Kicks Condor

LEECHING AND LINKING IN THE HYPERTEXT KINGDOM

I FIRST DISCOVERED
THE 【TECHS-MECHS】WHO
ARE A CLAN OF SOUTH
OF THE BORDER GUNDAM
BREAKING DOWN
IMMIGRATION FENCES
WITH THEIR
IMPRESSIVE MANOS
MECANICAS

PLUNDER THE ARCHIVES

This page is also on dat.

MOVING ALONG LET'S SEE MY FAVORITE PLACES I NO LONGER LINK TO ANYTHING THATS VERY FAMOUS

philosopher.life, the 'wiki'/'avatar'/'life' of h0p3. serious rabbithole. k0sh3k. j3d1h. luxb0x.

nathalie lawhead of so many good things, where does one begin. T, U, I.

surfpals: things by j, also joe jenett (of linkport), brad enslen (of indieseek).

indieseek blog, bumped into brad somehow and we crosstalk a ton about the web.

linkport by joe jenett---blogs at i.webthings.

an eye on: ᛝ ᛝ ᛝ — lucid. jacky.wtf, humdrum.life, j.greg, box vox, whimsy.space, caesar naples.

indieweb: .xyz, eli, c.rwr, boffosocko.

nostalgia: geocities.institute, bad cmd.

true hackers: ccc.de, fffff.at, voja antonić, cnlohr, esoteric.codes.

chips: zeptobars, scargill, 41j.

dwm, julia, tridactyl these are things you'll want on linux.

neil c very famous but should be a world icon.

the world or cate le bon you pick.

sammyclassicsonicfan the original teen rage adventure.

innovation.isotropic.org probly the best carl chudyk game.

and opinionated gamers for non-chudyk game analysis.

my twitter. my github. minor things.

#quotes

I use three main tags on this blog:

  • hypertext: linking, the Web, the future of it all.

  • garage: art and creation, tinkering, zines and books, kind of a junk drawer—sorry!

  • elementary: schooling for young kids.

28 Mar 2019

‘Yoshiro sometimes wished that instead of his grandson Tomo were a character in one of his novels. That way there would be no need to get angry, and also much more fun for writer and readers.’

— p. 77, The Emissary by Yoko Tawada

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14 Jan 2019

‘Everyone knows that dragons don’t exist. But while this simplistic formulation may satisfy the layman, it does not suffice for the scientific mind. The School of Higher Neantical Nillity is in fact wholly unconcerned with what does exist. Indeed, the banality of existence has been so amply demonstrated, there is no need for us to discuss it any further here. The brilliant Cerebron, attacking the problem analytically, discovered three distinct kinds of dragon: the mythical, the chimerical, and the purely hypothetical. They were all, one might say, nonexistent, but each nonexisted in an entirely different way.’

— p. 85, The Cyberiad by Stanislaw Lem

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14 Dec 2018

‘I recognize her. She was on the school advisory board a few years ago, an ardent mother, heavy-hipped, quarrelsome, rarely pleased. I recognize her, because a field trip I’d organized had roused her indignation, on the grounds that the museum we visited housed several photographs of mingled fleshes, white, cold thighs, blue-veined feet pressing on white, cold buttocks.’

— p 18, My Heart Hemmed In by Marie NDaiye

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12 Dec 2018

“Allow me to pass over his misfortune in silence; for in the first place talk of it might dishearten you, and secondly and thirdly, and as far as I’m concerned sixthly, it isn’t proper to tug apart all the folds of misfortune and cast aside all ceremony, all lovely veiled mourning, which can exists only when one keeps silent on such matters.”

— Simon, p340, The Tanners by Robert Walser

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26 Oct 2018

Reply: Refreshing Essays

Eli Mellen

In this way, I think blogs are a whole lot like essays:

Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last.

– Virginia Woolf, The modern essay

Boy, yes yes, lots of good things in there. I wholeheartedly agree.

Literal truth-telling and finding fault with a culprit for his good are out of place in an essay, where everything should be for our good and rather for eternity than for the March number of the Fortnightly Review.

I will need to read back on this several times to know what she means. She’s not saying that criticism is out of place—she engages in it the very paragraph next. (Although I confess that I am tiring of the constant flow of cultural critique. There has to be more than just that to an essay.)

I think writing for ‘eternity not just March’ could be an expression that stays with me.

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05 Oct 2018

‘One day my window was darkened by the form of a young hunter. The man was wearing leather and carrying a rifle. After looking at me for a moment, he came to my door and opened it without knocking. He stood in the shadow of the door and stared at me. His eyes were milky blue and his reddish beard hardly concealed his skin. I immediately took him for a half-wit and was terrified. He did nothing: after gazing at what was in the room, he shut the door behind him and went way.’

— from “The House Plans” by Lydia Davis, p53 in The Collected Stories

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25 Sep 2018

‘After walking through a few other rooms, thinking about The Rose, I returned to look at the painting again. I read the placard again, though I had read it less than an hour before. Everything that is is a record of its process, I thought; this description of The Rose in front of me had more to do with where it had been composed and when than with what The Rose itself was struggling to be. Had the curator lacked imagination, or was it our language that lacked imagination? I looked again at the radiating folds of paint, like rock chipped away by the wind and the rain. Each one recorded the time that had passed while DeFeo worked on The Rose. All the placards around me were lists: a title, an artist, a place, and a time. The best the curator could do was log the facts. Facts are a set of coordinates, in space and in time. Causation, motivation, character—all the rest is fiction.’

— p134, Madeleine E by Gabriel Blackwell

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21 Sep 2018

‘Logic, [Nicholas] suggests, knowing, is like an n-sided polygon nested inside a circle. The more sides you add, the more complexities you introduce, the more the polygon approaches the circle which surrounds it. And yet, the farther away it gets as well. For the circle is but a single, seamless line, whereas your polygon seems to be breeding more and more lines, more and more angles, becoming less and less seamless.’

Seeing is Forgetting the Name of the Thing One Sees by Lawrence Weschler

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15 Sep 2018

‘He was a pekingese, and as such he had a peculiar, droll manner of walking that aroused my sympathy no less than his facial expression, which was a constant meld of almost tearful sorrow and unreasonable, condescending arrogance.’

— p501, The Island of Second Sight by Vigoleis

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14 Sep 2018

‘I had a memory of reacting similarly to my own mother’s breakups, to cutting off my emotions for the men I had once loved or for whom I’d at least felt an affection. Once I failed at such an attempt; I sobbed and mouthed the name of my mother’s ex while a new man slept in her bed. I sobbed similarly on subsequent nights until I had finally rid myself of any lingering affections.’

— p195, Person/a by Elizabeth Ellen

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07 Jul 2018

‘Simon replied: "I don’t make a habit of displaying my reverence for a great many things. I tend to keep matters like this to myself, for I believe: What’s the point of wearing a serious expression if one’s been earmarked by fate—’

— p99, The Tanners by Robert Walser

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