Thursday, November 17, 2005

PIN numbers and secret codes



I saw this on the way home, daubed in streaky white paint on the walls of an old abbatoir (don't ask why I know it was an abbatoir). It fascinated and unnerved me in equal measure, and I don't know why. That also unnerves me, but I find that less fascinating. But there it is, palette-reduced to make up for the terrible low-light functionality on my camera.

Maybe later I'll think of something suitably random and whimsical, ward it off, get it out of my mind. Light a night light. Whistle a cheery tune. What did Coleridge say about the traveller on the lonely road?

The strangers are coming.

:-/

Wednesday, November 16, 2005

Conversation of the week

"The mechanics should offer compelling and tangible benefits to marriage - like access to the spouse's corpse."

The context of this discussion I leave to the imagination of the reader.

Tuesday, November 15, 2005

Still not part III

'...To-day I have five hundred men in my employ, who are poorly paid, but who pursue the work with an enthusiasm which possibly may be born of fear.

These men enter every shade and grade of society; some even are pillars of the most exclusive social temples; other are the prop and pride of the financial world; still others hold undisputed sway among the 'Fancy and the Talent.' I choose them at my leisure from those who reply to my advertisements. It is easy enough -- they are all cowards. I could treble the number in twenty days if I wished. So, you see, those who have in their keeping the reputations of their fellow citizens, I have in my pay."

"They may turn on you," I suggested.

He rubbed his thumb over his cropped ears and adjusted the wax substitutes. "I think not," he murmured, thoughtfully, "I seldom have to apply the whip, and then only once. Besides, they like their wages."

"How do you apply the whip?" I demanded.

His face for a moment was awful to look upon. His eyes dwindled to a pair of green sparks.

"I invite them to come and have a little chat with me," he said, in a soft voice.'

Monday, November 14, 2005

Bored with enquiries!



I couldn't resist. ;-)

Sunday, November 13, 2005

Part III is rescheduled

I've been diverted. And isn't it interesting when that happens?

Also interesting is a question I've been posing myself. Say that - hypothetically - someone had sold on spec the outline for a novel which was a thinly-disguised version of the Neurocam thing. Names, faces, blogs altered enough to spare blushes and the innocent alike but still drawing very, VERY strongly from the source.

Would it be ethical to publish and profit without crediting the muse? After all, you can't really steal an idea, can you? If I take it and tweak it just enough to make it mine, you still have yours.

(Edit: I suppose what really interests me is the question of ...well, ownership I suppose. Who has a claim to my experiences? If a third party or third parties enable and facilitate them, does the result belong to them? Is it attributable to them? In the act of altering them - even if only providing the initial push that sends one skeetering, teetering, tumbling downhill - have they gained a right to what is perceived by the other?)

A part of me sneers that down as moral cowardice. What do you think?

In the meantime, here is something I am trying very hard to see through.

Saturday, November 12, 2005

And That Superhuman Crew (II)

ZIEGLER
Bill, tell me, did you never consider the
possibility that the whole thing might
have been nothing more than a
charade?... A charade played out for
the benefit of someone who didn't
belong - to frighten them and make
sure they keep quiet?

Thursday, November 10, 2005

At Midnight, All The Agents (I)

The sky was the colour of a smoker's lung with the smoker peeled away. And so truth is introduced with theft - a better writer walked before us, his memorial these footsteps that stretch before us in the sand.

This too is deceit. An idea cannot be stolen. It can only be copied, duplicated, replicated. Copying leaves the original intact, whole, but altered. Original but no longer unique (Eliot wrote what he wrote only because he did not understand the secret ways by which the conscience might be murdered).

This is the truth and the whole of the truth: all writers are the same that way. All that matters is that you find your own way through the last wall. Four is more sacred than three.

The clouds pulsed weakly overhead, wringing out the last few drops of rain. It fell sluggishly in great dusty discoloured ropes. Thick and tarry.

I opened the door and I went inside.

* * *

There is always a place like this. It's context, logic. Understand that and a broken chair becomes a horse, a lance, a grail. Understand the logic. Contextualise it. Control it. There's always a place like this. Do as you are bidden, and there will always be a place for you inside.

* * *
Under the blue-white fluorescent wash my skin is ghost pale, the rain outside phantom tears. There is no yellow (of course. I'm smiling. I wear no mask).

What do you see in the corner? A man in white suit and ego? A childish silhouette? Prospero's forgotten mentor, come to exact the vengeance of rememberance? No. No Sycorax, no Prospero. Not even a Caliban or Ariel. You see...

You are in a maze of twisty
turny written passages all
alike.

>LOOK

You see nothing special.


Despite - because of? - this the air is charged, callousing, thickening: and in the exchange of charge and the mayfly dance of electrons I see writ the sigils that prophecy a tempest to come.

I take my seat.

* * *

Unveiling is only a synonym for disappointment. What of the masque when the dancers are undone (what is a lie)? Only the process is important. The music is not black marks etched on page, not the scrape of bow on string, not the waves that propogate, that conjugate, in the dead air between sign and signified.

* * *

The mask is the key and I am the lock. As I sit looking into that face (the reflections darting in the periphery, a troupe of ghosts mocking us in the shadow play) the face looks back into me and it smiles and I recognise the smile. I feel the smile, the fluid hydraulics of sinew and muscle that pull the fleshy mask to and fro, that hide the ultimate truth of grinning bone.

The smile is mine and it has been taken from me. I want to tell him that I wear no mask but the context of the place is become a thing of cold iron and glacial silence.

He begins to speak words and it shatters. A splinter has pierced my heart.

All my tears are frozen.

* * *

Wavelength is the distance between repeating units of a wave pattern. It is commonly designated by the Greek letter lambda (λ). Yellow is a colour with a wavelength 565-590 nanometers. It is one of the subtractive primary colours, and its complementary colour is blue. However, because of the characteristics of paint pigments used in the past, painters traditionally regard its complement as purple.

Yellow is a bright cheerful colour, often associated with happiness and peace.

* * *

Operative Firedrake says, "Who are you?"

Firedrake says, "I am Operative Firedrake."

Operative Firedrake says, "Who are you?"

Firedrake says, "I am Operative Firedrake."

Operative Firedrake says, "Who are you?"

Firedrake says, "I am Operative Firedrake."

Operative Firedrake says nothing.

Firedrake says, "I am the pie that bakes and eats himself."

Wednesday, November 09, 2005

Cronin and Midnight

Cringe.

UPDATE: My error. Hopefully fixed.

Tuesday, November 08, 2005

Okay. So. The count starts at one and ends at tenex? Fair enough.

This is not in my usual code

Someone lit the blue touchpaper. :-(