wow great spam blog comment

Do think you could get a banker's desire to force money into your laps?

chrysler finance enligtens about chrysler finance

in fact, there was a club called, respectively, LAPS then PINKS (or vice versa) in NY on my route to work at a bank

not that chrysler's offering lap dances, although THAT MIGHT HELP -- they've certainly brought daimler benz low (tho we also know it is real estate not merch driving KMart, McD's, and finance behind Sears, many car cos); suppose question is what's the difference between a fatty, salty, burger and an SUV?
Oh, in case you're wondering -- when I babelfished the thing, what I did is I translated to japanese, and then the English words that didn't translate, I search for in Google Japan, taking the first characters that turned up; then, when I went back to English, I did the same thing with the Japanese with the machine couldn't translate; you can see this where gate keeping pages for porn sites (I don't read Japanese!) are turning up instead of things that were slightly "pink" in the original.

You can see in the sections the various original "phrases" (they aren't phrases or concepts -- more like nodes).
Of the interim thoughts I had was to do illustrations with google image search and the like, but truthfully, the image, and the true name of my materials are trademarked, and I don't want B*****-like trouble. The other thing is that this, while rife with products, is image poor.

The thing that starting with the phantasm, as I did, rather than reading / recognising it, as K. Silem Mohammed did, is that this is even more of an anti-flarf. I'm not starting with a lack, but doing what the increasingly commercialized web is trying to make me do, which is be steered (cyber) toward marketing to buy (increasingly emphemeral) products. No information here.

And of course, while flarf is built on a third generation New York School variation in diction and communication aslant, this poem is not one of my MYS not-in_NY poems; it is a post-canto-like thing where I would normally "just go on my" ear rather than nerve.
toward a hello kitty afterword

I feel a little strange starting this before precisely finishing the hello kitty poem (Hello Phantasm / Mime), but I am trying to get accustomed to the sensation of not every finishing it, and hoping that something I write may lead into a sense of finality. Plus, since I've got some preliminary comment on Barrent Watten's site, when the poem, already started, changed irrevocably to its current perhaps unfinishable according to my current practice state, and since Eileen Tabios has an afterword on her Ahadada book, well, I might as well get started.

HP/M is my perverse version of flarf. In effect, it is the opposite of flarf, because I started with parts of the poem taken from a Hello Kitty coloring book (purchased in Vancouver in a dollar store in the basement of the Hudson Bay Company, I think) which exhorts on the front cover, "USE YOUR IMAGINATION!" Of course, using a coloring book seems the opposite of using one's imagination to me. This coloring book has very simple word games and other sorts of assignments as well.

And so, leading as I usually do into WHAT I have done rather than WHY, as though WHY would be perfectly obvious, I used the seeds of text from the coloring book as well as what I'd already written in search engines. I figured I'd use the search engine results as I would normally use free-association in "this sort of poem," which was written in a mode AFTER a manuscript called PHYLUM which uses children's school workbooks, notably several with perception excercises [I'm working on that to send to Blue Lion, yes it is that long], and after "Palm Anthology" in DaDaDa and the poems in "OOD: Object-Oriented Design" (published around here and there but not in book form). I write "written in a mode" except that of course writing this poem -- as any large bust-up -- has pretty much called everything about that mode into question, in a relatively destructive (rather than constructive) way. For example, if "I" were "really writing" this "poem" it would "mean something" and I would be in "control" of some of what that "meaning" was, or at least know it. And I would rewrite to heighten that. If I were writing the Hello Kitty / her twin sister Mimmy poem, it would be *lots sexier." It would be about a lack of opening, a closure, about security in some way; it would have way more about cosplay; it would have a lot more about manufactured japanese americans use verses manufactured english japanese use.

Continuing to "cover" how this was "constructed," so I used google to write the section called "Ogle." Whenever I had a question, I used google, when I wanted to elaborate, accumulate, around a word or moment, I used google. Then, not having kept terribly good notes, I went back to the source coloring book, and used Alta Vista to "translate" or rewrite the poem using the different search engine. Since I originally used alta vista as my perferred searcher and since I am more comfy with the technical references alta vista turns up with greater regularity, I liked "View" initially far more, although it is a colder (and much shorter! since there's less I wrote) poem. Then, I did it all again with dictionary.com, althugh I was using first their web search, which uses google, and then I used their article search.

Then I translated the whole HK section. I know, I know, it was a pile of translations. THEN I TRANSLATED IT using the precursor practice to flarf, which is babelfishing. Because I'd been thinking about Japanese fake English, and because HK and M are Japanese, I translated to Japanese and back. I also used print.google.com (using while it lasts!), Auerback's Mimesis (one of the few books both Ron and I owned -- another was Derrida's WRITING AND DIFFERENCE), and a lot of Adorno. This is because Hello Kitty is a mass media product with a twin sister.

Of my coinages, I'm particularly enamoured of "googlemancy."