Addendum to part 2 of the conclusion: The potential may or may not become the actual.

December 18, 2007

This will follow the single bullet that is currently under the section regarding why we are still only talking about potential.

o   A second point to discuss here is the financial aspects of blogs not being financially viable. It is possible that they fail to achieve literary greatness because greatness in our society for art has been closely tied to monetary value. This we would have to redefine greatness in order to allow blogs to compare. The age old question of a tree in the forest appears here with the question of whether something can be art if no one sees it.

o   Secondly I want to look at the role of publishers as authority figures, as donors of credibility. Similar to what awards to, publishers, simply by choosing to publish a work of literature, suggest its increased artistic merit over the rest of what is submitted to them. This process right now does not exist online. But it does exist in a new and developing form. Today the equivalent to the publishers would be both the already existing A-list blogs commenting and taking note of a new blog and the simple number of visitors to a blog. Both these aspects function as publishers do, as filters to direct viewers to good and worthy content.

§  But on the other hand these are subverted by the mere category effect which allows similar minded readers to find blogs based on content, but again the ones featured in search results will be the popular ones.


Outline for my Thesis on blogs

December 18, 2007

What follows is an outline for my thesis on the topic of the literary merit of blogs. I am very eager to receive feed back and suggestions also advice on where to search for more content. Thank you in advance.



Here I want to introduce the topic starting with describing both the intermediality in art today as well as the multimedia aspects of the internet. I will begin this thesis and the introduction with a discussion of my own blog and my own travels in the blogosphere. I know the idea of an intro is to introduce the topic so I plan to extend the conversation here to touch upon how blogs have affected much more than just an e-community.

·         The story of my own blog

o   I feel that the best way to dive into this topic is to describe how I dove into it. I don’t plan on this being long at all but I do intend for it to wet the pallet of the reader and to engage them into why this might be of interest to them.

·         Art in the 21st century

o   This section will focus on two major trends: intermediality in “old media” and multimedia in “new media.”

§  With the study of intermediality I want to focus on works like The Pillow Book and the popularity of adaption to emphasis the cross media work being done today. The thesis of this section is to suggest that old media (Print, TV, Radio, Film) are working very hard today to interact, TV shows based on films, films based on musicals based on films, films acting as visual novels, and of course novels made into musicals made into films. The idea of all this cross over and what may be driving it, to enhance the story and bring the story to multiple audiences, or both.

§  The second aspect of this section is to look at the role the internet has played in this. Again here there are two trends I want to focus one. One is the role of the internet in regards to old media, viral marketing campaigns, characters from television shows having their own blogs, publishers adding literary content to accompany a novel on line. The second part is to look at art that can only exist online. This will work to introduce the blog but it will also look at a graphic novel made exclusively for a Facebook application, digital/visual poetry as well as the new version of blogs that incorporate every type of media (visual, auditory, and textual).

o   I will conclude this section by connecting these two elements to suggest that when in modernism the importance of the medium was fundamental to advancing its specific art, the 21st century has abandoned such uniqueness in favor of a new medium, a multimedium (the internet).

Section 1: The Blog

This section will focus entirely on getting the reader acquainted with the blog. Here is where I plan on providing the history of the blog, beginning briefly with the history of the internet, and followed mostly by the development of the weblog and then the blog. The goal of this section is for the reader to understand all the elements that go into the creation of a blog today and how that is new and different from say ten years ago. I want to stress the development of user friendly software along with the development boom of the internet itself. Since I plan on discussing the online literary community later, I want to make sure the reader understands the power of such organizations such as Amazon, Google, Facebook, Second Life, Blogger, WordPress, and a few others that are key players in the literary world of the internet.

·         The Blog: Past, Present, and Future

o   This part is pretty self explanatory; it will describe in brief the history of the weblog as well as parallel it with the development of the internet and later the development of social software and web 2.0. This terminology is important and will all be explained here.

o   This chapter will then focus on the world of the blog today. I want to provide the reader with an understanding of how the blog is being used today.

§  Starting with the original weblog feature as a web filter.

§  Moving on to discuss the most popular use as a public diary.

§  Briefly touching upon its new role in journalism.

§  Lastly talking about its community development power.

o   Before moving on to the future aspects I will provide a section on the use of blogs and other social software tools, such as the examples mentioned above. The ultimate idea is for the reader to understand what is meant by “digital life” and how one might experience a “second life” through their online persona.

o   The third part will be to talk about the blog’s potential future and where bloggers today want to see it going.

§  This will mostly focus on its potential as a new form of publishing as well as its untapped power as a community builder.

·         NOTE: It may be beneficial to break up this into three sections instead of slating it all under one. To be honest I have not put much thought into exactly how I am to organize all of this beyond dividing it up into sections. Perhaps this section would have three chapters: Past, Present and Future. There is arguably enough material to do that. Or perhaps this section may not be as pertinent with the discussion of literary merit and should be reduced to just a chapter in the following section.

Section 2: The Literary World Online

            This section may be the largest as it will focus on the developing literary community on the internet. The key components of this section are the literary blogs. There are two major types of literary blogs, blogs that are producing their own literature and blogs that are acting as book reviewers. In addition to these two types of blogs I will also focus on the extensive community elements built around blogs of this sort: annual writing competitions, online literary journals, blogging communities voicing opinions about the established literary authorities, and published writers blogging about the writing process.  

·         The New Literary Medium

o   This first section will delve into the literary merit of a blog. I will divide this into three aspects, which will be first is yet to be established but generally I see it going as follows:

o   The Public Journal: I want to look at this “genre” as fiction itself, similar to an autobiography. This genre has no regulations forcing it to be factual and has no pre-established criteria save the general concept of what one logs in his/her diary.

§  Thus I want to explore what makes this genre unique: it has no fixed end, it is written by one author but is aided by the contributions of the general public who choose to contribute, it has no limitation as to the type of medium used in an entry (videos, images, and sound bites can all be added), and it uses the power of hypertext (text that can be linked throughout the web allowing for the artistic experience to then incorporate more writers and more readers and more communities from across the internet).

·         Each of these points will be further explained, especially the last on hypertext theory. I plan on spending some time discussing hypertext theory and its original research long before the blog existed.

o   The fictional blog: This section will look at how the same aspects of the public journal are then applied to a piece of fiction that is submitted to an audience via a blog. Basically this section will look at writers who are publishing through blogs rather than print.

§  Questions to be raised in this section are how the blog format affects narration; what role do the commentators play; and how the story is being presented (this is different from the first aspect in that the first point will focus on how the blogger is utilizing the specific attributes of a blog to expand his story, such as hypertext and multimedia elements; while this section will look at how these elements are being presented in the blog, what makes up a post? How are they archived? And so forth).

§  Another aspect of this section is how the blogger relates to the work of fiction; is it explicit that we are reading fiction? Does the blogger chime in with commentary on how the story is progressing? In general does the writer acknowledge his own separate existence from the story or does he allow the entire blog to be part of the fictional story. These aspects are important to evaluate how narrative is being changed when fiction is being written for a blog versus print.

o   The portfolio blog: this final section will expand on the blogs where the author controls the blog beyond any one specific story. For example a novelist may make one blog for just that one novel. This would fall under the previous section. But that same novelist may have a blog for submitting poetry and short stories, that blog would go here. The idea is to look at how fiction is being presented in compilation.

§  Other things I want to touch on but they may end up in other sections are the works of blogs by multiple authors and the literary works done in other online mediums, such as Facebook and Second Life.

·         The New Literary Community

o   This section will focus on the literary blogs that discuss literature. General trends of these blogs are to provide book reviews, assist in online marketing of authors through interviews and promotional pieces, discuss events affecting the literary world such as the writer’s strike, independent book store closings, the release of the Amazon Kindle and so forth. More specifically I want to focus on the literary blogs that are run by writers themselves as some of the time they discuss the writing process, making it much more personal for their audience as well as aspiring writers who my stumble upon their site.

o   Literary Blogs by Writers:

§  This section will arguably be the most dominant in this part of the thesis as these blogs have had some large scale affects on the literary community. I have yet to outline the specific ones I will look at but for sure this will include The Elegant Variation and Bookslut two book review blogs that have taken a lot of readership away from the New York Times.

§  The goal of looking at these blogs is to look at how they change the way the community looks at reading, these are not critics writing at us but rather with us and trying to engage us in a discussion of the merits of the texts they are reviewing.

§  I also plan on commenting on the fact that in response to these blogs, The New York Times created their own blog called Papercuts.

§  In this section I will also look at how these writers describe their own work and engage their audience in the writing process, providing updates on how they are conducting research, going through the motions of writing each day, working with copyeditors, and lastly the feeling of having a published book arrive for your approval.

o   Literary E-Journals

§  In this section I want to look at the movement to collect and catalog work electronically and avoid printing almost entirely. There is one being formed through facebook that I plan on reviewing as well as blogs that are attempting to archive literary blogs themselves as well as help in a wiki movement to archive sources of electronic literature.

§  I will describe in this section as well the phenomenon of the National Novel Writing Month or NaNoWriMo which takes place in November and is a competition for anyone interested to attempt to write a novel in one month’s time while blogging about your progress through their website, or linked to their website should you already have an established blog.

·         There was much discussion along the way with this event and many bloggers described in depth the struggle to meet their goals.

·         Many bloggers blogged each other words of encouragement and such.

·         Surprisingly everyone is very friendly to each other, not really any signs of competition.

o   Connecting with the Real World

§  Here I want to look at how the literary world is incorporating blogs into the print world of literature. I will define the “Virtual Book Tour” here and discuss how it is quickly becoming a necessity for any up and coming author. I also want to look at the roll of programs like Myspace and Facebook in the marketing aspects of book promotions. This will not focus as much on blogs but rather discuss how Web 2.0 and 3.0 is augmenting the literary community.

§  This section will also focus on the death of book review sections in newspapers and suggest the correlation between the decrease in print reviews and the increase in digital literary communities.

Section 3: Publication

Finally with this third section I want to look at the question hidden behind this entire discussion: will blogs replace the book? To answer this I want to introduce the new forms of publication: Print on Demand or POD publishers. I will make the suggestion that the democratization that blogging provided for writers has been further established by the development of these POD publishers who will assist independent writers with publishing their books, each POD is different and some bloggers have blogged heavily on which are the good ones and the ones to avoid. Furthermore I want to look back at the journals I described early to discuss the differences between print journals and e-journals. In the end I will suggest that the printed book will continue to exist but its existence will most certainly be challenged by this new community.

·         PODs and traditional publishers

o   This section will focus on the development of POD publishers; I have some that I am looking at specifically to use as explanations for how they work. Also many bloggers have discussed using PODs and have thus incorporated them into the literary blogging community making them important when describing the role that publishers play. I will also discuss that they are still a print service but one created for an internet world. So this small section will have two parts.

o   The history of the PODs

§  This section will provide the history of the POD publications and look at their use today. I will also provide here examples of PODs and talk about how they are used and their popularity among writers.

§  Many articles have been written about how they are affecting more traditional publications.

o   Blogger response to PODs

§  Here I want to briefly address how bloggers are responding and communicating with PODs, many bloggers share their lists of which ones they like and don’t like and so on.

·         Digital publications

o   This section will return to the digital journals I mentioned earlier and discuss them more form the aspect of how they differ from their printed cousins. I want to look at how those differences affect their form, content, and readership. What is also important is to look at how digital writers perceive them. Do writers write differently know that what they are writing will not be printed but rather digitally presented? So to stick with the same form as the previous section this will have two aspects.

o   An aesthetic analysis of the digital journals themselves

§  I am still working on choosing which ones to follow but the idea is to compare them to print journals and look at how they work differently and similarly and what compels these differences or maintains these similarities? Is the medium of the internet being used affectively to establish these journals? Are they just digital replicas of what could be printed?

o   A community analysis

§  Here I want to look at the people who both contribute to these journals and those who subscribe to them. What do bloggers have to say about digital journals? How do writers write differently for them?

·         The Future of the Book

o   With this last section I want to expand the discussion a little to introduce the new Kindle device by Amazon along with some other anecdotes I have come across in regards to digital presentation of literature. Writers are looking to write for digital screens and devices, such as cell phones. I want to engage the reader in thinking about how the book might be affected not by digital publication but simply by digital democracy and community. And were the book to be replaced, would writers then write differently knowing it would never take that form? Will the Kindle change the way we write if it succeeds in changing the way we read?


            Finally with this last section I will conclude the thesis by suggesting that the blog may in fact be a new style of literature, rather than a degradation of language. But I will also look to describe the current literary community both online and off. Two very important points I want to stress here is that even this paper will be dated from the moment it is written and that much of the discussion has been on the potential and not the actual. It is important to concede the point that no work of fiction that has appeared on a blog has had the readership of a New York Times best seller. But like the former point states, this thesis is dated and that might not even be true come March. I want to look at the possible reasons why this is still very much a potential outcome and not an actual one, mostly I will discuss the newness of this medium and that like Film it will need time to establish itself.

·         The power gone bad

o   To start the conclusion I want to share the story of Kaycee Nelson, a fictional character who had a blog and blogged about being a college student with leukemia. She became very famous as her words were extremely encouraging and empowering; she was even quoted by the New York Times. But eventually it came out that she was entirely fictional.

§  Thus I want to talk about how all this creative power can be abused and used to deceive. But on the flip side it is still art, it is shocking like Duchamp was but in a new way. 

·         The potential may or may not become the actual

o   This section as stated above will look at why we are still discussing the potential of blogs and not the actuality of them. Though much of my discussion will be on the actuality very few have utilized blogs to the full extent of the medium and this section will look into why that is. More specifically I want to focus on the theories that suggest this dilemma is due to the newness factor of blogs and that a new medium of art needs time to establish itself before its masterpieces are produced.

·         Final Thoughts

o   This last section is where I will suggest my own opinion that a blog represents a new genre of literature while also suggesting the fact that even my own work is dated in regards to this topic, that tomorrow will bring a totally new perspective. Furthermore I will use my idea of what a blog represents to connect all the elements of this thesis back together, the multimedia aspect, the literary community online, digital journals, public diaries, printing on demand, and everything else back the blog.

Manifesto of Artistic Artistry Relevance

December 7, 2007

Yet again I feel the need to address the role of this discussion. The why, if you will. Why should we engage in defining art, or more generally why should we even engage in the discussion of art? Perhaps I feel the need to defend this on account of the numerous friends I have who by attending art schools have become rather elitist in their opinions, believing that they are the only authorities on which art can be discussed. I want to say to them here and now that that couldn’t be further from the truth. I could spend much more than one post and my beliefs on these institutions that call themselves art schools but that isn’t the purpose of this post. For today I want to state clear and simply my manifesto as an artist and in homage to other artists who realize what art really is.


Me Manifesto of Artistic Artistry Relevance:


1.      Art is in everything and everything is in art. Artists do not create Art, they create art. We the spectators, the viewers, the readers, the observers, the audience, the listeners, the society in which this cult is supported are the creators of Art.

2.      Art cannot exist on its own.

3.      Art is not a person, place or thing and it is definitely not a noun!

4.      Art is an interaction!!!! An experience, a conversation that communicates what some call the ineffable, what I just call art.

5.      Artists are everyone!

6.      A self identified artist should never be trusted!

7.      Art schools are just bricks and mortar.

8.      Manifestos are works of art, not political statements.

9.      You are an artist.

10.  Art does not live.

11.  Art can turn a profit. Art should turn a profit.

12.  To talk about art is to acknowledge your own existence in this world.

13.  To not talk about art is to live passively.

14.  As we describe art as being active and challenging, so is the discussion, anything else is entertainment.

15.  Dali is a sell out!

16.  The Mona Lisa is no longer art!

17.  Fountain is the greatest experience of the twentieth century

18.  Disney has brought us the twenty first.

19.  This should cost $2.67


21.  art is worthless and does not bring us anything to better our society.

22.  Ignore statement twenty and refer to statement five when dealing with liars

23.  Periods should not exist.

24.  Is this Art?

25.  no

When we forget where we are

November 25, 2007

In broken door knobs one finds nothing fitting yet all things resolved that all we can do is watch with tinted glasses the never ending debate between the growing amount of coins displaced by the vibrating utterance of a lost generation and that technologically infused support of a new age of equality that by being all at the same level of ability we are all at the same level of opportunity. Nothing is so fitting to this picture then the device facing my direction confused as to its displacement in its own age of existence as if it was ignored by ages of rediscovery, hidden by the lasered generational gap it acknowledges its lost placement and its new found friendship with the inorganic yet aggressive dust empire. But that is all not so true chimed in the four identicals that would be seemingly unique were it not for their rather large brandishing of commercialism signifying from where exactly they were extracted and for what occasion they rest now blocking the one piece of independence that lay behind them, the one identifier of uniqueness that established this obscure scene of incoherence. But sadly it cannot take center stage in this dramatic interpretation of humanity for if the transparent productions did not stand in its way it would still have to shuffle passed yet another mark of technological debris that was currently directing itself in such a fashion as to obstruct any sort of path the one uniqueness of this multitude of products could take to show itself as something special, something worth remembering after the end curtain falls.

The 20th of November dreams of the 16th.

November 22, 2007

– An experimentation in the combination of automatic, creative, constructed, poetic, and prose writing… by Huysmans

I met a man sometime after the 16th of November who reminded me of a time long ago where there was a guerilla sitting on a hump that looked like some string from the fourth of July parade back in August. What then was the meaning of these jumbled months looking like moths? I say, if they go after the light one more time I swear that I will write down every god damn candle that looks in on itself. Calling upon my previous knowledge I now must admit that I know nothing, or is it something? I can never remember, maybe that is because I know nothing. WAIT that’s it, that’s the answer. Oh Socrates you’d be so proud of Walter, only if you knew that he and Surrealism never really got along.


                                                                        A long pause was then taken by the author of the above text as he contemplated the ridiculousness that he had found himself in when dealing with such creative processes. Was Breton on to something grand or just on to something, something like all the other somethings that never amounted to something in their lifetime? The author thought this over for a period of fifteen seconds and a handful of milliseconds only to then start writing about writing under this process of thinking. He began by stating the obvious, “a long pause was then taken” (see above). He then moved to discuss how this writing was being produced in his mind, or at least that is what he thought as he wrote, “the ridiculousness that he had found himself in while dealing with this creative processes”(see above, but not the first above reference). Following this she moved to compare her work with that of Breton, presumably Andre Breton, the Surrealist of a century ago, while not exactly a century but a long time at least. This didn’t get her anywhere and eventually she had to begin looking back on looking back. She first calculated the exact amount of time it took for that pause, she had to estimate the milliseconds. After stating this time, “a period of fifteen seconds and three milliseconds” (again above, but again after the last two references to above statements), she moved to talk about how she responded to the writing exercise. This discussion did not last long as the reflection did not match up with the quotation, “this writing was being produced in her mind” (see see see see see above see). So again Breton was brought up followed by a clarification of who Breton really is, Andre Breton the great Surrealist. Funny enough thinking about Breton brought the writer back to nowhere and the process began all over again. It had to look back on looking back and assume responsibility of cataloging everything one more time. Beginning again again with the pause and a reflection on the exact account of which the pause took, this time stating the amount of milliseconds it took. Again following the “four millisecond” (do not see below), it lost its quotation abiligy, yes abiligy, not ability and definitely not agility and found itself back at Breton. Oh no, not Breton, my apologies, Andre Breton the Greatest of great Surrealists. The account here begins to get confusing as variations in the reflection process caused a fourth return to the original but this time going straight for the incalculable millisecond count that brought out lost quotations, “abiligy, yes abiligy, not ability and definitely not agility” (I think that came from somewhere). I eventually found myself again at the great Surreal, Bretonist and again nowhere. In this final review of for the twentieth time I noted the variations, or at least I referenced the fact that there are variations and then the confusion with the milliseconds and quotations. Abiligy became a word and Breton became a movement. So with this textual procedure going nowhere I looked in the text for the answer, there I found the symbol, oloioloi., I found the symbol. :765893094. So in finding this I asked it what it was: “Are you a P, but backwards?” It rudely didn’t answer. However the seven did, it said that we all had one chance to talk and that it didn’t want six or five to share anything. But while it was decreeing its decree the double dot mark spoke out and said that it liked the backwards P and wanted to be friends with it. Here is where everything went BLACK,


well except for the B, A, and K that is. These three formed a new work: BAK, to always be preceded by the double dot mark.


              We have to take back the page. Cried We. But who could we do it? All we was was just a two letter word that indicated the presences of the plural first person, the many I, if you will. Well in reality we couldn’t do it. It failed miserably because it was undefined. Who was this we? How did it get there? But one could argue that it had one, the page was being taken over once again by the typed words. It all came to ruin once again when Berlin Sans FB Demi came into the ring.                                                                                     This font couldn’t hold out against the paper.                                      It kept loosing ground.                                                                                                  Eventually. No we need to…                           Finish the stor………………….y…………………………………………….   Comic Sans MS came but all was already lost. What a stupid font I am.  Good bye to all that, Franklin Gothic. I don’t want to hear it anymore Mr. Graves.             I have thought long and hard over the countless nights how I was to avoid capture. I hid beneath the sheets of yellow and white along side a fish named Bob, he was a likeable fish except for the fin he was sporting on his back thigh, I thought it looked rather pretty but ugly at the same time. You know how that goes, an object of unbelievable mystery that intrigues you to no end except with its unmistakable ugliness that outlines this mystery. What contradictions these objects maintain. I frankly hate it. But sadly I had to deal with it and the fish named Bob under the sheets of yellow and white.             So there we hid, hoping not to get captured by the love birds, those sick hate filled lovers of dysfunctional generation scared of the fishes. I felt a great need to bring them back to reality. I tried, in vain, to introduce them to Bob, it didn’t go well. They hated Bob and everything he stood for, happiness, prettiness, ugliness. They hated him so much that they turned into great big monsters with “Love?” printed on their chests. This was the sign I had feared, they turned evil and sought to kill us. I grabbed Bob and ran for the yellow and white sheets, they were the only objects that could repel the evilness that was this questioned love.             Well audience I have caught you up, please allow me to now give you an idea of what the dialogue was like between Bob, the fish, and myself, the writer:  BOB (a fish): These sheets make me visibly ugly.  Me (a writer): Trust me, we need to hide.  Bob: I know but I am a fish.  Me: But I am a writer. Bob: Are you not a fish?  Me: Why can’t fish write? Bob: Because fins can’t hold crayons.  Me: Is there a crayon store where you live?  Bob: Why would there be one?  Me: Don’t you people eat crayons?  Bob: Why does it always become a reference to my people?  Me: What would you like it to be?  Bob: Why does it have to be anything?  Me: Don’t you think it has to be something?  Bob: Why do we have to bring something into this at all?  Me: Why not?  Bob: Do you really have to persist on this issue?  Me: And you don’t think you are being just as persistent?  Bob: Are you suggesting that I am trying to manipulate you?  Me: Are you suggesting that I can be manipulated?  Bob: What then are you suggesting if not that?  (Before I could answer the fishes redicoulous question the sheets of yellow and white were removed and the lovers entered the scene.) Lover 1 (a boy): Are these the two?  Lover 2 (a woman): Who else could they be?  Me: How did you find us?  Lover 2: You really think sheets can hide a fish?  Lover 1: Who’s a fish?  Bob: Are you sure one of us is a fish?  Me: Are you guys looking to eat fish?  Lover 1: Do you know any good fish stores?  Me: What kind of fish do you want?  Lover 1: What kind of fish do you recommend?  Lover 2: Are you seriously asking these questions?  Lover 1: Am I not supposed to ask him questions?  Lover 2 (to the fish): Where is the fish?  Bob (remember, the fish): Did you lose a fish?  Me (to Bob): Can you help them find the fish?  Bob: If I help, will you eat my friend here (points to me, the writer)?  Lover 2: Why would I eat your friend?  Bob: Don’t you think he looks like a fish?  Lover 1: What’s a fish?  Lover 2: If he is a fish then why do I need your help finding one?  Bob: Don’t you think that I just helped you?  Lover 2: Did you just help me?  Me: Has anyone else noticed that we are only speaking in questions?  Lover 2: We are?  Bob: Why are we?  Me: How do we stop?  Lover 1: What do we do to stop?  Lover 2: What do you think about killing the person who doesn’t ask a question?  Lover 1: Is that fair?  Me (to the fish): Can you say a statement?  Bob (also a fish): Why? Do you want me to die?  Me: Didn’t you try to get me killed?  Lover 1: Who killed who?  (Following this last absurdly appropriate question Answer came wandering on stage and took a very predictable position to stage right. Why predictable? Because he answered it.) Answer (to all questions): This is no play.  

                                    And in predictable fashion that had overtaken the play, the play ended. The writer paused to reflect on the loss of control he had endured these past few pages. It was as if he was automatic, but that’s not the case according to Breton.


            I watched on the television device in my room the other day a program discussing the conquests of Alexander the Great; he had big machines that were capable of launching an attack from water on island fortresses. While this was on the television device I was unaware that bug had entered my room, not just any bug though, an invisible imaginary one.


                                                            Later on that week I put the Disney Channel on while attempting to pass into the dream world that occurs only when eyes are shut and sleep entered. The channel continued until it was turned off automatically by the sleep feature already programmed into the television device. So this device operates outside of human interaction but based on human interaction. Breton, does this sleeping television enter into automatism? Or are we blind. “Great Men” he replies in French as if that means something to anyone but him.

 If we were in England at an older time this is what this document might look like. Or so Bill would have you believe…

Certified Morally

Do not engage the public in this way. Coke is only coke.  We’re fresstyling now. I can’t read script because it isn’t English.                                                                                      Sign Here please._________________  Do not look here for any kind of intellectual debate, we hate those.