Wednesday, March 31, 2010
word to your front
I'm gobblin' maudlin laudanum . . .
Some Notes on Androids
Androids don’t spend enough time sitting up in bed, listening to the rain, looking at their scars.
Androids love to recreate human drama. An Android will purchase an alkaline battery at a farmers’ market and upon receiving incorrect change (a culturally pervasive running Android joke), say, “Some things in life aren’t allowed to fuck up. Traffic lights, for example. The safety on my Remington Model 5. Your mother doing the garlic bread. Shit gets ruined. But you? You’re allowed a fuck up every now and again.”
At any given time there are a hundred thousand Androids lining the world, shoulder to shoulder on the outer edges of the seven continents, standing knee deep in the sediment of the ocean floor, pushing. Androids desire to push the continents back together. Like how it used to be. Androids love puzzles, and this is the best puzzle.
Contrary to popular mythology, Androids neither dream of, nor have attempted to engineer (except once in an exploration of approximating human irony [see also: drafting the Pax Robota]), electric sheep. Humans had no interest (neither in reverie nor blueprint) in electric sheep, and Android culture, despite the passing of years, still remains intractably rooted in the surviving glyphs of human achievement.
That said, there are some cultural derivations: Android births and Android funerals, for instance, occur in tandem, along with the transference of the central processing insert from fading elder to blooming youngster, an act that’s been ritualized to sacrosanctity. Androids present at these remarkable events, known henceforth as Resettlements, feel obligated to approximate simultaneously the full gamut of emotions that humans experience at births and funerals, an amalgamated accordion folder of grief and joy spanning eons of heartfelt exhibitions. The resulting noise of their trying is akin to the rapid wingbeats of bees.
Latest Despatch from The Middle East-riding
It appears that particles of 8g offshoot have entered the Large Hadron Collider and that Dostoyesvsky, the Physicists and Walt Whitman are all cowering in the hope that the Brylcreem'd hero of the piece, a goblin-sympathiser, Raskolnikov, who is putting pressure on a variety of international interest groups, including that other eminent, but reactionary grouping the new "Tea Party" to devise a resolution as a result of the fall-out caused by these conflicts.
Sarah Palin has been quoted as saying: "As Putin rears his head and comes into the air space of the United States of America, where– where do they go? It's Alaska. It's just right over the border."
We urge readers to remain vigilant.
a plea for 8g
A despatch from the middle east-riding
senior interdimensional affairs correspondent
Let it be known that as of today, 1779 - Russia and Turkey have signed a treaty concerning military action in Crimea. The war has gone by different names. In Russia it was also known as the "Oriental War" (Russian: Восточная война, Vostochnaya Voina), and in Britain at the time it was sometimes known as the "Russian War". But to us, here at The Bulb it has become little short of lieutenant-general Ivan Krasnov's refusal of the ultimatum, responding that "Russians never surrender their cities".
"Viper will eat viper, and it would serve them both right!" so says Dostoyevsky.
Updates as available over the wire.
THE BULB is official
A Leader Article for The Bulb
“This is a serious incident,” Walt Whitman said. “Clearly this is something that deserves an explanation.”
Tuesday, March 30, 2010
Collaborated Hormuz
Tom O'Bedlam Sings His Song in parts and fits #2
He puts the boot in
Severs his listless
Coming
Gasp
Practic
Now I’m just waiting
I lever a stream in the wake of the moon
I’m just waiting for the launch
Of broadcasted lancer
Crack!
Chance to separate the gighams
From the night corners
Snatched kisses
Is lung and piss
Offing
A sense drastic
And the shattered
i hate people who ride the 1 train
It Was Halloween
It was Halloween
I used to read Poets and Writers Magazine
Gilded Goblin’s up in the limousine
jesus hangin’ on my wall
every Saturday watch a documentary on Lee Harvey Oswald
I feed my snake shrew cocks ‘til my snake popped
smoke weed, do kung fu, slippin’ on chicken stock
way back, I puked red and black when I ate that lamb rack
with the cravat to match
Remember Scooby Doo, doo-ha, doo-ha
you never thought one day you’d throw out your VCR
all those tapes of Charles in Charge
DVD, DVR, HDTV, SLR
Now I’m in the bloglight ‘cause I type tight
time to get laid, cash in my fame for the number of your best dame
Born on a bender, the opposite of an e-card sender
peace to Dom P, Dom DeLuise, and Kid Eli,
Spunktaster Rex, Loveglove Latex
I’m blowin’ up like a droid in orbit
Call me else I’ll pop in Norbit
Same number, same cad
It’s all bad
And if you don’t know, you still don’t know, sugah
rainy day blues, greens and turquoise too
Vasily Outrank
//where's my contents page prick?//
is kingly outrank
and I'm its subject--a vassal
in a fiefdom
but I'll just play
Othar Turner and His Rising Star
Fife and Drum BAND// Be wary
of the white man introducing
the blues -
Van Morrison has a theory that soul was first thought up in Ireland.
Thats what bonfires are about. The screams and squelching dissonance-laced harmonies of my ghosts are the first strains of Motown, but ratllin' in the bog down in the valley-oh!
Either/or/I told my friend a bulbous gold goblin blog will eat him.
Monday, March 29, 2010
debut of de joke
Introducing: DAVID TOMS AND CATHARINE SMITH
Tom O'Bedlam Sings His Song in parts and fits
Still she haunts me, phantomwise::
I have weird memories of you
/pissing in a sink I think/
Nor wanders she from
myself with brave bracelets strong
Ten leagues beyond
The wild world's end—
Methinks it is no journey
With a burning spear
To the wilderness I wander
For oft, when he lies sleeping
I see the stars at bloody wars
In the wounded welkin weeping
You know you have a permanent piece
Of my medium-sized American heart::
The Earth Laughs At Flowers
Two androids hold hands in a train station. One of the androids is an approximation of a human female. The other is an approximation of a human male. They sit next to each other in an approximation of human fatigue and fellowship. They hold hands in an approximation of a pretense of human love.
“Why did you bring me here?” the A.o.a.H.F. asks her counterpart with a thin, sharp edge to her voice. She’s pretending to be tired and cranky because it is 03:00 ET, an unreasonable time to bring your android girlfriend to the train station without notice. She is wearing a pink jumper that stands out in the muted tones of weakly lit, early morning industry.
What looks in place at the train station at this unreasonable hour? There are a few automatons ambulating about. They are covered in scraps of sooty clothing that reveal their patinated skinflesh. They never sit down. They feel no need to approximate anything. They look like they belong here, which is to say they don’t look like they belong anywhere.
The A.o.a.H.F.’s new pink pinafore dress screams, “I have attachments to things and places that I value.” It exclaims, “Can’t you see my worth? I am wearing it around my shoulders right this very moment!” But what is a moment to an android?
The approximation of a human male looks up. He has been quiet, until now. “I’m moving to Chicago,” he says. The A.o.a.H.F.’s jaw drops to the floor. She reattaches it hastily. “What?” she says. “What?” “My train arrives in five minutes,” he says. “I’m leaving in five minutes.” “What?” she says. “What?” “Why?” she asks. He pretends to think. “Good as any,” he says, “better than most.” He speaks with a thick drawl, a drawl that tastes like grits when you catch it on your tongue, because the A.o.a.H.F. accidentally flicked a switch in his throat when she was choking him when they were fucking an hour ago. She had been in the closet, bending a clothes hanger into a slender, more negotiable hook with which to flip his throat switch back to its default setting, when he had announced that they were goin’ to the train station, put down what you’re doin’.
“Can I come with you to Chicago?” she asked. “I’ll do anything.” “Hell no,” he said, and he laughed it off and lit a cigarette.
She turned away from him. She forged tears. The ambulating automatons ambulated further and further away from the simulation of burdensome human drama. Suddenly she turned back to him and began to kiss his face, to kiss his face all over. He let her, holding his cigarette away from her hair. He could smell the chlorine on her breath as she filled her iron lungs with air. Gasping was the word he was trying to think of. Gasping was the word that fit this scene best. They could hear the train coming. It was a half-mile down the track. She redoubled her efforts at tears until her face shone and there was a real layer between them, a wet topsoil that implied everything she didn’t know how to genuinely approximate.
He threw his cigarette butt onto the track where it exploded. He boarded the train with his suit jacket slung over his shoulder. His suspender straps were perfectly parallel, coal-colored train tracks over his white shirt. That’s how he left her.
She lay down on the grimy train station floor, clutching at where her uterus might, in another time, have been. She wailed like hell. She wanted to want to die. More than that, she wanted to express herself in this way for as long as she possibly could, forever, if it were possible, if she could only just go on this way. But one of the ambulating automatons approached her.
“Ma’am,” the stranger said, rocking back and forth, his eyes whizzing about his head, inside and outside, independent of one another. He pulled his eyeballs out and circled them around his palm like Chinese Baoding balls. “Ma’am, get up, please. Please. Ma’am. The humans are gone. There is nobody left to impress. Please. Let me call you a flying cab.”
She struggled to her feet.