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.... The Batman Main Theme Ultimate Suite - Michael Giacchino... is the official, quintessential music of... Daiavil... Daiavil... Daiavil... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

https://www.youtube.com/watch?v=-l_XLTR0ds4 ... in the inwards of the above URL... v=-1_XLTR9ds4... is... aka... vitriol= -1_e(X)cell-Lex-Turnbull Retro-0-distant-sense 4.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... actor Hugh Jackman: ...."... now.... victoria brianne hill... I played Logan.... now before he was Wolverine he was Weapon X... and the butchery and mutilation and... of... Weapon X.... namely... myself.... Hugh Jackman... the butchery of Weapon X aka Hugh Jackman.... that butchery was so complete... so infinite.... so bloodcurdling and horrific... now.... victoria brianne hill... I want to talk about princess Isolde.... about Richard Wagner's princess Isolde.... James Joyce loved the story of Tristan and Iseult... so James Joyce made the romance of Tristan and Iseult into the fulcrum.... the pivot... the crucial centre.... of his Irish mythological work 'Finnegans Wake'... and.... I'm thinking something... about John Huston in the movie directed by Roman Polanski, 'Chinatown', starring Jack Nicholson... in that movie actor John Huston says in a voice of infinite command and resonant charisma he says.... 'The Future!! The Future!!'... and.... I'm thinking about one of your very best friends in the whole wide world becoming... Alisa Ibiza-shore... of Hegre Art.... victoria brianne hill... where Whisper O' Daire victoria brianne hill and Vesper Fairchild alisa ibiza-shore.... are best friends... are best religious-buddies.... for Tim Burton Geoffrey Wright Bernard Rose's 'Gotham' movies... ".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder... stochastic disturbance terms... $3....

... Track 11 oothoon artemis... Track 11 oothoon artemis... of the soundtrack composed by Vangelis for the movie '1492'... Track 11 oothoon artemis... is the official, quintessential, hypnotic music of... Hanno Ridal Raudsepp: ..."... I'm thinking of the writer of issue #14 of 'The New Avengers' being a very young man... he is Brian Michael Bendis... and with this issue he is trying to do something that breaks the laws of comic book physics... he is trying to make Jessica Drew into a volitional, willing, self-possessed agent of Hydra... and he is going against the system with that... and the system won't allow that... and he insists on doing his... his vision for Jessica Drew... she is an agent of Hydra... and he does something so elusive and eerie with Nick Fury in this issue... in issue #14 of 'The New Avengers'... that... there is something going on... I can't even explain how abjectly VILLAINOUS Hydra actually is supposed to be... but I'm honestly not sure Brian Michael Bendis himself... wants that... and... he is combatting the system... Brian Michael Bendis is combatting the system with his vision and personal project for Jessica Drew... and... then... issue #13 of 'The New Avengers'... there will never be another comic book like issue #13 of 'The New Avengers'... written by Brian Michael Bendis... he is trying with such personal vengeance prejudice of justice to fight for HIS vision of Jessica Drew... for HIS vision of Jessica Drew... with issue #13 of 'The New Avengers'...."... $3.... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... Disturbed - Down with the Sickness - Ruben K Remix... is the official, quintessential music / song of... Ilyanna Rasputin (Victoria brianne hill): ...".... Joss Whedon...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

Martinique Jason (Willie Tell Archer-1): ...".... it is 13 minutes to 8:00 am in the morning in Trenton, Canada... and it is the date of January the 31st, 2022...."... https://www.youtube.com/watch?v=gxVvqx1qQAA&list=RDgxVvqx1qQAA&start_radio=1 ... in the inwards of the above URL... v=gxVvqx1wQAA... is.... aka... visa=gust-e(x)cellent Vital-vox queue e(x)onerate-1 win-Quest Associate-Adam.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms... $3....

... Hanno Ridal Raudsepp: ..."... is Intel corporation into big-time, hard-core drug dealing... like drugs like thalidomide, escitalopram and clonazepam...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

Willie Tell Archer-1: ...".... it is twenty minutes to 8:00 am in the morning in Trenton, Canada... and today is the date of January the 31st... in the year 2022...."... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

... Music for a Galactic Anti Hero - As Above, so Below.... is the official, quintessential, somber, Ivan Karamazov music of... Hanno Ridal Raudsepp: ...."... Thomas Blake has Tourettes.... and Hanno Ridal Raudsepp needs more sleep..."... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

https://www.youtube.com/watch?v=_TTg9Ctf2Qo ... in the inwards of the above URL.... is... aka.... v=_TTg9Ctf2Qo... is.... aka... vitality=_Tourette's-Ten gus-9-Circle time-fibonacci-2 Query-oval... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

... The Enigma TNG - New Age Warzone.... is the official, quintessential music of... maybe Pedro Pascal never was Maxwell Lord.... after all... after all.... and where back to... square one.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

https://www.youtube.com/watch?v=0R-DpOZ_b-Y&list=RDMGLpiKNEGDk&index=48 ... in the inwards of the above URL.... v=0R-DpOZ_b-Y... is.... aka... vicious=0-Retro- Distant-pencil Ontario-Zatanna_business-Yore.... $3... stochastic disuturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... 2-hours music mix - beautiful powerful music - emotional mix vol. 1.... is the official, quintessential music of... The Medicis... in "Gotham; chapter two; the Catherines", directed by Tim Burton, Geoffrey Wright and Bernard Rose.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms... $3....

https://www.youtube.com/watch?v=Ym8JjY4fy-M&t=553s ... in the inwards of the above URL... v=Ym8JjY4fy-M.... is..... aka... vagina=Yes-mon-80-Joules joyce-Yawn-4 fibonacci-yore - Mass.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... Loki Trailer Music.... is the official, quintessential music of... the man who tried to rape Steven Spielberg.... got the death penalty. He's dead.

https://www.youtube.com/watch?v=4MDRWT9AlgU&list=RDMM&index=4 ... in the inwards of the above URL.... v=4MDRWT9AlgU... is.... vagina=4-Men-Docs-Retro-Wap-Turnbull-9-Associate-love-gus-University.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... the enigma TNG - the Fatal Star.... is the official, quintessential music of... Christian Bale is a rock and roll Batman.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3.... .....

https://www.youtube.com/watch?v=gPpm_0dGjzo&list=RDMM&start_radio=1&rv=3rCo94BFIe8 ... in the inwards of the above URL... v=gPpm_0dGjzo... is... aka... visa=gus-Prime principle-man_0-distant-Gijizmo... v=3rCo94BFIe8... is... aka... vital=3-retro-Cubes-oval 94-Business-Fun-Illuminati-energy-8.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... the Future that Never was - dark cyberpunk music... is the official, quintessential music of... when did they re-release Episode 1 - The Phantom Menace at Centre Trenton Theatre... was that... I think... in the 00's... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

https://www.youtube.com/watch?v=j0GXL1qx9s0&list=RDMM&index=15 ... in the inwards of the above URL... v=j0GXL1qx9s0... is... aka... vitriol=joss-0-Gus-e(X)tra-Lex-1 question-e(x)cellent 9-sense-0.... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3....

... Position Music - Expectations... is the official, quintessential music of... Hanno Raudsepp cursed his deceased mother but Michael William Rosenbaum sent his father to prison and laughed

Lionel Luthor being Tom Welling Clark Kent's friend is not even boring... it's uninteresting... https://www.youtube.com/watch?v=DMV_UZYdYiU&list=RDDMV_UZYdYiU&start_radio=1 ... in the inwards of the above URL... v=DMV_UZYdYiU... is... aka... vitality=Density-Mass-Volume_Under-Zork-Yore-distant-Yonker-illuminati-University.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

Disturbed - Down with the Sickness - Ruben K Remix... is the official, quintessential song / music of... what does the year 2016... mean to Doctor Doom... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

... Disturbed - Down with the Sickness - Ruben K Remix... is also the official, quintessential music / song of... someday.. someday.. someday... Sabina Spielrein herself, Daniella Amavia will also play Poison ivy pamela isley in a series of multiple- 'Gotham' movies directed by Tim Burton, Sophia Copolla and Geoffrey Wright.... https://www.youtube.com/watch?v=gxVvqx1qQAA&list=RDMMgxVvqx1qQAA&start_radio=1 ... in the inwards of the above URL... v=gxVvqx1qQAA... is... aka... vitality= gus-x-Volk visa-queue e(x)cell-1 question-Query Add-Assocation... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

... Hi - Finesse - embrace the pain.. is the official, quintessential music of.. Who is Lara's second son.. aka.. 'Gotham; chapter one- the murder of Whisper O'Daire (Victoria brianne hill)', directed by Tim Burton and Geoffrey Wright... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

https://www.youtube.com/watch?v=8sZyY1DkAik&list=RD8sZyY1DkAik&start_radio=1 ... in the inwards of the above URL... v=8sZyY1DkAik... is... aka... vagina=8-sense-Zatanna-yu Yes-1-Distant-ken Associate-illuminati-kin.... $3..... stochastic disturbance terms..... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult..... stochastic disturbance terms..... $3....

... The Batman Theme - Michael Giacchino - Main Trailer Music.. is the official, quintessential music of.. Who is Gunnar Golmen.. $3.. stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms.. $3..

https://www.youtube.com/watch?v=_WEonvtesdc ... in the inwards of the above URL... v=_WEonvtesdc... is... aka... vital=_West-End ontario-virus-tres enter-sense disc-circle... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult.. stochastic disturbance terms.. $3...

... Cyberpunk Industrial - the enigma TNG - Vaden... is the official, quintessential, electronic music of... Diana d'Artois (issue #823 Arianne Zucker the third) of the Medicis in the 12-hour 'Gotham; chapter two- the Catherines', directed by Tim Burton, Geoffrey Wright and Bernard Rose.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

https://www.youtube.com/watch?v=gOfN_s0puio&list=RDR4P_LxT9ybM&index=2 ... in the inwards of the above URL... v=gOfN_s0puio... is... aka... vitriol= gas-Ovaltine fun-Night_silly-0 "puio!!!!"..... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3.....

... the enigma TNG - Future Fantasy... is the official, quintessential music of... Arianne Zucker the First aka ultra-continuous-flux-competent high-echelon businesswoman Arianna Zucker aka Arianna Zucker the first aka A Future Fantasy..... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult.... stochastic disturbance terms.... $3.....

https://www.youtube.com/watch?v=l1uY9R3S3hk&list=RDR4P_LxT9ybM&index=6 .. in the inwards of the above URL.. v=l1uY9R3S3hk.. is.. aka.. vitriol= lex-1-universe Yore-9-Retro 3-Sense-3 hour-kilo.. $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult.. stochastic disturbance terms.. $3..

... the enigma TNG - Insanity Syndrome... is the official, quintessential music of... the year of 2020 aka the year that Havok Alex Summers (Hanno Jason Leigh) wanted to be Cobra Commander for most or if not all of this year... the year of 2020 aka the year of Insanity Syndrome... for mr. scorcese.... $3..... stochastic disturbance terms..... paul dini / joe benitez poison ivy pamela isley kate moss..... stochastic disturbance terms..... $3....

https://www.youtube.com/watch?v=1zPga1CPli0&list=RDR4P_LxT9ybM&index=4 ... in the inwards of the above URL... v=1zPga1CPli0.... is... aka.... vitriol= 1-zatanna Pons-(g)(a)l-1 Circle-Porn-lost-illuminati-0.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... the enigma TNG - Nightmare of a Millenium... is the official, quintessential music of... paul dini / joe benitez kate moss and the nintendo character, 'Kirby'..... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3.....

https://www.youtube.com/watch?v=R4P_LxT9ybM&list=RDR4P_LxT9ybM&start_radio=1 ... in the inwards of the above URL... is... aka... v=R4P_LxT9ybM... is... aka... vitriol=Retro-4 Pons_(L)e(x)-Tourettes-9 yonker-biz-Masculine.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... the enigma TNG - Mysterious Girl... is the official, quintessential music / song of... The Baroness of COBRA Poster-Girl Hyacinth Ryder aka the Hyacinth Ryder of earth-2... she will someday play the Bronze Age Catwoman of Earth-2... after Uma Thurman plays her.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

https://www.youtube.com/watch?v=cBevQdqdWT0 ... in the inwards of the above URL... v=cBevQdqdWT0... is... aka... vitriol=(c)e(B)ulska (e)(v)ion Query-distant-question Wuzzal-Toronto-0.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... the Enigma TNG - the Tyrants of Omnicide... is the official, quintessential music of... Andres Raudsepp: ..."... Hanno.. I've been depressed ever since I read the Power Pack Bogeyman Inferno issue... I think I've had permanent clinical depression ever since I read it... Hanno... I read comic book fanatically when I was a young boy... I have to know what is going on with comic books today... I have to... ".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

https://www.youtube.com/watch?v=RmqBnWhrZCI&list=RDgxVvqx1qQAA&index=3 ... in the inwards of the above URL.... v=RmqBnWhrZCI... is... aka... vitality= Retro-music-query Business-night Whistle-house-run Zatanna-Circle-Illuminati.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder monica bellucci nikita bellucci angelina jolie... stochastic disturbance terms... $3....

... Track 10... of disc one...Track 10 phoebus apollo... of disc one... Track 10 phoevvbus apollo... of disc one... Track 10 phoebus apollo... of disc one... of "Moody Blues - Gold"... Track 10 phoebus apollo... of disc one... is the official, quintessential song of... Hanno Ridal Raudsepp: ...".... what if... Fessenden's textbook 'Organic Chemistry - Fifth Edition'... is an intensely dangerous book... because that's the book... that's the book... that's the book... that when you are instantaneously ready to start dictating your novel 'Me off meds' into your tape recorder... because you are going thru the by a single, explosive day immediate, instantaneous mental-whiplash of going cold turkey off neuroleptic pills completely... and your mind is bristling with intellectual electricity... and reading Umberto Eco's 'Foucault's Pendulum' in english is a scorching, fiery, electrifying experience in its totality... I mean... the book that you read that you remember EVER iota of information of out of the whole textbook is Fessenden's textbook of 'Organic Chemistry'... you remember every single particle of information of this textbook instantaneously and permanently.... but ONLY this book... this is the case ONLY with Fessenden's textbook of 'Organic Chemistry'... I'm not sure about ANY other book but that this being the case with permanent, instantaneous memory of every particle of information that you read on every page of the book... I'm not sure if this is the case with mental-whiplash of going cold turkey off ALL neuroleptic pills... I'm not sure if there are ANY other books you can read where this would be the case... so the scenario of 'Me off meds' could be intensively, exhaustively, thoroughly... deceptive...."... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

... Disturbed - Down with the Sickness - Ruben K Remix... is the official, quintessential music / song of... Phoebus Apollo: ..."... Hanno... neurochemistry is reality... I study Berkeley... neurochemistry is reality... I am erasing neurochemistry from your system and consciousness... Ahania (Hanno Jason Leigh)... and thereby I am erasing reality from the fabric of space and time... everything that happened with Havok... with you and Havok... sob sob sob sob sob... Ahania (Hanno Jason Leigh)... will be erased from reality... sob sob sob... only I will know... only I will have memory... but I am Phoebus Apollo (Orlando Bloom) and I am a creature like no other... ".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder holly madison victoria brianne hill angelina jolie monica bellucci nikita bellucci... stochastic disturbance terms... $3....

... Disturbed - Down with the Sickness - Ruben K Remix... is also the official, quintessential music / song of... Anna Amber Heard Claire Danes of Tim Hortons by Highway 2 formerly Old Highway 2 formerly Dundas: ..."... sob sob sob sob.. Hanno... the Havok of the Uncanny X-men Chris Claremont issue that says... 'Welcome to the X-men... Havok'... on the cover... the Havok inside that issue.. who looks like Kenneth Connell... he has exactly the face of Holly Madison... sob sob sob sob sob... he's the Holly Madison Havok... he has exactly the same face as Holly Madison... the Havok inside this issue... the cover saying 'Welcome to the X-men... Havok'... sob sob sob sob sob...".... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss hyacinth ryder.... stochastic disturbance terms.... $3..... https://www.youtube.com/watch?v=gxVvqx1qQAA

... copy-and-pasted from... from... from... from.... www.medicalnewstoday.com/articles/ ...

Including results for clonazepam warnings. Do you want results only for clonazapam warnings? Clonazepam warnings Slowed response time warning. Clonazepam is a central nervous system (CNS) depressant. ... Suicidal thoughts and behavior. Clonazepam can increase the risk of suicidal thoughts or behavior (thoughts or actions of harming oneself). Alcohol interaction. ... Allergy warning. ... Warnings for people with certain health conditions. ... Warnings for other groups. ... Clonazepam: Side effects, dosage, uses, and more www.medicalnewstoday.com/articles/clonazepam-oral-tablet www.medicalnewstoday.com/articles/clonazepam-oral-tablet

... copy-and-pasted from... from.... nypost.com/12/27/21/ ... from December the 27th, 2021...

LIVING ASTROLOGY Facebook Twitter Flipboard Email Copy Nostradamus predictions for 2022: cannibals, robots and the rise of cryptocurrency By Reda Wigle December 27, 2021 8:00am Updated Nostradamus predictions for 2022: cannibals, robots and the rise of cryptocurrency 0:15 / 1:22 MORE ON: ASTROLOGY Astrology predicts big things from these Pokémon Legends: Arceus creatures Here’s which ‘Encanto’ character you are, based on your zodiac sign Unlock your love language and romantic style, according to your zodiac sign Why Carrie Bradshaw is the ultimate unrealistic, codependent Libra As the year comes to a close, the news is getting grimmer, folks — at least according to the prophecies of long-dead divining daddy Nostradamus. The French plague doctor, astrologer and seer published his famed and widely quoted book “Les Prophéties” in 1555. Chock full of poetic predictions, the book foretells the coming of wars, natural disasters, assassinations, nuclear attacks and revolutions. Aptly referred to as the Prophet of Doom by his contemporaries, Nostradamus was far from sunny in his future outlook. Inspired by biblical texts and his own plague time trauma, his prose is heavy with words like pestilence, famine, blood, sorrow and fire — and mostly reads like a bedtime story written by a Norwegian black-metal band. As the year comes to a close, the news is getting grimmer, folks — at least according to long-dead, divining daddy Nostradamus. As the year comes to a close, the news is getting grimmer — at least according to Nostradamus. Shutterstock Much like the high-on-fumes oracle at Delphi, Nostradamus’ predictions are intentionally vague and open to myriad interpretations. For 2021, he alluded to the onset of a zombie apocalypse, writing, “Few young people: half-dead to give a start.” Bleak, right? Not if you consider the possibility that Nos was warning us young folk that we are not really living, man, but simply existing. More Matthew McConaughey pep talk than certain quasi-death, dig? He also prophesied that 2021 would bring about a world-ending asteroid that so far (she types with abject trepidation) has yet to make an impact. So it is with a pocketful of dread — and a thimbleful of skepticism — that we take a look at what that bearded harbinger of ruin forecast for 2022. Inflation, starvation and cannibalism? Artist Nelson Saiers installed his latest "Cheap Money No. 2" sculpture at the Wall Street "Charging Bull” sculpture in early December in response to the US Federal Reserve action regarding inflation. Artist Nelson Saiers installed his latest “Cheap Money No. 2” sculpture at the Wall Street “Charging Bull” sculpture in early December in response to the US Federal Reserve action regarding inflation. Getty Images for Nelson Saiers Nostradamus predicted that inflation and starvation will befall us in 2K22, writing, “So high the price of wheat/That man is stirred/His fellow man to eat in his despair.” An essential human truth is that people get hungry and then they get mean — and with US inflation the highest it’s been in nearly four decades, Nos’ warning proves, so far, so true. No word on whether the rising price of wheat inspired this guy or this guy to take a bite out of their fellow man. AI becomes MVP A new robot that looks straight out of a science-fiction film is the latest technological breakthrough. A new robot that looks straight out of a science fiction movie is the latest technological breakthrough. YouTube/ Engineered Arts Nostradamus wrote, “The Moon in the full of night over the high mountain /The new sage with a lone brain sees it /By his disciples invited to be immortal/Eyes to the south. Hands in bosoms, bodies in the fire.” While easily confused with Björk lyrics, that passage appears to reference the escalation of artificial intelligence. Cue Elon Musk, Time magazine’s Person of the Year and an unequivocal alien in his own right, taking to robot-making and moving his headquarters south to Austin, Texas. Further evidence that man is destined to be overtaken by immortal machines can be found in the teachings of the aesthetic prophet Jared Leto. Nuclear drought Devout doomsdayers have been awaiting a nuclear explosion that will trigger severe climate change. Devout doomsdayers have been awaiting a nuclear explosion that will trigger severe climate change. Shutterstock The heavy hits just keep on coming. Nos’ predictions are linked to astrological events more than calendar years and, for some time, devout doomsdayers have been awaiting a nuclear explosion that will trigger severe climate change. Based on this cheery passage, “For forty years the rainbow will not be seen/For 40 years it will be seen every day/The dry earth will grow more parched/And there will be great floods when it is seen,” we can posit that droughts and floods of biblically punishing proportions are coming. Judging by this summer’s historic drought and the painfully parched conditions in Chile, said punishment may already be upon us. Add to this the recent revelation that China is allegedly armed, dangerous and at the ready to launch a nuclear strike that could presumably cause cataclysmic water shortages. Thus far, our leading defense against drought appears to rest in the hands and nether regions of moisture awareness advocates Cardi B. and Megan Thee Stallion. Crypto, bro Gold is currently surging and a wave of Silicone Valley engineers and executives are leaving their high-level positions to join forces with crypto startups. Gold is currently surging and a wave of Silicon Valley engineers and executives are leaving their high-level positions to join forces with crypto startups. Shutterstock In addition to forecasting inflation, Nos nods to the rise of cryptocurrency in the year ahead. As Yearly-Horoscope translated from the original French: “The copies of gold and silver inflated/Which after the theft were thrown into the lake/At the discovery that all is exhausted and dissipated by the debt/All scripts and bonds will be wiped out.” While Nostradamus’ predictions tend to land more near the bank than on the money, gold is currently surging and a wave of Silicon Valley engineers and executives are leaving their high-level positions to join forces with crypto startups. Coincidence or prophecy confirmed? We wait with bitcoin and bated breath. Astrologer Reda Wigle researches and irreverently reports back on planetary configurations and their effect on each zodiac sign. Her horoscopes integrate history, poetry, pop culture and personal experience. She is also an accomplished writer who has profiled a variety of artists and performers, as well as extensively chronicled her experiences while traveling. Among the many intriguing topics she has tackled are cemetery etiquette, her love for dive bars, Cuban Airbnbs, a “girls guide” to strip clubs and the “weirdest” foods available abroad. SHARE THIS ARTICLE: Facebook Twitter Flipboard Email Copy FILED UNDER ASTROLOGY FORECAST 12/27/21

... copy-and-pasted from... from... www.geneticjoycestudies.org/articles/GJS2/GJS2Armand ... perhaps thru paradigms of enzymes and paradigms of RNA... this essay written by Louis Armand could explain how their could be a DNA-RNA complex of complementary 295 or 300 or a bit more than 300 'Superman; man of tomorrow; man of steel' movies... directed by Steven Spielberg, Sophia Copolla... and Scorcese... DNA Steven Spielberg Superman movies... and complementary RNA Steven Spielberg Superman movies... one of these movie-streams being where Matt Damon plays himself for more than probably more than 300 Steven Spielberg / Sophia Copolla Superman movies... and the other where he plays... Basil Karlo junior... Golden Age Ted Grant... Langevin... DNA movie-stream... RNA movie-stream... with also Tom Cruise and Angelina Jolie... playing themselves and alternately Tuoni and Zelda / Zelda Sinclaire-Voight... in the respective DNA movie-stream and RNA movie-stream... and Scarlett Johansson also... playing herself... for more than 300 Steven Spielberg Superman movies... and then playing Silver age red-haired lana lang for 300 other Steven Spielberg Superman complementary (interlocking (?) .. lockstep (?)... tandemized (?)...)... movies.. also... sob sob sob sob sob... Monica Bellucci.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult hyacinth ryder nikita bellucci... stochastic disturbance terms... $3....

Enzymes, Reverse Transcriptions and the Technogeneses of Finnegans Wake Louis Armand There is no genetics without "genetic drift." The modern theory of mutations has clearly demonstrated that a code, which necessarily relates to a population, has an essential margin of decoding: not only does every code have supplements capable of free variation, but a single segment may be copied twice, the second copy left free for variation. In addition, fragments of code may be transferred from the cells of one species to another. —Deleuze and Guattari, A Thousand Plateaus Textual genetics, with its focus on the structural significance of avant-textes, has brought to light ways of treating James Joyce’s notebooks and manuscripts that do not necessarily posit an originary, authorising idea concealed within, or even outside Ulysses or Finnegans Wake (as an Ur-text or skeleton key), but rather views these avant-textes—along with the other elements that form Joyce’s works in progress—in terms of a genetic (hyper)textuality. For many genetic theorists, Finnegans Wake is nothing less than the open totality of all the texts that can be grouped together around that name. Whilst this idea approximates the structural possibilities of hypertext, it is nevertheless important for us to look more deeply into what might be implied in the term "genetic." But while most theorists have been careful to avoid reductive ways of viewing the objects of textual genetics, some have tended simply to adopt the term "genetics" for the purpose of modernising the Alexandrian project of correcting and codifying Joyce’s texts ("Ur greeft on them!" [FW 241.31]). Although it is not the intention, here, to evaluate the respective "genetic" theories, it remains necessary to investigate how this term can, in itself, be rendered so as to disrupt such a project of textual reduction. This would involve considering more closely the structure and implications of the genetic metaphor, to see how it carries within itself the germ of an idea that would discredit from the beginning any project of establishing a Joycean Ur-text on the basis of a genetic decipherment, or what the Wake refers to as the "greeter glossary of code." (FW 324.21) Molecular biology provides a descriptive formula which brings together these seemingly unrelated ideas from the textual and biological fields of genetics, in a manner of "literality" which suggests both a form of metonymic recursion and metaphoric substitution—that is, the enzyme reverse transcriptase. The enzyme reverse transcriptase is that attribute of RNA which makes a retro-virus possible (as a mechanism of integration)—what, within the basic genetic fabric, programmes the retro-virus and causes it to function and propagate in a quasi-genetic way, giving rise to what might be called "viral DNA." When the RNA of a retro-virus enters a "host cell" it essentially receives the same treatment as the host’s own genetic material. In the words of computer scientist Douglas Hofstadter: "This would mean getting transcribed and translated" so that the seemingly innocuous genetic code by which the virus entered the cell would be "decoded" into a different, viral code which would then be programmed into the cell’s infrastructure and in order to be replicated by it. (1980: 523) Technically speaking, the reverse transcriptase catalyses the formation of double-stranded DNA using the single strand of its viral genome as a template. This allows the viral genome firstly to be inserted into the host’s DNA and then to be replicated by the host. The reverse transcriptase is thus the reverse of the usual process of transcription in cells. That is, the process in which the genetic information of DNA is transferred to a molecule of messenger RNA, as the first step to protein synthesis. (The process of transcription, in which information for the manufacture of proteins and their constituent amino acids is encoded in messenger RNA (normally transcribed from DNA in the nucleus of the cell), is followed by a process of translation, which takes place at the ribosomes, in which this encoded information is translated into a sequence of amino acids.) (Lehninger, 1976: passim) The reversibility of the transcription process provides, at the indifferent stage of translation, interesting corollaries to the Heideggerean concept of "emplacement." This process of transcription and translation can also be seen to describe what Hofstadter calls a "morphological pathway," (1980: 539) or what Brian Massumi has described as "a mise en abyme of homologous organic structures" organised according to the "polymorphous connective potential" of a perverse, genetic apparatus. (1993: 119) The problem remains, however, in determining so-called "authentic" genetic codes from encoded viral messages, which ostensibly take the same form. It is not simply a question of affecting the simulation or substitution of the original genetic structure, but of an activation of what is inherent to the genetic programme itself, and which reveals a lapsus in place of what would be determined as the originary code. As Walter Benjamin argues in "The Work of Art in the Age of Mechanical Reproduction": "The presence of the original is the prerequisite for authenticity." (1995: 214) Like Benjamin’s notion of mechanical reproduction, it is the non-presence of the original which makes reproduction, translation and transcription, possible in the first place. This has an important relation to the question of binary determinations generally. Equally, the "morphological pathway" described by series of genetic translation and transcription, cannot be situated in terms of an inside/outside of a formal system of coding and decoding, in which the translated or transcribed term would be considered as the ghost or simulacrum of either of two terms in opposition (viral DNA/"authentic," non-viral DNA) as a genetic pharmakon (poison/cure, etc.).* This textual-genetic babelisation, its "origin" crossed through by an event of translation, likewise describes the absence of any determinate "originary" code, such that the series of coding and de-coding implicit to any morphological reduction must necessarily continue to virtually infinite levels of complexity. And as with the mechanisms of translation and transcription themselves, the system thus affected would amount to something like an apparatus of "interruptions and isolations, extensions and accelerations, enlargements and reductions." (Benjamin, 1995: 230) The mechanism of translation functions, and continues to function, irrespective of absence or presence of an originary code or intention. It is enough that the code is structurally contiguous with the possibility of its repetition, as either translation or transcription, and that the "tekhne of writing" implicit to it can be seen as bearing the mark of dependency (the programmatics of prosthesis). (Derrida, 1981: 104) Consequently, the "viral" code will be precisely the one to represent the authoring genetic scriptor, even if (or indeed because) its antithetical origins are forgotten, and even if there is nothing other than its own inscription to continue authorising it. By virtue of a type of inflationary paradox, this proxy or metonymic representative thus lays claim to an authority and authenticity greater than that for which it is the substitute. Moreover, the substitutability of viral RNA can be said to situate it in a "technological" relation to autopoiesis and cyclical recursion. The complex relation between viral and non-viral RNA and DNA, as a form of recursive paracitation, suggests analogous complexions of significance, beyond what we might strictly speaking call textual genetics, in the organisation of textual structures generally. By the same token, such complexions invite consideration of otherwise syntactic or semantic "codes" as somehow genetic, as indicative of an originary code which is at the same time viral, parasitic, dissimulating: what of genetics that is structurally necessary and yet threatens the normativity of what we call genetic structure from within and from its origins. The concept of viral emplacement raises questions not only about technological aspects of reproduction, but about the "emplacements" of technology itself and of the "genetic scene." This also leads us to ask questions about what it means when we approach the genetic programme as a particular technology. That is, as a form of recursive solicitation, between techne and logos: "and the carollas he so has saved gainst the virus he has thus injected!" (FW 321.05-6) In other words, it raises the question of how the "vicious circle" of retro-viral emplacement (translation and transcription) at once calls for and motivates a kind of hypertextual apparatus irreducible to a stable field, or place-ment, whereby a text could be defined in relation to a structural episteme (or "genetic code"). This solicitation would consequently imply, as Samuel Weber argues, a way "in which the ‘technics’ of Heidegger’s quest(ion) entails the destabilisation of such fields." ("The Vaulted Eye," 1990: 48) Hence the question can be also be posed in terms of how this solicitation as a détourned "bringing-forth" might be regarded simultaneously as a function of poiesis and of technics, both "originary" and mechanical production, reproduction or repetition, in a form of a "viral" propagation. Which leads to the question: "is not the emergence of the grapheme […] the very origin and possibility of logos itself"? (Derrida, 1981: 88-9) If we look at it textually, in terms of what Hofstadter calls "typographical enzymes," we can begin to envisage a textual genetics, or "typogenetics," that can be localised in Finnegans Wake in terms of the structural triads H.C.E. and A.L.P. (1980: 505; 504) The phrase "enzyme reverse transcriptase" might, in this sense, be just as well taken to describe the "morphological pathways" marked out by these two textual "RNA strands" as it would to describe biological RNA. And just as the "morphological pathways" of molecular biology also describe a genetic history, or genetic memory of themselves, so would those transversals "communicating" in the triads H.C.E. and A.L.P. describe a genetic memory of the Wake. This suggests the further significance to textual genetics and genealogy of what has been called iterability and trace, and the relation of the genetic code (and of the genealogical hermeneutic) to a particular play of memory and programmatics. Borrowing a computing metaphor, we might view this viral technics as contiguous with the de-centred structures inscribed within or between languages and programmed by language, as an accumulation of processes of coding and transcoding, translation and integration between differing softwares and different operating systems. In Of Grammatology, Derrida suggests that we might think this in terms of cybernetics, and in particular the cybernetic programme, as describing a field of writing: if the theory of cybernetics is by itself to oust all metaphysical concepts - including the concepts of soul, of life, of value, of choice, of memory - which until recently served to separate the machine from man, it must conserve the notion of writing, trace, gramme [written mark], or grapheme, until its own historico-metaphysical character is also exposed. (1976: 9) This may in fact be one of the most succinct statements about the nature of such metaphors as "hypertext," situated as it is on the breach of the mechanical and the biological, techne and physis, and so on—informing the cybernetic apparatus, from the most elementary processes of information to structural formulations of semantic systems, as contiguous with a condition of writing. At the same time, this condition itself is seen to undergo modifications, following the various developments of "the practical methods of information retrieval" which extend "the possibilities of the ‘message’ vastly, to the point where it is no longer the ‘written’ translation of a language, the transporting of a signified which could remain to be spoken in its integrity." (ibid.: 10) This development consequently describes a particular defile of the signifier as "phonetic writing," that is, as the record of the absence of a speaking subject. Thus the "cybernetics" to which Derrida alludes can be thought of as a moment or series of moments in which the pro-gramme is seen to mark a writing "prior" to the sign, that "medium of the great metaphysical, scientific, technical and economic adventure of the West," which in its turn is "limited in space and time" to a particular historical placement. It is this tentative "priority" of the pro-gramme which provides the deconstructive "element" of this cybernetics, as non-linguistic inscription: Even before being determined as human (with all the distinctive characteristics that have always been attributed to man and the entire system of significations that they imply) or nonhuman, the gramme—or the grapheme—would thus name the element. An element without simplicity. An element, whether it is understood as a medium or as the irreducible atom, of the arche-synthesis in general, of what one must forbid oneself to define within the system of oppositions of metaphysics, of what consequently one should not even call experience in general, that is to say, the origin of meaning in general. (ibid.) This "nonfortuitous conjunction of cybernetics and the ‘human sciences’" could be one way in which we might understand the description of Ulysses and Finnegans Wake as a "1000th generation computer" or "hypermnesiac machine." (Derrida, 1984: 147-148) TYPOGENETICS In "Structure, Sign and Play in the Discourse of the Human Sciences," Derrida makes the point that it is impossible to conceive of an unorganised structure. But although the genetic code, like the philosophico-historical episteme, will always have functioned as "an organising principle which would limit what we might call the play of structure" (1978: 278)—even if this limit were to be marked as a kind of technics, a probability quotient or evolutionary chain—this does not mean to say that there cannot be an "organising principle" which would not, at least in an analogous sense, limit the "play of structure." Such an "organising principle" would pose a challenge to the authority of the "code," or of the episteme, over the general field of discourse. Among the basic tenets of structural hermeneutics is that the episteme is that which "absolutely requires, which is the absolute requirement that we go back to the source, to the centre, to the founding basis, to the principle." (ibid.: 286) Epistemic discourse might thus be regarded as necessarily genealogical, labouring beneath the spectre of memory as re-presencing. However, according to this "absolute requirement" that we "go back," there arises a certain aporia in the paradoxical will to derivation and truth. This genealogical movement is paradoxical precisely because it will have been inscribed, a priori, in the discourse over which it has always assumed a certain mastery, and because it will have posited from within (and upon the basis of) this discourse an episteme which is forever "exterior" to it. In other words, the genealogical will remains entangled in, and dependent upon, the very (technological, discursive) structures that it requires to be reduced, and in this sense the movement of epistemic discourse always takes the form of a quest, detour or "riverrun." This is not to say, however, that epistemic discourse is opposed to some other discourse (say, "mythological discourse") but that from its origin epistemic discourse is, in and of itself, mythomorphic—a "cataleptic mithyphallic." (FW 481.04) In "Du mythe au roman," Claude Lévi-Strauss describes a "process of degradation" in myths which takes place over the course of their transformations as social narratives and ritual re-tellings and meta-narratives. (1968: 105) This degradation, in which the cyclical periodicity of a myth is lost in a diversity of episodes relating to ever shorter periods of time, may be characterised, according to Stephen Heath, as a "loss" of structure. (1984: 48-9) In other words, "its structural content is dissipated" as what Heath calls a "fall into seriality." (ibid., 49) This "fall into seriality" has been discussed at length by Margot Norris, in her 1976 structuralist analysis The Decentered Universe of Finnegans Wake. One of the things that Norris suggests is that the reception of "unmistakable similarities," in the way the "event" of H.C.E.’s supposed fall is retold (the "Phoenix Park incident"), marks precisely what gives mythologising its possibility—as a type of "hearasay in / paradox lust" (FW 263.L4): At no point does the account of the Phoenix Park incident qualify as the real or factual event, the "true" account of what happened that day. Instead we merely receive different versions with unmistakable similarities [...]. The lack of an authentic source, of a "true" version, suggests that [...] the original trauma, was itself experienced as a fiction or myth at the moment of its occurrence. (1976: 26) Similarly, the recursive tropology of the "genetic" sequence H.C.E., "Hocus Crocus, Esquilocus" (FW 254.20), suggests that the equi-loci of the Wakean "concentric centre" are tied to the solipsism of self-identity or repetition compulsion—what Joyce refers to as "cycloannalism, from space to space, time after time, in various phases of scripture as in various poses of sepulture." (FW 254.26-8) In Work in Progress and Finnegans Wake this effect of emplacement is also obtained through a type of reflexivity which recalls the emblematic device of the mise en abyme. Genetic scholars have long made use of the fact that Joyce himself frequently treated his own published and unpublished texts as raw material for later writings, describing a type of internal citation structuring the "complete" body of Joyce’s writing as an elaborate geno-technic matrix. In Finnegans Wake instances of such internal citation and paracitation recur throughout the text, continuing the transcriptional economy of the notebooks, both at a structural and thematic level. One example of this can be found in the figure of Saint Kevin, beginning with one of the fragments referred to as Vignette 3, or the Saint Kevin vignette, dictated by Joyce on April 15, 1923: St Kevin born on the Island of Ireland goes to lough glendalough to live on an Island in the lake and as there is a pond on the island and a little island in the pond he builds this hut on the islet and then scoops out the floor to a depth of one foot after which he goes to the brink of the pond and fills his tub with water which he empties time after time into a cavity of his hut thereby forming a pond having done which he half fills the tub sets it in the middle of the pool, pulls up his frock and seats himself in the tub and meditates with burning zeal the sacrament of baptism or regeneration by water. This text corresponds to fragments in Joyce’s notebook VI.B.3.42-45, and evolves through six other versions in drafts and in letters written to Harriet Shaw Weaver between April and August 1923 (cf. JJA 63 38e-38f; James Joyce Broadsheet June 1989). A significantly extended variant appears in Finnegans Wake from 604.27: "Of Kevin, of increate God the servant," and forms the basis of the text which appears on page 605 and the first half of 606, in which the internally regressive nature of the fragment is rendered more and more intricate, as the "concentric centre of the translated water" (606.3-4) in which "most blessed Kevin" finds himself enthroned in a series of numerical regressions and substitutions, reminiscent Cantor’s and Russell’s set-theory paradoxes. This passage in the Wake is preceded, by some four hundred pages, by a reference to an apparently abandoned variation of the Saint Kevin vignette (May 1923), appearing at 210.14. The vignette itself functions as a type of antecedent metonym, almost entirely subsumed in the text of the Wake in the diminutive "Kevineen": As an infant Kevineen delighted himself by playing with the sponge on tubbing night. As a growing boy he grew more and more pious and abstracted like the time God knows he sat down on the plate of mutton broth. He simply had no time for girls and often used to say that his dearest mother and his dear sisters were good enough for him. At the age of six he wrote a prize essay on kindness to fishes. While the vignettes parody the medieval fashion for invented "lives of the saints," projecting an infant Kevineen in which the adult Saint Kevin is clearly delineated in the "concentric centres" of his hydrophilia, they also provide thematic and structural comments upon the nature of satire, and the mise en abyme, or what Derrida calls "satire of the abyss." (1987: 17) Similarly, the progress from play to play-within-a-play takes on the form of an infinite reversion and recursion—an excess and insufficiency of textual limits—arising at points of ambivalence between what is termed a limit and that which inscribes it and is inscribed by it. That is to say, the conditions of excess and insufficiency which accompany such notions as containment and closure, and which inhabit the problematic of the episteme and epistemology. In this way Joyce’s text of "concentric centres" provides a decentring substitutability—a transversal or metonymic chain of concentricity like so many Russian dolls or matrioshky, in which the centre is nevertheless always elsewhere. The genetics of metonymic recursion can be seen to find a more "radical" expression, however, in a certain base materiality of Joyce’s writing, described not only in the syntheses of Joyce’s portmanteaux and the acrostic function of typogenetic clusters like A.L.P. and H.C.E., but in the function of certain sigla which appear in Joyce’s correspondence and notebooks, and in largely sublimated fashion in the published text of Finnegans Wake. In 1976 Roland McHugh’s study, The Sigla of Finnegans Wake, furnished the first systematic inquiry into Joyce’s use of sigla in his writing, referred to as the "Doodles Family (FW 299.F4): McHugh’s study is significant to a "semantic" conceptualisation of textual genetics because it engages the way in which textual elements in Joyce’s writing signify otherwise than linguistically. These sigla either appear in the published version of Finnegans Wake or are alluded to in the Buffalo notebooks, particularly VI.B.8. McHugh records, for example, the appearance of the inverse T siglum on page 147 of the notebook along with its page and line reference in the Wake ("Miss Horizon, justso all our fannacies dainted her, on the curve of the camber, unsheathing a showlaced limbaloft to the great consternations"): VI.B.8.147: [inverse T] girl lying on (340.28-30) causeway lacin with one leg heavenward, lacing her shoe (1976: 133) In a letter to Weaver (24 March 1924), Joyce wrote: "In making notes I used signs for the chief characters," on the reverse of which the inverse T siglum appears among a list of other sigla, this time standing for the figure of Isolde, the inverse of Tristan (T). (Letters I 213) Elsewhere, at VI.B.II.105, the inverse T is given as "mirror of mirror." (McHugh, 1976: 7) But as McHugh himself has pointed out, any nominal approach to the sigla is liable to ambiguity, despite Joyce’s advertisements. (ibid.: 135) As with the notational acrostics H.C.E. and A.L.P., the sigla appear to stand in place of different characters or characteristics at different times. The ^ siglum, for example, is thought to stand for Shaun in Joyce’s letter to Weaver, while in VI.B.15.153 it stands for "taste," and later for Justius and Kevin (where an apparent relatedness lies in the binary organisation of the fraternal couples Shaun and Shem, Justius and Mercius, Kevin and Jerry, and so on). Studies into the Wake’s paronomasia have long seen Joyce’s phonic and graphic puns and portmanteau words as examples of lexemes or other sublexical units bearing "autonomous" significations beyond simply designating linguistic difference. This effect of verbal molecularisation is described by Clive Hart as: "The development of a style which involved the manipulation of ever smaller and more autonomous units" (1974: 130), ultimately implying a genomic structure organised according to a type of semantic linkage mapping the "unlimited finite" of inter-textual relations. The use of sigla in Joyce’s text, and in particular the typographical effect of individual letters functioning as sigla, further suggests that we need to consider how signification in Finnegans Wake turns about an indefinite "double axis," between linguistic and non-linguistic operations. That is to say, in a broadly semiotic way whereby a marking on the page may function linguistically on one hand, and non-linguistically on the other, yet in both instances signifying in a meaningful and interdependent fashion. For example, how the "E" of H.C.E. is seemingly tipped over to signify "a village inn" (FW 119.27), or when the delta siglum of A.L.P. is suggested to signify "an upside down bridge" (FW 119.28), the Liffey "delta," and the equilateral triangle of transcendental mystery. (McHugh, 1976: 66-67) By the same token, it nevertheless remains a common-place assumption in Finnegans Wake criticism that A.L.P. and H.C.E. (nominally Anna Livia Plurabelle and Humphery Chimpdon Earwicker) function as archetypal parental figures who somehow engender all of the Wake’s various narratological forms, providing Joyce’s text with a kind of architectonics: "The meandertale, aloss and again, of our old Heidenburgh in the days when Head-in-Clouds walked the earth." (FW 18.21-22) What is of particular interest is how this speculative project derives from a certain complacency regarding the respective identities of these triads, H.C.E. and A.L.P., and our ability to structure around them familiar historical narratives and Oedipalised genealogies of "this old world epistola of their weatherings and their marryings." (FW 117.27-8) Consequently these figures are often taken to describe a polymorphous, or "genetic" network of possible identities (fictional, historical, autobiographical), which, however fragmented or divergent they may at first appear, are nevertheless supposed to be reducible to a set of normative predicates (novelistic structure, "Scene and property plot" [FW 558.35-6], etc.)—what Roland Barthes calls a "narrative [...] unveiling of truth" which "is a staging of the (absent, hidden, or hypostatised) father" (Joyce, H.C.E.?), and which "would explain the solidarity of [the text’s] narrative forms" and of its "familial structures." (1975: 10) They are then regarded as acting as a genetic "master key" whose permutations and combinations are supposed to follow underlyingly coherent, if superficially obscured, evolutionary patterns, and which, despite appearing to mark an aleatory scattering of semes, nevertheless remain gathered about a central meaning or originary code which through a rigorous genealogical project might be fixed and interrogated. But while this genealogical impulse may provide a "motivation" for a particular reading of the text, it remains that this impulse describes a structural outcome that its own process renders illusory. We might say, in fact, that this "motivation" remains the condition of such a reading throughout, without there being any possibility of a final decoding of the genealogical or genetic sequence, no matter how much information is accumulated, or how much data is uncovered. Reading in this sense would always remain in an "initial" state—a motivation or machination of the textual programme. This notion of a reading suspended in an "initial state," or of a genealogy in medias res, points towards another aspect of the textual programme: its literal or etymological sense of before the word, or before writing, which would also suggest one of the ways in which Finnegans Wake "calls for" reading, as something which Derrida describes as being precisely what we have not yet begun to read ("between the closure of the gramme and the trace of difference"). (1982: 63) In this sense we might say that Finnegans Wake "solicits" reading—that it motives or machinates reading in the form of a textual apparatus, situated at the limits of a type of autoproduction, or re-production, which would also take the form of a cybernetic or hypertextual machine: writing thithaways end to end and turning, turning and end to end hitherways and with lines of litters slittering up and louds of latters slattering down, the old semetomyplace. (FW 114.16-20) Such an apparatus would remain in a constant discursive state, manufacturing by turns both resemblances and differences that appear to hint, regardless of how chaotic the process of articulation or manufacture may appear on the surface, at some determinate organising principle beyond: what Joyce here calls "the old semetomyplace." Resonating with the possible significations of "see-me," "seem," "seam" and "seme," combined with the preposition "to" and the genitive "my place," this line suggests that what motivates this cybernetic apparatus is, again, a "paradox lust": an interminable passage, or detour, between the assumption of a present and the appearance of representation, or between the "place" of identification and textual production. Similarly, we might say that H.C.E. and A.L.P., rather than standing in place of a signified concept that would structure this grid from outside, describe instead transverse communications within the Wakean grid between differing moments of a desire for signifying structure. Each movement towards a signified concept is then put to work as yet one more series of co-ordinates in the Wakean "grand continuum" (FW 472.30), marking out a chain of dis-placement and substitution whose "genealogy" in fact describes the genetic mediation of the H.C.E. and A.L.P. triads. This does not mean that H.C.E. and A.L.P. will have taken the place of a genealogy or of an identity as such. Nor that they should not be thought of as being affected in terms of a prior code—in the sense of a concealed meaning or Platonic aletheia. But rather that they affect what Nicholas Abraham and Maria Torok describe as the "lexical contiguity of various meanings of the same word." (1976: 118) Such a contiguity would be regarded as "antisemantic or a-semantic" because of the way in which a "word" becomes the site of a "contamination," where signifiers "agglutinate homonymically." Similarly, we might regard the Wake’s acrostics and portmanteaux as affecting a kind of viral typogenetics, simulating all the properties of a genetic code or a genetic "memory" at the same time as reorganising that code’s arche- or teleo-logical imprint. Such a "contiguity" between a viral typogenetics (A.L.P. and H.C.E.) and schematic structure, or between retro-viral DNA and its host, would be one way that we might view the dynamics of Finnegans Wake as a "communication" motivated by the recurrence of chance operations in the alignment and re-alignment of sublexical graphic and phonic elements in Joyce’s textual apparatus. What is important is how the triads H.C.E. and A.L.P., as the traditionally privileged sites of this communication, demonstrate one way in which a process of genetic poiesis "marks the necessity of a contamination of any essence by a generalised technology." (Bennington, 1993: 312-3) This is what is implied by Derrida when, countering Heidegger’s assertion that "the essence of technology is nothing technological," he writes: Contamination […] of the thought of essence by technology, and so contamination by technology of the unthinkable essence of technology—and even of a question of technology by technology. (1989: 10) What is also important is how this techno-genetic metaphor derives not from a particular thematics, or from the numerous possible references to biological and technological phenomena to be found in the Wake, but from those geno-technic functions that emerge from and within the Wake’s language itself. In this way the lexicography of Finnegans Wake implies a movement towards a totalisation of the word, under the tenor of otherwise latent formal syntactic and grammatical structures, and thus a possible semantic system. Such an approach nevertheless requires the assumption that, in order to be "readable," a text must first be constituted in relation to a prior translational or transcriptive code (even if this code is characterised by the lack of a system). What in fact emerges, however, is that the mechanism which initiates the translation-transcription process is not one which is affected in terms of a prior code but rather by the "lexical contiguity of various meanings of the same word," or of the same compound. (Abraham and Torok, 1976: 118) In Joyce’s radically paronomasian text, this contiguity operates not only on the lexical scale, but also on a tropic and schematic scale—a structural shift orientated, as we have already seen, by such genetic "co-ordinates" as H.C.E. and A.L.P. These co-ordinates would also be seen as describing transverse relations across all of these scales, and so bringing about transverse communications. Through its various enzymatic processes of meaning formation and de-formation, this communication seems to bring-forth virtually infinite series of other texts, causing them to intersect according to the allegorico-metonymic figures of H.C.E. and A.L.P. At best, however, these figures would indicate a certain schematic idea of one another and of the place where contact could be made, as the promise of some future "advent." A.L.P. and H.C.E. might then come to describe "indexical" terms in what might be called an "interminable list of all the so called undecidable quasi-concepts that [are] so many aporetic places or dislocations." (Derrida, 1993: 15) Such an "interminable list" would traverse another kind of genetic structuration, something like a simulacrum index rerum cutting across the totality of Joyce’s "encyclopaedic" text at the same time as invalidating any architectonics or formal hypotaxis which might be offered as relating all the parts to the whole, as though an empirico-genetic map of itself. That is to say, these indices would remain irreducible beyond a certain genesis, a "paradox lust" or Paradise Lost which would also repeat the on-going site of an originary viral intervention as an allegorical rendering of the aporia of the genealogical hermeneutic—what Joyce calls "eldorado or ultimate thole" (Ultima Thule). (FW 134.01-02) Moreover we should understand that this intervention is not the perversion of an originary, purer, more elevated state. Rather it marks a certain internal difference of the so called "ultimate event," whereby the memory of/at the origin is already contaminated by the divisibility of the trace. ALETHEOMETRY The re-inscription of indexical value within the space of the technologico-viral matrix (A.L.P. and H.C.E.), nevertheless supposes what Weber calls "a place of reckoning: a place from which to take stock and take a stand." (Weber, 1990: 49) That is, against the ambivalent or unsecured being placed by which we might say that Joyce’s hypertextual poiesis "belongs" to technics. By posing emplacement against a place of reckoning, this aporia of genealogy threatens to re-establish precisely the oppositional foundation of inside/outside, physis/techne and so on, which viral propagation will have supposedly deconstructed. As Heidegger argues in Being and Time: What looks like disunity and an unsure, "haphazard" [Zufall] way of "trying things out," is really an elemental restlessness, the goal of which is to understand "life" philosophically and to secure for this understanding a hermeneutical foundation. (1992: 398) The paradigmatic treatment of the Wake’s "genetic" strands, A.L.P. and H.C.E., may itself be viewed as symptomatic of such an "elemental restlessness" and the desire to situate the text in regards to first principles (as the decipherable code of a hermeneutic reduction). In this sense, the Zufall organisation of the Wake’s typogenetic codes would be posed as a form of discursus, a universalised theorein of speculative knowledge, whose procedures are probabilistic, in terms of a ratio of assumed outcomes (concealment/revelation). In other words, the hermeneutic reductionism which this Zufall movement conceals, is directed by a desire for signifying "equation," or adæquatio—a movement of revealing which, in the goal of securing a hermeneutic ground, establishes a self-contradiction (FW 285.26-286.06). For Joyce, what is "by no means to be comprehendered" is not only inaccessible, but in excess of the system of postulates and axioms which would seek to establish knowledge (or self-knowledge) by means of reduction or adæquatio. Whilst the right-hand marginalia points towards the apotheosis or "theosis" of the lustral principle (A.L.P.) as a function of a certain grammatology, the term "HEPTAGRAMMATON" simultaneously points to the words "equal to" and the letters "P.t.l.o.a.t.o." in the central column of text. While the seven letters and four consonants "P.t.l.o.a.t.o." suggest a coding of "equal to," they also suggests another sense of equation (or binomial inequation) in the relation of the words "equal to" and the meaning of the equals sign (=). As a type of rebus, the = siglum invites a particular deciphering of the double sense of the words "equals to" and the letters "P.t.l.o.a.t.o." by way of "aosch" (or "chaos"), as a transpositional "hypothesis" of the textual derivation of what is "in exessible" (i.e. the meaning of the trinitarian figure A.L.P. in toto). Approached otherwise, the letters "P.t.l.o.a.t.o." can also be read as suggestive of an acronymic sequence, or what Shklovsky termed "algebrisation," whose capitalised first term also invites identification with a proper noun. Among various other possibilities is the name "Plato" ("after those initials falls"), whose Socratic dialogues likewise mark out a path of derivation through a dialectics of knowledge and self-knowledge. Earlier in the same chapter, Plato’s name is similarly involved in an anagrammatical entanglement with the letters H C E A L and P in the line: "Easy, calm your haste! Approach to lead our passage!" (FW 262.01-2) Here, too, a hermeneutic movement is suggested under the guise of an elemental restlessness ("Easy, calm you haste!"), in the invocation of A.L.P. to "Approach to lead our passage!" The "defilement" of the proper name Plato, and its anagrammatical entanglement with A.L.P., belies the thematics of hermeneutic reduction and of the proper itself (as purely "nominal"), in a way that re-introduces to the signifying equation a fundamental element of "chaos" (its "in excessible" meaning). Further allusions to Plato and Platonism appear throughout "Nightlessons," and the Wake as a whole. One reference to A.L.P. as "eternal geomater" (FW 296.31-297.01), provides a possible link in Joyce’s text between geometry (as the classical science of pure forms) and Platonic aletheia (as the presencing of logos) in the word "Aletheometry" (FW 370.13), which elsewhere is linked to signifiers of originary dissimulation, as "lethemuse." (FW 272.F3) At the same time, A.L.P. is related to the mythical underworld figure Persephone (perce oreille), just as the name Plato is related to that of Pluto ("plutonically pursuant" [FW 267.09-10]). As the signifier of a maternal origin of geometry and of Platonic logos ("eternal geomater"), A.L.P. can be seen as describing what amounts to a "contamination" of the "essence of truth" from within, echoing the internal defilement of Plato by Pluto (in which the relation of Acheron to the "Analogy of the Cave" in Plato’s Republic suggests an occultation of aletheia as a "bringing to the light"). Typographicaly, the term aletheia (truth, unconcealment, adæquatio) can also be read as a-letheia—so that, as Heidegger says, the privative alpha is taken to indicate that concealment (lethe) always accompanies unconcealment. (1992: 33) In Heidegger’s interpretation, "self-concealing, concealment," belongs to a-letheia, not just as an addition, not as "the shadow of light," but rather as the heart of a(lethe)ia. Hence Platonic aletheia is shown to belong to that which persists within it, as lethe, and which gives rise to it through a movement of abnegation—a movement which nevertheless both preserves and affirms the word’s "originary" sense of concealing-forgetfulness. In an important corollary, this quasi-viral emplacement of lethe within one of the founding terms of Platonic metaphysics is seen to draw together, in an important way, the two-fold movement of concealing forgetfulness with a concept of technology, which likewise suggests a further sense of "emplacement" in terms of a typogenetic defilement. For Heidegger: Technology comes to presence in the realm where revealing and unconcealment take place, where aletheia, truth, happens. (1993: 319) This technology of aletheia, as a mnemotechnic, resides in the topical reversion of memory as "writing." In this sense it is the typogenetic mechanism of emplaced lethe/aletheia which gives rise to an autopoietics of a-letheia (a hypermnesiac machine which, to invert the usual formula, "remembers" by forgetting everything), just as the typogenetics of the Wake allows for the reading of the proper name Plato and the figure of A.L.P. as congruent in the line "Approach to lead our passage!" which likewise suggests a passage of mimetic recursion or entropics. While possible reference to Greek mythology link the analogy of Plato’s cave to the story of Orpheus and Eurydice, as a "passage" of aletheia, it also points to a counter movement of cyclical recursion in the figures of both Eurydice and Persephone, in which aletheia is "negated" in the reversioning of the name Plato as Pluto. The typographical "marrying" of Plato and A.L.P. similarly suggests the seasonal re-marrying of Pluto and Persephone, as the parallel reversion of lethe in aletheia, and the Virgilian epigraph to Freud’s Traumdeutung: "Flectere si nequeo Superos, Acheronta movebo." (Aeneid, VII)** In an essay on Ulysses entitled "Archéologie du regard dans les avant-textes de «Circé»," Ferrer elaborates the idea of recursion in terms of spectrality, haunting and hallucination. Ferrer’s understanding of the nature of hallucination draws heavily upon Freud’s Traumdeutung, as a "perception which comes not from the external world, but the internal world." For Ferrer, "hallucinations, like dreams, produce perceptions of a regressive character": The cathexes from the Ucs (Unconscious) proceed backwards to the sensory end of the psychic apparatus. This topical regression (the transition from a system of the psychic apparatus to an anterior system) results in a predominance of visual images [...] which correspond to the "ideas of things" characteristic of the Ucs system which is the source of the hallucinatory cathexis. (1988: 133) Ferrer’s contention is that such a cathexis can also reactivate "verbal ideas" stored in the genetic memory. While these ideas may become active on the textual surface, to do so they must proceed through an unconscious "system," "by means of a topical regression and conform to the rules of the Ucs system." (ibid.: 141) In Ferrer’s view, this "topical regression" is also a "formal regression," where, as in Freud’s formulation, the significance of these "verbal ideas" is biased more towards their "morphogenesis" (metonymic condensation and metaphoric displacement) than their apparent semantic content. In his 1985 essay "The Freudful Couchmare of ^d: Joyce’s Notes on Freud and the Composition of Chapter XVI of Finnegans Wake," Ferrer explores the transpositional economy of Joyce’s use of notebook VI.B.19 (JJA 33). In late 1925, Joyce used this notebook extensively for the composition of chapter XVI (III.4) of Finnegans Wake, and Ferrer locates in it what he describes as a "large number of seemingly unrelated words and phrases which in fact come from the third volume of Freud’s Collected Papers." (1985a: 367-8) At the time of the notebook’s composition, Freud’s Collected Papers, which contained Freud’s five major case studies: "Little Hans," "The Rat Man," "Judge Schreber," "The Wolf Man," and "Dora," had just been published by the Hogarth Press and the Institute of Psychoanalysis in London. According to Ferrer, it is possible to identify direct references in the notebook to "Little Hans" and "The Wolf Man," while "Dora" appears in Finnegans Wake as "doraphobia" (FW 478.37) in a passage containing a large number of other Freudian references. (1985b) Ferrer’s research suggests that Joyce read Freud extensively, and his transcriptions of Freudian source texts are seen to account for approximately twenty pages of the VI.B.19 notebook. Ferrer lists a significant number of these entries along with their corresponding sources in Freud’s Collected Papers. (1985a: 374; the reference on the right-hand side is from Freud, 1925: 502) For example: p. 70 -vice father surrogate referring to Freud 1925: 502: “If in my patient’s case the wolf was merely a father surrogate, the question arises whether the hidden content in the fairy tales of the wolf that ate up the little goats and of ‘Little Red Riding Hood’ may not simply be infantile fear of the father." Although Joyce’s reference (on the left-hand side) appears slight, Ferrer points out that the reference is "the basis of an important aspect of a passage from III.4 [which is] full of references to psychoanalysis and swarming with multitudes of wolves." The words themselves appear in the sentence: "A child’s dread for a dragon vice-father" (FW 480.25-26). Ferrer also uses this reference as an example of Joyce’s working method with his notebooks: He notes down a phrase ("father surrogate"), then he adds (immediately or later) something that modifies or enriches it ("vice" has obviously been inserted above "father" with a pun, of course, on the two meanings of vice). In Finnegans Wake, "surrogate" was altogether eliminated, making the reference quite undetectable, but the original psychoanalytic context is retained and proliferates. (1985a: 374) A reference elsewhere by Joyce, this time to Freud’s statement on "the timelessness of the unconscious" (1925: 477), leads Ferrer to note that "like Finnegans Wake, the Freudian unconscious is outside the realm of time," (1985a: 373) hence drawing an analogy between the idea of the unconscious as a palimpsest of mnemonic traces (Wunderblock) and Ferrer’s own synoptic re-versioning of Joyce’s text(s). This also suggest a hypertextual conception of the Wake—whereby other ("source") texts could be seen as conspicuously haunting Joyce’s assemblage, to the point that they drastically disrupt the apparent placement of the text, without however establishing any strict claim to derivation as the basis for an assumption of meaning in any given context. ARCHITECTONICS However, while we might say that this Wakean "typogenetics" frustrates the desire to secure a place or stable field wherein Finnegans Wake could be defined in regard to a structural episteme, it is not then simply a matter of privileging this geno-technics in place, for example, of logocentric discourse. As Weber suggests: "Technics [...] even and especially as emplacement, remains a movement of unsecuring." (1990: 50) It is in this sense that we can regard the "genetics" of the Wake as motivating a "paradox lust" between techne on the one hand and logos on the other (even as these two terms come to imply one another under the tenor and concept of technology). And inasmuch as we might call certain typographical effects, such as H.C.E. and A.L.P., resemblant or revenant of a genetics infrastructure, this would have more to do with the concept of a retro-virus (and with the way viral emplacement programs the fundamental logic of genetic structure), than with anything that might simulate genetics. It is precisely because of this engagement with genetic, or geno-technic emplacement that we need to take into account the various influences affected by this word’s etymology within the field of received philosophical concepts. The geno-technics of the retrovirus can be thought of as infecting from within, and through a type of perverse etymological filiation, the entire discursive field of genealogy, genre, gender, genus and genesis. Extending, through the function of the genitive, to all of our concepts of belonging, ownership, capital, identity and of the proper name. And subsequently, via the Greek geno- and the Latin gens and discursus, to the entire history of Western metaphysical notions of conception, understanding and knowledge. The "genetics" of the Wakean triads H.C.E. and A.L.P. would thus entail what Deleuze and Guattari have described as "propagation by epidemic, by contagion" which no longer "has anything to do with filiation by heredity [...] even if the two themes intermingle and require each other." (1993: 241) As conceived by Deleuze and Guattari, this movement of unsecuring of/at the origin informs a structural decentring which operates the metaphor of "desiring machines." The desiring machine, counter to any system of closure or simulated organic unity, functions by means of a process of "flows and interruptions" or "breakthroughs and breakdowns." Not surprisingly, the desiring-production of desiring machines takes the form of a type of hypertextuality, which, like the "riverrun" of Finnegans Wake "turns back upon" itself in a way that brings about: transverse communications, transfinite inscriptions, polyvocal and transcursive inscriptions on its own surface, in which [...] functional breaks and flows [...] are continually intersected by breaks in the signifying chains, and by breaks effected by a subject that uses them in order to locate itself. (1977: 43) In their 1979 book Autopoiesis and Cognition, cyberneticists Humberto Maturana and Francesco Varela coin the phrase "autopoietic machines" to describe analogous processes of mechanised autoproduction. In cybernetics the term autopoietic refers to "machines" organised as a network of processes of production, transformation and destruction. This network gives rise to components which, through their interactions and transformations, regenerate and in turn realise the network or processes that produced them. At the same time these components constitute the network as a concrete unity in the space in which they exist by specifying the "topological domain of its realisation." In other words, the components of autopoietic machines generate recursively, by means of their interaction, the same network of processes by which they themselves are produced. Like Deleuze and Guattari’s "desiring machines," autopoietic machines describe a movement of self-engendered "transverse communications." The recursive play between topology and tropology here suggests that we might also approach Finnegans Wake as a type of "word machine, or a complex machination of meanings," a "perverse semic machine" which "has the ability to distort the classical semiological relation between ‘production’ and ‘information’ by disarticulating the sequence of encoding and decoding." (Rabaté, 1984: 79) Among other things, this disarticulation serves to affirm the Saussurean view that what remains necessary for "meaning" to arise is not a predetermined system of codes, but rather a network of internal textual difference (the technics of autopoiesis). Similarly, in the case of the Wakean figures, H.C.E. and A.L.P., it is not the logic of genetic filiation that gives rise to something resembling identity (even virtual identity), but rather the particular differential functions that each of these figures describes, as a kind of matrix or difference engine—a "polyhedron of all scripture" or "proteiform graph" (FW 107.08) motivated by recurrences in the alignment and re-alignment of sublexical graphic and phonic units—a technological event which produces, potentially, infinite networks of meanings. The letters H C E A L and P—far from indicating a kind of indexical code that would affirm, at another level, an architectonics of Finnegans Wake—indicate instead the various shifting co-ordinates, or lattice points, of a traversal across the entire discursive field of linguistic substitutability, whose outer limits necessarily exceed the structure of the book itself and not simply the formal structures allegedly contained by it. What it is that motivates this "hypertextual" apparatus might then be simply expressed as a statement defining a communication between the assumptions of genetics and genetic structure, on the one hand, and a general movement of viral emplacement, on the other. The space of this communication would be said to arise in an "originary" fashion—that is, as a movement of unsecuring of/at the origin. In this way what we would call genetic memory, will always already have been divided from itself, mediated from within by this space of différance, and paradoxically affirmed in a retrogressive tendency to repetition and autopoiesis in the evolution of Joyce’s "hypermnesiac machine."*** Being hetero-genetic, this "hypermnesiac machine" would thus situate writing as the form and horizon of a projective re-memoration, marking the substitution of trace, or arche-trace, since the concept of a mnemotechnics arises from a direct re-experiencing of a past (presence) that returns (in the present). Similarly, the recursive mechanism which gives rise to concepts of identity in Finnegans Wake is not the proximity of its signifiers to some prior code, but rather a technics of signifying memory, a hetero-genetic memory that would remain unfixed and whose apparent limits would describe "aberrant paths of communication between noncommunicating vessels" and "transverse unities between elements within their own particular boundaries." (Deleuze and Guattari, 1977: 43) And if these paths of communication appear at first to function together as a "genetic key" that might unlock the Wake’s hypertextual labyrinth, it would only be in the sense that, like retro-viral propagation, they assume the coherence of a structure which they nevertheless, in advance, deconstruct from within. NOTES * In “Plato’s Pharmacy” (“the whole of that essay […] being itself nothing but a reading of Finnegans Wake”), Jacques Derrida similarly remarks: “In order for these contrary values (good/evil, true/false, essence/appearance, inside/outside, etc.) to be in opposition, each of the terms must be simply external to the other, which means that one of these oppositions (the opposition between inside and outside) must already be accredited as the matrix of all possible opposition. And one of the elements of the system (or of the series) must also stand as the very possibility of systematicity or seriality in general.” (1981: 88 n20; 103) This seeming paradox describes the condition of a certain pharmakon (poison/cure) of writing. Relating the myth of writing’s origin as a prosthesis of memory, Derrida traces a movement of debilitation within the system of oppositions which determines this “prosthetic function” as a perversion, in the tendency of the written mark towards the redundancy of the word, and hence a type of forgetfulness. This debilitation, rather than acting externally upon this system of oppositions, is located within its very expression, as the “equivocation” of the genitive. This pharmakon: “far from being governed by these oppositions, opens up their very possibility without letting itself be comprehended by them.” Moreover, writing as a pharmakon: “cannot simply be assigned a site within what it situates, cannot be subsumed under concepts whose contours it draws, leaves only its ghost to a logic that can only seek to govern it insofar as logic arises from it […]. All the more so if what we have just imprudently called a ghost can no longer be distinguished, with the same assurance, from truth, reality, living flesh, etc. One must accept the fact that here, for once, to leave a ghost behind will in a sense be to salvage nothing.” (1981: 103-4) ** Joyce’s allusion to the river Lethe, in the word “lethemuse,” likewise draws attention to the operation of concepts like mimesis and mnemosyne, or creative memory (the source of language, according to Hegel). As with the figure of Mnemosyne in Keats’s Hyperion fragment, which is inextricably linked to a notion of “fall” and topical reversion (Apollo-Hyperion), the mnemotechnic of a-letheia marks a certain defilement of internalised memory in a way that would characterise memory as the recurrent affirmation of concealing-forgetfulness, but also as a kind of recursive apparatus—what Heidegger terms Ge-stell, or enframing¸ as a technological form of disclosure or “revealing.” (1993: 324) What lethe gives of its effacement in a-letheia is the possibility of a being-placed, by which a-letheia re-marks itself in the affirmation of its own interminable passage toward the aporia of self-presence. We could say, then, that a-letheia always takes the form of a detour and a repetition (the emplacements of lethe in aletheia describing a passage twice through Lethe in the counter-memory of its origin as mnemotechnic), suggesting another way in which the “riverrun” of Finnegans Wake might enact a retroversion of Platonic logos to what Joyce calls the “babbling pumpt of platinism.” (FW 164.11) This aporia of reduction likewise describes what Derrida calls the “differentiation within language,” between reproducing and supplanting. (1981: 89) This takes the form of something like a viral, typogenetic emplacement, by which logos (as emplaced techno-logy) is effectively spirited away from itself (“lethelulled” [FW 78.04]): “it is this life of the memory that the pharmakon of writing would come to hypnotise: fascinating it, taking it out of itself by putting it to sleep in a monument. Confident of the permanence and independence of its types (tupoi), memory will fall asleep, will not keep itself up, will no longer keep to keeping itself alert, present, as close as possible to the truth of what is […] it will sink down into lethe, overcome by non-knowledge and forgetfulness.” (1981: 105) And yet: “Memory and truth cannot be separated. The movement of aletheia is a deployment of mneme through and through. […] The power of lethe simultaneously increase the domains of death, of nontruth, of nonknowledge. This is why writing, at least insofar as it sows “forgetfulness in the soul,” turns us towards the inanimate and towards nonknowledge. But it cannot be said that its essence simply and presently confounds it with death or nontruth. For writing has no essence or value of its own, whether positive or negative. It plays within the simulacrum. It is in its type the mime of memory, of knowledge, of truth, etc.” (ibid.) One of the things that emerges from this haunting of aletheia by lethe, is a particular notion of “originary difference” or différance which marks an aporia of hermeneutic reduction at the same time as it signals its on-going “solicitation.” As the “mime” of memory, writing or the written trait affects a typogenetics of counter-reductive “reversion” (lethe-mneme as aporia of origins), in which the babelisation of language (“lethurgies” [FW 334.01]) no longer describes a form of concealment of meaning, but rather the “essence” of unconcealment as techne. *** At the beginning of Finnegans Wake the play between the Hegelian term Erinnerung (remembrance or memory as interiorisation) and the first word of Finnegans Wake “riverrun” (as indicative of a recursive babelisation of language) opens what we might call a space of hetero-genetic memory: the ghost of Erinnerung contained in “riverrun,” whose sense, we might say, henceforth derives from this interior communication. In the larger context of the question concerning “memory” and “writing” in Joyce’s text, this babelisation, mediated by the Wake’s various lexical and mythical designs, describes one way in which Erinnerung is substituted by Gedächtnis, which would also suggest a type of mechanical or technical hypermnesis. In this way “writing” would also come to define what is understood by “thought.” Paul de Man suggests that this movement of substitution is already present in Hegel, as a type of deconstructive imminence (viral emplacement) within dialectics: “Hegel [...] in a crucial passage from the Encyclopaedia [...] defines thought (Denken) as the substitution of Gedächtnis [...] for Erinnerung.” (1984: 288) Similarly Derrida, in “Ousia and Gramme,” points out that: “In a transitional remark between the chapter devoted to memory and the chapter devoted to thought, Hegel recalls that ‘German language has etymologically assigned memory (Gedächtnis), of which it becomes a foregone conclusion to speak contemptuously, the high position of direct kindred with thought (Gedanke)’ (Encyclopaedia, §464, 223).” (1982: 87) Likewise in Being and Time, Heidegger approaches Erinnerung as a form of “commemorative” thinking (andenkendes Denken). For Heidegger, however, the substitution of “commemoration” for “manipulative” thinking, is not a determination of thought itself. The change from formative or “manipulative” thinking cannot itself be manipulated—it is a change subject to no “instrumentality,” but to a certain discursus which must be endured: “It takes place as the entry into the word’s own rule, which means making the passage from the concept-formation, over something which we imagine we have control, into placing ourselves within the grant of language.” (Bernasconi, 1984: 11) This endurance of the word becomes for Heidegger the remembrance of “words for Being.” These words are heard at the end of philosophy, since it as the end of philosophy which allows us to hear “anew” (FW 594.15) through a constant dialogue with the thinking that precedes it. In Book IV of Finnegans Wake, this “anew” is the dawn, the Viconian ricorso, the age of anarchia, of technology as the proliferation of signifiers. That is, in this “anew” the word’s own rule is realised as a form of both discursive emplacement and cyclical “annulus.” It is in this sense that the Wake might be said to articulate an end of philosophy—what is fundamental to the end of philosophy, not as a place of reckoning, but of what is described in Was Heißt Denken as the possibility of thought. It is this strange “commemoration” at the end of history in which the word comes into its own—the “its own” of Joyce’s “word, letter, paperspace” as a “perfect signature.” (FW 115.06-08) But despite this imposition of the genitive, there remains no privileged standpoint at the “end of philosophy,” and while Heidegger imagines there to be a “unity” to metaphysics at the end, this unity shows itself as a series of different signatures for Being, arising from the persistence of the “beginning” in Erinnerung and unrecognised as such until the “end.” Heidegger considers this series to be free, as taking place as a recursive series of lapsus, inaugurated by what Derrida characterises as: “the moment when language invaded the universal problematic, the moment when, in the absence of a centre or origin, everything became discourse [...] a system in which the central signified, the original or transcendental signified, is never absolutely present outside a system of difference. The absence of the transcendental signified extends the domain of the play of signification infinitely.” (1978: 151-2) WORKS CITED Albert Lehninger (1976). Biochemestry. New York: Worth Publishers. Brian Massumi (1993). Capitalism and Schizophrenia: Deviations from Deleuze and Guattari. Cambridge, Mass.: MIT Press. Claude Lévi-Strauss (1968). L’Origine des manières de table. Paris: Plon. Clive Hart (1974). "Quinet." James Joyce: A Collection of Critical Essays, ed. W.M. Chance. New Jersey: Prentice Hall. Daniel Ferrer (1985a). "The Freudful Couchmare of L d: Joyce’s Notes on Freud and the Composition of Chapter XVI of Finnegans Wake." JJQ 22.4: 367-382. Daniel Ferrer (1985b). "La scène primitive de l’écriture, une lecture joycienne de Freud." Genèse de Babel: Joyce et la création, ed. Claude Jacquet. Paris: Louis Hay Editions du Centre National de la Recherche Scientifique. Daniel Ferrer (1988). "Archéologie du regard dans les avant-textes de «Circé»." James Joyce «Scribble» 1 genèse des textes, ed. Claude Jacquet. Paris: Lettres Modernes. Douglas R. Hofstadter (1980). Gödel, Escher, Bach: An Eternal Golden Braid. New York: Vintage Books. Geoffrey Bennington (1993). "Derridabase." Jacques Derrida, trans. Geoffrey Bennington. Chicago: University of Chicago Press. Gilles Deleuze and Félix Guattari (1977). Anti-Oedipus: Capitalism and Schizophrenia, trans. R. Hurley, M. Seem, and H.R. Lane. New York: Viking. Gilles Deleuze and Félix Guattari (1993). A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi. Minneapolis: University of Minnesota Press. Humberto Maturana and Francisco Varela (1979). Autopoiesis and Cognition. Boston: Reidal. Jacques Derrida (1976). Of Grammatology, trans. Gayatri Spivak. Baltimore: John Hopkins University Press. Jacques Derrida (1978). Writing and Difference, trans. Alan Bass. London: Routledge. Jacques Derrida (1981). Dissemination, trans. Barbara Johnson. Baltimore: Johns Hopkins University Press. Jacques Derrida (1982 ). "Ousia and Gramme," Margins of Philosophy, trans. Alan Bass. Chicago: Chicago University Press. Jacques Derrida (1984 ). "Two Words for Joyce." Post-structuralist Joyce: Essays from the French, eds. Derek Attridge and Daniel Ferrer. Cambridge: Cambridge University Press. Jacques Derrida (1987). The Truth in Painting, trans. Geoffrey Bennington and Ian McLeod. Chicago: Chicago University Press. Jacques Derrida (1989). Of Spirit, trans. Geoffrey Bennington and Rachel Bowlby. Chicago: University of Chicago Press. Jacques Derrida (1993). Aporias, trans. Thomas Dutoit. Stanford: Stanford University Press. Jean-Michel Rabaté (1984). "Lapsus ex machina," trans. Elizabeth Guild. Post-structuralist Joyce: Essays from the French, eds. Derek Attridge and Daniel Ferrer. London: Cambridge University Press. Margot Norris (1976). The Decentered Universe of Finnegans Wake: A Structuralist Analysis. Baltimore: Johns Hopkins University Press. Martin Heidegger (1992). Being and Time, trans. J. Macquarie and E. Robinson. London: Blackwell. Martin Heidegger (1993). "The Question Concerning Technology." Basic Writings: From Being and Time (1927) to The Task of Thinking (1964), ed. David Farrell Krell. Revised edition. London: Routledge. Nicholas Abraham and Maria Torok (1976). Cryptonymie: le Verbier de l’homme aux loups. Paris: Aubier Flammarion. Paul de Man (1984). "Aesthetic Formalisation in Kleist." Rhetoric of Romanticism. New York: Columbia University Press. Robert Bernasconi (1984). The Question of Language in Heidegger’s History of Being. New Jersey: Humanities Press. Roland Barthes (1975). The Pleasure of the Text, trans. Richard Miller. New York: Hill and Wang. Roland McHugh (1976). The Sigla of 'Finnegans Wake'. London: Edward Arnold. Samuel Weber (1990). "The Vaulted Eye: Remarks on Knowledge and Professionalism." Yale French Studies 77: 44-60. Sigmund Freud (1925). Collected Papers III. London: The Hogarth Press. Stephen Heath (1984). "Ambiviolences: Notes for reading Joyce," trans. Isabelle Mahieu. Post-structuralist Joyce: Essays from the French, eds. Derek Attridge and Daniel Ferrer. Cambridge: Cambridge University Press. Walter Benjamin (1995). "The Work of Art in the Age of Mechanical Reproduction." Illuminations, trans. Harry Zohn. London: Fontana. Editorial board: Bill Cadbury, Luca Crispi, Daniel Ferrer, Hans Walter Gabler, Michael Groden, Geert Lernout, Jean-Michel Rabaté, Joe Schork, Fritz Senn, Sam Slote -- Editor: Dirk Van Hulle Contributions: Critical essays, reviews, and notes may be submitted as attachment-files via electronic mail (as an attached word processing document, if possible) or snail-mail to the following address: dirk.vanhulle@uantwerpen.be

actor Ralph Fiennes: ..."... I've always wanted to be in a superhero movie... or... heh... sorry... in a superhero supervillain movie... or.... or... or-... franchise... as a franchise character... the villain- thing is too... no. it's not... actually... just for one-... yes. Like-... it's... also... wait... I'd only if Chris Claremont could bring out the Ralph Fiennes class-act dandy in... okay... I mean... this is serious where the word Villain with a capital 'V' actually means violin as Sophia Copolla has pointed out because of her exhaustive familiarity with Jean Genet at least in english and 'My Lady of the Flowers' where he writes about how painful violins are and how close the word 'violin' is to the word 'violate'... and what that means-... I just wish... wait... okay... and... I agree with Robert Downey junior that conflict does not belong in real-life... only in the comics... I mean... it's rather... only in the superhero-.... supervillain comics... in the superhero supervillain comics... and... conflict should be imaginary and only imaginary... I wonder if imaginary number I forget is that in linear algebra it honestly may not be... i'm not sure where you study imaginary numbers... just thinking in all connections of the idea-... of the-... imaginary... and how conflict should always be... imaginary... and ideal for superhero supervillain comics... and their adjoining movies for Marvel Studios and DC Studios... and how... the imaginary is so fascinating... in this conflict respect... yes... imaginary conflict and only imaginary conflict... and the realm of the imagination for the actress or actor... I'm not sure-... I take a fancy to what could it even MEAN to talk about being an actress or actor entering the realm of illusion... the illusory... what could that even MEAN... but I want it to mean something-... actually... something mystical... alchemical...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

Martinique Jason (Willie Tell Archer-1 aka the statuesque nude woman standing regally and with straight-line poise upon a wooden footstool inside the full-to-the-brim book archive inside a Victorian Mansion (must be a Victorian mansion) and she is taking a single book off the bookshelf and she has razor-neat brown hair): ..."... it is presently 6:25 am in the morning on the date of January the 29th, 2022...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

.... Track 13.... Track 13.... of the soundtrack composed by Hans Zimmer and James Newton Howard for the movie "The Dark Knight".... Track 13.... is the official, quintessential music of.... Meryl Streep wants to be the most powerful actress in the history of movies.... and of stage.... as well.... right along with Elanora Duse.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms... $3....

... Track 13... Track 13... of the soundtrack composed by Hans Zimmer and James Newton Howard for the movie "The Dark Knight"... Track 13... is also the official, quintessential music of... perhaps Hugh Jackman knows... whether... if... one of the nude women who is Savanna Samson... perhaps just one of these nude women... sorry... real real sorry... perhaps... just... one... of these nude women... who is Savanna Samson... perhaps just one... perhaps just one... of them... real real real sorry... perhaps Hugh Jackman knows this... that one of these nude women who is Savanna Samson... she is the historical Mary Ann of The Process... in the late '60's... just like... anna marie... Mary Ann... just like... anna marie.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... Perry White (George Clooney): ..."... lois lane (victoria brianne hill)... I'm going to talk about the horror of being a human being... especially when that horror is being the nicest person on planet earth as you are... lois lane (victoria brianne hill)... when that horror is being the nicest person in the milky way galaxy as you are... lois lane (victoria brianne hill)... and what a horror it is... to be as nice as you are... lois lane (victoria brianne hill)... and... aw, hell... i'll talk to matt damon... that'll be my department... ONLY my department... I think God talked to Moses about that... about the proper departments for uniquely different people... and God talked to Jesus Christ about that too... and... Jesus Christ talked about that... and I mean... I can't believe how wonderful Matt Damon was in the movie.. 'Courage under fire', starring Meg Ryan, Denzel Washington... and Matt Damon... and what happens when the see Matt Damon be emotionally-... destroyed... in the movie... 'Good Will Hunting', directed by Gus van Sant... and... so... a person as nice as you... Lois Lane (victoria brianne hill)... if you EVER have to... God forbid... criticized Matt Damon... then something is wrong with God's universe... and I want to say... ahh... hell.... what if Matt Damon has been dealing a drug as bad as phenylalanine to ahania (hanno jason leigh) for several months now... regularly and constantly... and this drug which is as bad as phenylalanine has caused psychological butchery upon ahania (hanno jason leigh) for many months... many months... many months... and it was Matt Damon who was the... okay... sorry.... authentic drug-dealer who dealt phenylalanine to ahania (hanno jason leigh)... doing this to ahania's (hanno jason leigh's) mind.... and Winona Ryder and her sister Sunyata Horowitz and even distinctly Hyacinth Ryder were collaborating with Matt Damon on this... and a man who is impossibly... far more monstrous than Harry Knowles is encroaching upon the Hollywood entertainment industry... and this man far more monstrous than Harry Knowles was the catalyst... of this drug-dealing... to ahania (hanno jason leigh)... of a drug just as bad as phenylalanine...."... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

... Track 4... of disc one... Track 4... of disc one... of the soundtrack composed by Hans Zimmer and Junkie XL for the movie... "Batman versus Superman; Dawn of Justice"... Track 4... of disc one... is the official, quintessential music of... Clark Kent (Brandon Routh): ..."... ahania (hanno jason leigh / hanno ridal raudsepp)... I'm thinking of such a thing as a leviathan shipment of chemicals coming to North America... and I'm trying to talk to the one true comic-book soul of Doris Zeul (angelina jolie)... and... I am very much convinced that a very different shipment of chemicals is coming to Canada than is coming to the United States... within the spectrum of North America... and I'm terrified of escitalopram resembling thalidomide at ALL... the thalidomide described by Ron Chernow in chapter 34 titled 'Bang'.. of his book about the House of Morgan... and... and... I'm thinking of that book written by Wallace Clement called... 'The Canadian Corporate Elite'... and I'm thinking of the men of Canadian business described in Peter C. Newman's book 'The Canadian Establishment'... I think that book is called 'The Canadian Establishment'... as opposed to this Peter C. Newman book being called... 'The Business Establishment'... and I'm thinking so much of the Canadian men of business of the 1980's... I'm thinking in general about Canadian business and pharmaceuticals... ".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms... $3....

... Cyberpunk - Synthrock - Beauty in the Darkness... is the official, quintessential music of... eight minutes and forty-three seconds of... The Fully Nude Baroness of COBRA (Hyacinth Ryder) for The Female Gaze.... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

https://www.youtube.com/watch?v=MGLpiKNEGDk&list=RDMGLpiKNEGDk&start_radio=1 ... in the inwards of the above URL... is... aka... vagina=Micro-Gus-Los porn-illuminati Ken-Nothing-Energy-Guest-Distant-kilo... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

... Warren Beatty: ..."... I wanted to say... Ahania (Hanno Jason Leigh).... that it was an amazing, spectacular, astounding, wonderful physical feeling to feel that you could actually digest food... that it's not the polar opposite... where you eat the food and chew it and then it goes into a black hole in outer space inside yourself.. like it the food just... you eat and chew it and then it just... disappears... vanishes... worse than vanishes... it's like it was never there... and that's EXACTLY how we experience food in this realm of planet earth that we've been occupying for the past several years... now finishing the month of January in the year 2022... and... where we eat and it goes into the vacuum of outer space in us... either that or a black hole in outer space... and that's not even EATING... it's like we don't even EAT here where we are in this realm... of planet earth where we are... this isn't eating... this isn't eating... this isn't eating... this isn't eating... eating food goes right down into the intestines... that's where you're supposed to feel it... eating food is supposed to go right down into the experience of human digestion... so-... it's like... there was something with me wearing a chef's hat in a kitchen I think in the movie 'Bugsy' which I was in with my wife Annette Bening...."... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult.... stochastic disturbance terms.... $3...

Hildur the Goddess Tammuz: ..."... ahania (hanno jason leigh)... it's when in the year 2021... Havok and Holly Madison... became the same... became one person... teenage Holly Madison... teenage 17-year old Holly Madison... and you saw that one person... subjected... to torture.... butchery... beyond comprehension... beyond the scale of humanity... and that is continuing for the whole month of January 2022... and... your breathing... ahania (hanno jason leigh)... your laboured breathing... ahania (hanno jason leigh)... for that whole time... for that whole time... what I'm saying is... ahania (hanno jason leigh)... you could never have learned the breathing of the violin like that... with all that voracious ferocious alveolar sense-memory of the torture and butchery of Holly Madison as Havok and Havok as Holly Madison... for that whole period of time... sense-memory of that torture for months for months for months for months... as your breathing when you play the violin... that that's how you learned that breathing... I want to say... ahania (hanno jason leigh)... that all of your heavily laboured breathing for that whole duration of time... aforementioned... that I've... described.... all of that heavy laboured breathing you did WILL be alveolar-sense-memory for something so apocalyptical with teenage Holly Madison... with teenage eternally 17-year old Holly Madison as Raven Darkholme... in the future... decades... decades... decades... into the future...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... Track 11 oothoon artemis... Track 11 oothoon artemis... of "Pearl Jam - ten"... Track 11 oothoon artemis... is the official, quintessential song of... Sunyata Horowitz: ...".... okay... Sunyata Ryder is my young sister... by only two or three years... she really, really wants me to be the superior actress of the two of us... she's the Jo March in 'Little Women', directed by Gillian Armstrong... who... she's the Jo March in that movie who at the very, very, very, very end of that movie did something light and gentle with her black hair and said brightly and freshly with sprightly-soft-dainty-sorta energy she said... 'oh, she's my sister- she's my sister'... I forget which sister she meant of hers... she said it to Gabriel Byrne playing the Professor... at the very conclusion of that movie... reducing the whole movie to a pleasant afterthought... like an after-dinner mint at a Restaurant... also... I think when she cried after talking to Gabriel Byrne it was because he didn't like manuscript when she cried in her apartment bedroom... whereas when I cried in that scene in my bedroom apartment it was because my sister Beth, played by Claire Danes... her physically ill condition had gotten much worse... and that's why I was crying... whereas she was crying in her apartment-bedroom because the Professor Gabriel Byrne had not liked her first novel... also... I think I'm the only one who did that quick-darting amazing stare-look at Gabriel Byrne when I said '- what is it'... when he looked... troubled by my manuscript... by my first novel... that was me... judged especially because of that quick darting-stare-gaze I did as by far being the superior actress of the two of us as Jo March... between myself and my younger sister Sunyata Ryder... and it was that specific quick-darting stare I did when I said '- what is it' to Gabriel Byrne the Professor... that's the reason I was the superior actress judged to be and that's why I was cast as ultra-uber-terrrorist-renegade homicide-bomber red-costumed Spider-woman who's real name is Jessica Drew in the movie.. 'Spider-man 4', directed by Sam Raimi.. - that's all!!...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms... $3....

... Track 9 Doris Zeul... Track 9... of "Pearl Jam - ten"... Track 9... is the official, quintessential song of... Sunyata Horowitz: ..."... okay... the mystical number '14' is a beautiful, holy spirit number... but it's what happens when this beautiful holy spirit number... becomes.. ah-... ah-... ah-... issue #14 of 'The New Avengers', written by Brian Michael Bendis... and the Jessica Drew of this issue-... she's... okay... issue #13 The New Avengers Jessica Drew... she's closer... she's... - closer... - closer... - closer... to-... okay... it's... the Jessica Drew of issue #14 of 'The New Avengers', written by Brian Michael Bendis... she's not working for Hydra... not even a tiny bit... she's working for SHIELD... to SPY on Hydra... as an undercover agent... for SHIELD... posing as an agent or employee of Hydra so she can get secret files or documents of Hydra to pass on back to SHIELD... okay... and then there is something going on with Nick Fury not being employed by SHIELD anymore... I don't think he's necessarily AGAINST-... SHIELD.... but he's no longer working for them... and she's answering to him... that's the spoiler... sorry... at the end of issue #14... that she's still working for Nick Fury... spying on Hydra for him... and I don't see how that's any different at ALL than spying on Hydra for SHIELD... okay...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms... $3....

... Track 7... Track 7 a jesse track... of the soundtrack composed by Hans Zimmer and James Newton Howard for "The Dark Knight... Track 7 a jesse track... is the official, quintessential music of... Peter Baccus: ..."... ahania (hanno jason leigh)... I think you started taking escitalopram in the winter of 2020... before the second Ontario lockdown... began... at Tim Hortons... back then always at Subway Restaurant... when the second lockdown began at Tim Hortons... before that... in the winter of 2020... was when I think you first started taking escitalopram... ahania (hanno jason leigh)... before you started filming the 'the enigma tng - the fatal star'- version of 21 Jump Street with Nikita Bellucci and Tom Welling and 21 Jump Street Johnny depp and a real radical, fun-loving johnny depp detective harry sims in the winter spring of second lockdown of second Ontario lockdown in the year 2020... and then you were also simultaneously you started filming 'G. I. Joe- the rise of Cobra' with Sophia Copolla and John Malcovitch and the female Cobra Commander Angelina Jolie and a really cool startlingly adept Brad Pitt Zartan... this was all during the second lockdown during the second Ontario lockdown after you started taking escitalopram in Winter 2020... ahania (hanno jason leigh)...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

There's a new Doctor in the House... copy-and-pasted from... comicvine.gamespot.com ...

Doctor Alchemy CHARACTER » Doctor Alchemy appears in 159 issues. Albert Desmond used a special gun to commit crimes as Mr. Element. Later, he discovered the fabled Philosopher's Stone and used it to do battle with a number of heroes, most often the Flash. Character Wiki Images (18) Forum (0) News Recommended reading Comics Related Pages Doctor Alchemy appears in 159 issuesView all The Flash The Flash 13 appearances The Flash The Flash 13 appearances Flash Flash 7 appearances The Flash The Flash 6 appearances Doctor Alchemy last edited by Sergiovse on 06/28/21 03:20PM View full history This article is about Albert Desmond, the first Mr Element and Doctor Alchemy. For the second Mr Element, see Alexander Petrov. For The Alchemist, see Curtis Engstrom. Origin A chemist by trade, Albert Desmond suffered from dissociative identity disorder. While one personality was a law-abiding scientist, the other was a criminal. This criminal personality took on the identity of Mr Element, and used his chemistry knowledge to commit crime. Following a confrontation with the Flash, he was sent to jail. His emblem shall be the model of a carbon atom. His headquarters shall be among these underground rocks. He wore an atmosphere-filter only to inhale pure oxygen. He had named six underlings (eg Argon, Radon, Krypton, Xenon) due six inert elements. It was because they can't make a move without him. Even as a boy He had always been fascinated by the chemical elements. When He grew up and became involved, he profited by his boyhood reading. He carried out his idea with his usual thoroughness, secured an adequate hide-out and designed his own uniform. Creation Albert Desmond was created by Carmine Infantino and John Broome, making his first appearance in Showcase #13. The Doctor Alchemy persona was introduced in Showcase #14. Character Evolution Bronze Age Alvin Desmond was originally introduced as Albert Desmond's "astral twin" with whom he is psychically linked. Modern Age Alvin Desmond is retconned as a construct of the Philosopher's Stone. Major Story Arcs The Doctor Is In While in prison, Desmond learns from his cell mate that the fabled Philosopher's Stone exists . He locates it and uses it to create the identity of Doctor Alchemy. Using the stone, he is able to transmute one element into another. He rotates between being Doctor Alchemy and Mr Element, each time clashing with various heroes, and each time he is defeated. He also occasionally fights alongside the Rogues. Alvin Eventually, his good side wins out and Albert retires from crime. However, a man who is identical to him takes up the name Doctor Alchemy and continues committing crime. It becomes clear that this new Doctor Alchemy, who calls himself Alvin Desmond, is actually a construct of the Philosopher's Stone created by Albert's evil side. Albert confronts and destroys the construct. In so doing, he resumes the Doctor Alchemy persona and returns to crime. Keystone Kops Desmond sets up a lab in Gotham that is visited by officers Andrew Kelly and Donald Peak. Some of the chemicals spill on Kelly and he is set alight and mutated by them. This is ultimately discovered to have been a trap set by Desmond in an effort to transform someone into a mutated creature. The creature is stopped by Batman and the GCPD, while Desmond is extradited from Keystone City in the hope that he will be able to cure Kelly. He refuses to do so, and Kelly is ultimately shot after going on a rampage under Desmond's influence. Powers and Abilities Albert Desmond has no known superhuman powers or abilities. He is very intelligent and a skilled chemist. Equipment and Weapons As Mr Element, Desmond wields an element gun that affects the structure of elements. As Doctor Alchemy, he wields the Philosopher's Stone, which has the power to transmute any element into any other element. He can control it from a distance through the use of a telekinetic link. Other Media Television Justice League Unlimited Doctor Alchemy appears in the episode "Flash and Substance" as one of the patrons of a bar frequented by Rogues and criminals. Like the other patrons, he flees when Flash, Batman, and Orion arrive. He does not speak in his appearance.

... Track 3... Track 3... of the soundtrack composed by Hans Zimmer and James Newton Howard for the movie "The Dark Knight"... Track 3... is the official, quintessential music of... lisa simpson: ..."... ahania (hanno jason leigh)... we really were having the best time being true-blue best friends in the spring summer of the year 2010 when you were living at your Belleville Group Home and you were wandering walking the fascinating city-streets of suburban and urban Belleville, Canada... and we really became fast friends... and we had the most beautiful... relationship... you and I... and... it's She-Ra, princess of Power... oh-... when you talked to the real, historical Wonder Woman Diana of themiscyra in the February of the year 2009... she knew that one of your very, very, very, very favourite characters was She-Ra, princess of power... so it was like... she-.. KNEW her... she-... she KNEW She-Ra... she was... a friend... a close friend... and-... and-... the call of Hordak began that February in the year 2009... and the call of Hordak lasted all the way to Belleville Group Home in the spring summer of the year 2010 when you were wandering walking the suburban urban city-streets of Belleville Canada and talking to me and we were having lyrical, beautiful conversations... - just the two of us... - just the two of us... -.. just-.. just.. just.. the two of us... and... then... the Simpson's family arrived at some point.. and we kind of did a final Simpsons episode thru pure unadultured telepathy... and the animation in the air above you for that final episode was as clear as day to a really fantastic rock song signalling our final episode in the spring summer of the year 2010.. and... Hordak was still calling... Hordak was still calling... Hordak was still calling... as he had since February of they year 2009... and.. it was the She-Ra, princess of Power connection to you... to YOU... ahania (hanno jason leigh)... and... the animation of me lisa simpson flying to planet Hordak that animation was so ostensible... like the Simon Callow biography of Charles Laughton his use on the last page of that book of the word 'ostensible'... that book at the Central North York Library... and.. see.. Hordak was calling for ME.. Hordak was calling-... for ME!!!!...."... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

... actor Richard Gere: ..."... ahania (hanno jason leigh)... I'm thinking something... I'm thinking something... when you read Leonie Frieda's biography of Catherine di Medici... in the year 2008.... in the year 2008... you might not have read the first chapter of that book... titled... 'Orphan of Florence'... chapter one... about the childhood of Catherine de Medici as a little girl... you may have started reading this book in the middle or early in the middle-portion of this book... beginning with reading about technicolor-style Renaissance-pageantry in the midst of the fantastical female historical personage of Diane d'Artois... and the King... the King... his name... his name... the King to whom she was like a big sister to... just like she was indistinguishable from eternal beautiful big sister Vivien Kiik (Caroline Ducey)... and... you were so entranced and enchanted by reading this... ahania (hanno jason leigh)... and by reading how truly hesitant toward evil and how truly dostoevskian Catherine de Medici herself was... that.... I'm wondering... about... other chapters which... unconsciously... you may have omitted from your studies of this book... Leonie Frieda's book... unconsciously omitted from your studies of this book in the year of 2008... to start reading thirteen or fourteen years later... for the very first time... the chapters you omitted reading in the year 2008... to read for the very first time thirteen or fourteen years later...".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

... Kevin Rix - "Not Knowing"... the official Kevin Rix- composed Savanna Samson is Silver Sable music for film director Sam Raimi music... Kevin Rix - "Not Knowing" is also the official, quintessential music of... Robert Downey junior should play Siefried Wagner, the son of Richard Wagner and the husband of Winnifred Wagner (Hyacinth Ryder)... the husband of the 21-year old Winnifred Wagner (Hyacinth Ryder) in the year 1919... in Steven Spielberg and Sophia Copolla's co-directed 295 'Superman; man of tomorrow; man of steel' movies... as well as Robert Downey junior playing Steven Sharpe aka 'The Gambler' and his also playing Doctor Dome, father of Lynx (Emily Ridal)... the Plastic Man villains father-daughter of "Plastic Man" issue #1 in the Golden Age or (?)- Intermission age... the three roles- oh... and also the fourth Gail Simone Doris Zeul role of Jack Morgan for Robert Downey junior... these four character-roles for Robert Downey junior in the 295 'Superman; man of tomorrow; man of steel' movies directed by Steven Spielberg, Sophia Copolla... and Scorcese..... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss... stochastic disturbance terms... $3....

https://www.youtube.com/watch?v=-QmJTAzHuyk ... in the inwards of the above URL... v=-QmJTazHuyk... is... aka... vitality=-Query-masculine Jesse-Turnbull Associate-zatanna Husk-universe york-kilo... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

... Two Steps from Hell - Destructo Archangel... is the official, quintessential music of... Steven Sharpe (Robert Downey junior): ..."... I think today is January the 28th... in the year 2022... and I'm thinking... I don't like conflict... between people... I even don't like saying I don't LIKE... conflict... like then I think... poor conflict... poor ol' willy loman conflict... poor ol' joe conflict... poor ol' joe is finnegans wake.. and... the whole personal conflicts with people... that's comic books... that's superhero supervillain comic books... that's the realm of the imaginary... that's the miracle... of the imaginary... and how.... James Joyce's Ulysses... we can... as actresses and actors... transubstantiate ourselves... into the imaginary... into the superhero supervillain conflict imaginary realm of spirit... and... okay... responsibility.... personal responsibility... to be.... responsible.... to be.... responsible... is Doctor McPherson in Belleville, Canada... that's what being responsible is... in it's very quintessence incarnation on earth... it's Doctor McPherson in Belleville, Canada... that's what... who... being.... responsible.... is.... "... $3.... stochastic disturbance terms.... paul dini / joe benitez poison ivy pamela isley kate moss.... stochastic disturbance terms.... $3...

https://www.youtube.com/watch?v=Nc4hQsRpD6E ... in the inwards of the above URL... v=Nc4hQsRpD6E... is... aka... vitality= North-circle (or North civic) 4-hour-Query-sense Retro-pencil Disc-6-Energy... $3.. stochastic disturbance terms.. paul dini / joe benitez poison ivy pamela isley kate moss.. stochastic disturbance terms.. $3...

Thursday, January 27, 2022

... Alexander Luthor senior (John Shea): ..."... it's the speech... the seven hour and forty-five minute speech spoken by Alexis Luthor (Michael William Rosenbaum) to Lois Lane (Victoria brianne Hill)... but this speech may be expanded to seventeen hours... divided across three or four movies... and... he speaks it in Ahania's (Hanno Jason Leigh's) Charles Xavier voice... Alexis Luthor (Michael William Rosenbaum) does... but he also speaks it in Ahania's (Hanno Jason Leigh's)... Cobra Commander- voice... in the Cobra Commander Ahania (Hanno Jason Leigh) voice which Ahania (Hanno Jason Leigh) wanted to have... he wanted this voice to possess the texture and tambre or timbre of the voice of Daniel Day Lewis... Ahania's (Hanno Jason Leigh's) Cobra Commander voice... consistently... consistently... consistently... and this is so very much the voice that... unfalteringly... unfalteringly... Alexis Luthor (Michael William Rosenbaum) speaks his seven hour and forty five minute speech or even as long as seventeen hour speech divided across three or four movies... and... this is so quintessential... kenneth branagh would say this is the quintessence of dust of ophelia kate winslet heavenly angel dust... of.. of... of.. his speech... of Alexis's (Michael Wiliam Rosenbaum's)... speech... the texture and tambre or timbre of his voice... the quality of his voice... the consistent rhythm of his voice... that there is an issue... a serious issue... with what he's actually SAYING... with all that history... all that history... all that world history... which he's... relating... explaining... ".... $3... stochastic disturbance terms... paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult... stochastic disturbance terms... $3....