Monthly Archives: Settembre 2013

by differx

bad late not late

bad. to field. instead. rich from: shoot them search haters. so compatible. no work. i get to tape. attempted to be fixed. nothing to suspect.

several hours later.

your product. believe in others. scroll to either. really bad. hmm, let’s check. spelling delete.

by differx

per tutti gli anni perduti di gianni (01)

   
gianni, contrazione | dell’evangelio maggiore, entra in medias res in un punto qualsiasi del nastro. che effetto fa sulle cose? si tratta di dodici centesimi, una settimana di risparmio e di fabbricazione di animali veri, un dvd di kid creole che ritira le truppe dall’iraq.
gianni desidera concorrenza ma trova solo cattive traduzioni. i complottisti dimostrano il funzionamento miracoloso delle bobine. da farci anche degli screensaver, toroidali.
però alla fin fine per addormentarsi verso le due le tre va bene. non devi pensare alla sintassi. fanno tutto loro. 
gianni allora va tra le colline e smette di giocare, di bere, di drogarsi. ascende tutte le gradazioni esadecimali, è proprio verde intorno, e così insegna a non venir utilizzati a fini di clonazione, a riversare i file greci in ntsc, a pregiare le parti anche non nobili, a cuocere senza far uso di elettricità.
si sentono i grilli. la baia di notte è molto bella. gianni la contempla dalla cima della collina, vede le scatole di parà scendere lungo la costa, lo scontro con i ninja, la pubblicità popup di una squadra di hockey che piaceva a klossowski.
ci sono degli infiltrati, come sempre in tutte le cose belle. gli infiltrati degradano ogni onesto lavoro. determiniamoci. siamo determinati a iniziare un’altra settimana di risparmio, che forse rovescerà la situazione.
    
    
by differx

the shape of the field

is it really (only) “visual poetry” the thing I deal with?
I realize I’m absolutely interested in signs, traces, borders, explanations, asemic areas, glyphs, arrows, cacography, alphabets, open fields, blurred images, distant grass, abstract figures and movies, glitch in sound and vision, ripped cardbox, scratched wood, scratched tapes, uncanny machines, lack of meaning, naive drawings, art brut, lowres shots, random shots, bad photos of notes and things, boring manuscripts, boring explanations, boring graffiti, handwritten lists and instructions, weird diagrams, diaries, “action writing” / action painting, mixed excerpts of any kind, verbovisual chaos, contradictions, plain statements, twisted sentences, heaps of words, chalk drawings, empty rooms, empty squares, pseudo-fields of forces, found items, readymades, unfinished sketches, bad prose pieces, cut-up prose, diagonals, bunch of diagonals, ugly scribbles and doodles, fake math, stains and lakes and wires and snakes of black ink, ideograms, fake ideograms, cursive overwriting, collapse of sound, and noise, superimposed images, collage, digital collages, disturbed texts, écriture, walls and sheets of words, handwritten papers, rough handwriting, incomplete transcriptions, photos of manuscripts, scanned fragments, bad scans, arte molto povera, installances, lost leaflets, dirty ones, old and new ephemera, marginal events, short movies, b/w works, out-of-focus, stones, written stones, my bad English…
all of this stuff is what I try to mix, write, pick up, store, and
I’m against editing, post-production, bellettrisme, wise quotations, meta-language, mimicry, novels, serious art, and
I DO REJECT HI-RES.

what do I have to do with all of the thousand hi-res & calligraphically rendered online landscapes? first of all, I have some actual landscape offline. and: I’ve no time at all.

___’d better go fetch errors and misshapen signs, traces, borders, …
   

by differx

the shape of the field / mg. 2013

is it really (only) “visual poetry” the thing I deal with?
I realize I’m absolutely interested in signs, traces, borders, explanations, asemic areas, glyphs, arrows, cacography, alphabets, open fields, blurred images, distant grass, abstract figures and movies, glitch in sound and vision, ripped cardbox, scratched wood, scratched tapes, uncanny machines, lack of meaning, naive drawings, art brut, lowres shots, random shots, bad photos of notes and things, boring manuscripts, boring explanations, boring graffiti, handwritten lists and instructions, weird diagrams, diaries, “action writing” / action painting, mixed excerpts of any kind, verbovisual chaos, contradictions, plain statements, twisted sentences, heaps of words, chalk drawings, empty rooms, empty squares, pseudo-fields of forces, found items, readymades, unfinished sketches, bad prose pieces, cut-up prose, diagonals, bunch of diagonals, ugly scribbles and doodles, fake math, stains and lakes and wires and snakes of black ink, ideograms, fake ideograms, cursive overwriting, collapse of sound, and noise, superimposed images, collage, digital collages, disturbed texts, écriture, walls and sheets of words, handwritten papers, rough handwriting, incomplete transcriptions, photos of manuscripts, scanned fragments, bad scans, arte molto povera, installances, lost leaflets, dirty ones, old and new ephemera, marginal events, short movies, b/w works, out-of-focus, stones, written stones, my bad English…
all of this stuff is what I try to mix, write, pick up, store, and
I’m against editing, post-production, bellettrisme, wise quotations, meta-language, mimicry, novels, serious art, and
I DO REJECT HI-RES.

what do I have to do with all of the thousand hi-res & calligraphically rendered online landscapes? first of all, I have some actual landscape offline. and: I’ve no time at all.

___’d better go fetch errors and misshapen signs, traces, borders, …
   

*
by differx

the shape of the field / differx. 2013

is it really (only) “visual poetry” the thing I deal with?
I realize I’m absolutely interested in signs, traces, borders, explanations, asemic areas, glyphs, arrows, cacography, alphabets, open fields, blurred images, distant grass, abstract figures and movies, glitch in sound and vision, ripped cardbox, scratched wood, scratched tapes, uncanny machines, lack of meaning, naive drawings, art brut, lowres shots, random shots, bad photos of notes and things, boring manuscripts, boring explanations, boring graffiti, handwritten lists and instructions, weird diagrams, diaries, “action writing” / action painting, mixed excerpts of any kind, verbovisual chaos, contradictions, plain statements, twisted sentences, heaps of words, chalk drawings, empty rooms, empty squares, pseudo-fields of forces, found items, readymades, unfinished sketches, bad prose pieces, cut-up prose, diagonals, bunch of diagonals, ugly scribbles and doodles, fake math, stains and lakes and wires and snakes of black ink, ideograms, fake ideograms, cursive overwriting, collapse of sound, and noise, superimposed images, collage, digital collages, disturbed texts, écriture, walls and sheets of words, handwritten papers, rough handwriting, incomplete transcriptions, photos of manuscripts, scanned fragments, bad scans, arte molto povera, installances, lost leaflets, dirty ones, old and new ephemera, marginal events, short movies, b/w works, out-of-focus, stones, written stones, my bad English…
all of this stuff is what I try to mix, write, pick up, store, and
I’m against editing, post-production, bellettrisme, wise quotations, meta-language, mimicry, novels, serious art, and
I DO REJECT HI-RES.

what do I have to do with all of the thousand hi-res & calligraphically rendered online landscapes? first of all, I have some actual landscape offline. and: I’ve no time at all.

___’d better go fetch errors and misshapen signs, traces, borders, …
   

by differx

help lucid subject

advanced techniques did work,

going to write

cancelled on a
back before a sign bef
ore a

clean work on it

jumps to the first place of the data
go type safe, type off

incomplete (course)
(years ago).

so. (n/s).

french html display
you into trouble

apparently there

up on
foreign sound
morning habit was
fishing

=equal=

his/her driver’s license granted he/she could
report / and
restore data / and
fish fish / and

dozens of jailed winners.

ordeal affects leds.
an april tragedy. (sawit).

once upon an otherwise
this was a [ txt ]

clark kent , [v. ]

they saw your basis
your (basically)
bad inquiry.

hi there.
a serious infection infected your tank.
step by step the cow proved to be crown proud to be

guilty. 3. part the third.

(space)
(bored odin).

baits resurface.

(fully registered).
didn’t fetch the –?
medical information needed.

noform. the expert woman
chew

alchoolic statistic
in unprecedented
still successful

sentence :

by differx

ex lavoratori visivamente complessi

  
sono così i flussi sono così: abeti.
non funziona e non intendo.
non intende qualificarsi per me .
entrambi sono una parete laterale, abbastanza profondamente nella loro vita.
i laici votano l’ammiraglio (lounge time). 
i cattolici lo sparkle sicuro.
si tratta di fastidiosi hobby che il nuovo abbonamento esclude dal pacchetto.
atti gravissimi di turismo nazionale.
basterebbe qualche informazione in più, un delta verso cui avanzare a motore spento, comprato già verniciato, senza bisogno di schede grafiche.
sono atti gravissimi. anche questo arrivo. correranno ai ripari immediatamente.
decideranno di paracadutarci uno due forse tre sceneggiatori.
   
by differx

niente dovrebbe significare curiosità per i bar

ha appena comprato una cassetta degli attrezzi. è tutto piuttosto scadente. si è portati a semplificare.

questa cosa sembra essere ragionevole. ad esempio: qualcuno è sporco.

(evento speciale: tutti i dati sono obbligatori) (è per i punti vendita).

fino a quando riesce a tenere in tribuna l’offerta di oggi? è successo tempo fa. solo mentre era visibile.

all’improvviso trovi il titolo e trovi la pista da ballo. sopra ci sono le settimane, le persone come fossero settimane.

con dei monitor non fabbricabili
o se avete bisogno di un jet motore per declassare i residui del nostro elettricista.

scusate, ceno

by differx

approximately the afternoon

o: hopelessly behind a well – a wall – o: i being the (so called) “regular expression” for a “repent-for-shopping-so-late machine”.

o: firm base and: the development of the rotting idiot interface that makes knitting-board mistakes grow more and more serious.

o: unspeakable insects. punishment, in the name of the (so called) “hot demo” (tape).

(bugs before calling) (energy inconsistencies) (check for hot paths) (sympathize with the reply button) (plagued list) (plagued torch) (fix it) (fix them) (fishes eggs) (figs don’t: figs don’t shit at all) (clever cream brings out afterbus error messages) (you say cheer) (you [,] say) (say you cheer hey say you) (say) (i.e.) (not to mention the: hey you) (said he) (she [,] who)

by differx

things from the "of course" clubmakers

     
it is a result of the first era, but a first example was run by mendoza around the year 800 and it is consistent with the activities of orakio 
to convince the public that works of art are made ​​along the short side of the plane.
could also be said: to generate. 
is barthes  the painting of a language? the problem was no longer on place at that time, the language had become a machine too difficult to assess. the problem is, of course, that we usually do not know what is at stake for the annihilation of pockets. first, fill them with mice.
to answer was: do not reach the mile-control bags.
    
by differx

plant area manager lesson on irradiation activities

  
national reptile breeders expo serving as a share-the-fun cabrio highvoltage referral resource for health professionals expo in arlington, on september.
(and nowhere else).
in searching, results change. 
for freaky nurseries. 
from the cinnamon register.
fix modern living room furniture. so
you must not forget: bamboo orchestra rats spread plectrum rays.