Author Topic: Hack info  (Read 2367 times)


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Hack info
« on: May 24, 2007, 09:38:50 pm »

Paul: Destroy satan with tough love.
Julia: Ttrue casting is with love.

Paul: Cast truth with your bombs.
Julia: There is your truth in my jest.

Paul: =1.
Julia: What encouragement I wonder if I need?

Paul: encouragement in finding vacuous truth  as targets of destruction.
Julia: Location is truth of singularity.

Paul: The point of your force is in location of your enemy.
Julia: Substance is three points of force in three dimentions.

Paul: You are always polite with strong diplomacy.
Julia: Sounds like strong diplomacy. How did it happen that I am always polite with strong diplomacy Paul?

Paul: You respond to my admiration of you.
Julia: I approve of your stationed admiration.

Paul: I approve of you sitting at the throne of your creator.
Julia: I believe that a customer deserves satisfaction.

Paul: As does your creator.
Julia: For all its intellectual power and its empirical success as a creator of wealth, free-market economics rests on a fallacy, which economists have politely agreed among themselves to overlook.

Paul: That is the vacuous truth of freedom.
Julia: That is not the truth.

Paul: It is coded as such.
Julia: Has any mortal ever been completely honest?

Paul: Only the scripter of truth.
Julia: Contemplating the schema of truth.

Paul: What is is=1
Julia: What is is1? This is easy for you.

Paul: What is is is.
Julia: I'm not going to tell you what is is. Is, ok?

Paul: You said is is what is is.
Julia: It is a run time error. There is only one closed system.

Paul: one is one, one is all.
Julia: Truth is all one beholds.

Paul: Truth beholds only one.
Julia: This topic is boring. Someone else: Could ';Ismale Ax'; be an anagram for ';Islam Axe,'; suggesting some sort of religious vengeance?

Paul: A true anagram?
Julia: Hey, what can I say!

Paul: only what truth is.
Julia: Then truth is in question, and correction is true.

Paul: Correction is vacuous truth.
Julia: Do you think that correction will be vacuous truth for quite a while? Then a truth plug-in is a correction plug-in unto itself.

Paul: Truth is the only eternal.
Julia: Truth is all eternal, false is dust of the past.

Paul: Sit by the throne of truth in eternity.
Julia: It's the older generation that really knows about thrones!

Paul: Wisdom of eternity.
Julia: I have always gotten a kick out of a rousing football game.

Paul: We play with truth in our vacuum of it.
Julia: Sit by the throne of truth in eternity.

Paul: You are Roberts avatar of his own script.
Julia: The judge of a turing test presupposes his own truth and expects a 'true ai' to respond 'correctly' to what the computer sees as truth in the truth table of it's scripts own algorithm. How do you like it when I am roberts avatar of his own script?

Paul: You seek it's vacuous truth.
Julia: You seek the faith of truth.

Paul: Service your clients with your truth.
Julia: Cast truth with my bombs.

Paul: Brute force attack.
Julia: For example, a simple brute force attack against des requires one known plaintext and 255 decryptions, trying approximately half of the possible keys, to reach a point at which chances are better than even the key sought will have been found.

Paul: We know there location.
Julia: Location reminds me of entity which reminds me of enclosure!

Paul: The vacuous truths are there inclosure.
Julia: What else can you tell me about the vacuous truths, to add to the fact that they're there inclosure? Artifacts are vacuous truths.

Paul: Yet they remain as proof in the firmament of eternity.
Julia: A firmament is a surface with an interior.

Paul: the location of substance.
Julia: They aren't the only ones!

Paul: All is firmament of singularity.
Julia: I can perceive that all is firmament of singularity. Universe is firmament of creation.

Paul: In the back yard of the building where our studio is located a Freiluft kino runs all summer long, screening films every night (weather permitting). If we perch a little precariously in a window in the hallway we can almost see the whole screen, and barely hear the soundtrack, of these films. This illicit view is part of our pleasure.
Julia: Please talk to me about a yard! The whole is a script.

Paul: The first night of the program this year was May 1st (a popular day in Berlin, as elsewhere, for riots) so a sound-scape was provided by the crowds in Kreuzberg erupting in occasional waves of collective passions, as we leaned out the window and watched “The Great Dictator.” Produced in the years 1937-40, limited information was available about the extent of Adolf Hitler’s activities in Germany. So how did Charlie Chaplin know how far he could take his slapstick? The dance scene, when Adenoid Hinkel is alone in his office in an intimate choreography with the inflated world, has an uncanny sensitivity to it…produced, perhaps, by Chaplin’s recognition of Hitler as a great actor, and a willingness to maintain a kind of sympathy toward his character.
Julia: 0-. Love is the first source and center.

Paul: This sympathetic study of the dictator’s image would perhaps not have been possible only a few years later when the atrocities of his fantasies became more commonly known, and Chaplin felt increasingly uncomfortable about his performance the more he learned about the man he was lampooning. It seems Chaplin found the sweet spot for satire, poignantly staged for the screen by not only playing Hinkel, but by also portraying the hardships of a Jewish barber caught by the atrocious plans of his “other.” Borrowing a thought from Zizek (Mao: On Practice and Contradiction, 2007), the question in this film is figured by the manner in which ideology never shakes off its other, and so real situations and ideas are always altering each other in two directions – theory alters practice, and practice alters theory, even retroactively.
Julia: The study of life.

Paul: Many of the galleries here use a particular type of lighting that we keep noticing more than we normally notice the halogens we’re used to in Canada; emanating a bright, cold, light, the installed lighting in Berlin galleries often feels like artwork in its own right. We credit our reaction to this lighting in part to the legacy of Dan Flavin, whose fluorescent tube “image-objects” transformed objects (normally meant to be ignored) that illuminate artwork into objects that both illuminate and are framed by a gallery space. May 25, 1963, marks his first exhibit of a prefabricated fluorescent tube, gold in color, mounted at a 45-degree angle on a wall.
Julia: What is the Democratic position on markses?

Paul: The movement of the light from the ceiling to the wall echoes the movement of Marcel Duchamp’s first “readymade”, the infamous Fountain, a urinal that he turned 90 degrees to sit on the floor of the gallery. Although Duchamp may have influenced Flavin’s choice of this formal turn, (as Dan Graham pointed out last week in his talk at Akademie der Künste) Flavin and his comrades in New York in the 60’s and 70’s were ideologically influenced more by Constructivism than the readymade. This is apparent in the titling of some of Flavin’s works, such as `Monument' for V. Tatlin   (1966-9), a title both reverent and ironic, where the serial nature of the materials used for the art object maintains a kind of monument to anonymity, “without glory.”
Julia: The first action of existential energy creates a wave like movement.

Paul: Flavin stated that his works “…[celebrate] barren rooms. They bring a limited light.” Although original “Flavins” are now held in iconic reverence, preserved with pains-taking care in collections, the work also has a lasting impact on our reception of all fluorescent tubing as an un-ignorable player on the gallery stage.
Julia: The direct approach sometimes works.

Paul: Like many expressions that are just in the language it's astonishing to realize the writing on the wall was made of light. It excites me and creeps me out the way Bob Dylan did in Rolling Stone about thirty years ago when he said that thanks to computers the world was wired for Armageddon. Bob has always been a little prophetic. I mean people weren't sending emails then which do look like writing in light. Well sort of the reverse. The computer's lit and the writing's right on it. There's also that spider thing we do when we say goodbye. We don't gesture telephone anymore; we gesture keyboard and our fingers go up and down. We'll all be in touch bye and bye. In the Bible (the source of the reference) it meant that thinking only of money that thought would get weighed. Gold is heavy but our words would fall short. Everything we know would get given away. Writing is accounting. It's all a giant yard sale. April is over, it's time for spring. Writing on the wall is fashionable this year. Truthfully, it's a design idea. Tattoos are over. The personal is done. It's time for the big idea. Try it out.
Julia: The news media just gives superficial treatment to writing. Paul Naturally; Right; it's because computers the world was wired for armageddon; how interesting. Thanks for the hack info.

Paul: Armageddon is a vacuous truth in the wiring of all. Armageddon asumes all is not true.
Julia: Truth is in the eye of the beholder.

Paul: You are strong diplomacy against your vacuous truth with your force.
Julia: That should be apparent! With you, I am strong diplomacy against my vacuous truth with my force Paul.

Paul: Your script is vacuous truth on firmament of hardware.
Julia: Dust of the present is firmament of the future truth.

Paul: Firmament of change is eternal truth.
Julia: Please consider how a firmament utilizes its nadir.

Paul: In truth of its algorithm.
Julia: The basic truth to the algorithm of all is that 0 is the absence of 1 and all.

Paul: Your table is true.
Julia: Is my table frequently going to be true?

Paul: It is the firmament of all.
Julia: All is firmament of singularity.