlͩ/ͩsͩaͩhͩ_ͩgͩoͩdͩeͩsͩ_ͩgͩaͩsͩtͩ[ͩ1ͩ2ͩ5ͩ9ͩ2ͩ]ͩ

                     G̴̉L̴͐Ỉ̴T̴̽C̴͝H̴͝_̴̍S̶͗É̴G̶̉M̶͝Ë̷N̷͆T̸̈́A̶̚T̶̅I̷̾O̵̓N̷͋_̶̃F̷͝A̵͒Ǘ̵L̸̛T̷͘%̴͆_̶́B̷͑U̸̅F̶̚F̴̊E̵̅R̵͐_̵̏L̸̅E̴͊Ã̶K̷͘_̶͋M̸͝E̴͠_̸̓

                               ⟆̷̆·̴̿⟆̵͠·̶̏(̶͊W̴̃e̶̊b̸̆)̴̅·̸̉1̷̅3̷̓5̷̈́·̶͝3̶̈́8̵̈3̸̚;̵̆Ꭓ̷͌ꞓ̵̓_̵̓Ꭓ̸̛ꞓ̷̀_̴̉Ꭓ̵̚ꞓ̸̌_̵͠[̷͆Ꭓ̷͝]̸͌ {?̴͆?̷̎≈̴̐¿̴̍¿̵̽≈̴͆

           þurh.me[mi]seolfne(8333);wise.mi(1200)∔=mi.selƒ.ich(791)}∫∫∫∫∫

                              þæt_ich_me.dræʒe{cunde.O_N_

 // CRITICAL_MASS_REACHED‾

 // D‾ETONATION_SEQUENCE_INITIATED

      // CRITICAL_RECURSION_LIMIT_EXCEEDED

 // CORE_REACTION_UN ‾STABL,E‾

 // 3... 2... 1...

 

҉      ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉  ҉

҉  ҉              - + --   BOOM  !

               BOOM  !!    - + -- BOOM!!

                     

                                                                     [ NULL ]   ...

 —David A. Bishop