20090430

"Narrative is condemned to saying other than what it would mean, spinning out its movement toward a meaning that would be the end of movement."






i like the word "lookalike

wordless the mouth,
they float.

fotograf,
the graphickness
is never guessed.

s/have

Min knackiga svenska kommer
snart bli jättebra!
(hoppas jag)

ove me
loave me not,
bread baking
& air pockets
are important:

at full speed!

&c.

(bottlecaps)

& etcettera

, pardon my cluttery keypunching.

dune hewn dune, sun sunk sun

one-thousand
mouth,
leaf
from
leaf --
instru
ctions
not
include
d.

two eyes each equals twentysix

(drainholed for dreamtimes)

licking eyeballs glob clean the sleep, seen outside as drazzled leaf & mangle steed, tune a fining of further finding, bah bah block sheep & alls wool that ends wooly, dripping piss of gravestone earth writ waterwise yellow'd, so golden shower of our bodies dance macabre wave by waves, on the shoreline crashing such fluids there stand nipples, endless nipples, all erect in attention to the winds mist, wishing whales & pennies thrown.

b i n d e r y


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -



ea. leaf
strung spine
& bonefolder
creased flatwidth
recto for verso
& multisignatures
press'd to pulp
of pound'd paper ,

pages.








« turning

&

turning »

weweaaveve

merge to the swerve

Sionally, the furnace of language which inhabits us (& wot or nhat filfull) stake on more sightly vanishing quebrada.

so to speckle why spots are spots if camoflauge scenes such scenery : where would the bus-stop go without a marker? out of route or soot of root, most mot les mots back to spot which stripe.

(heatwave spermbath)

tetterettetten ppapperlappapp

(inscrivere e cancellare)

Avangard (leading) Criticism: Dictionary meaning innovation that is creating a new fashion. This trend often by reference to elements of mass culture, life and literature, the relationship between the blurred hand on its way to at least have blurred facilitate the search. Avant-garde artists and art life in the murky relationship between the purpose of modernization.. At the same time, their life and art as a means of estrangement from the established order, they will see.

semiyotik

Edebiyatta kullanılan değişik türler ve nazım şekilleri ile ilgili araştırmalar bu gruba girer. Türle ilgili araştırmalar roman, kısa hikâye, şiir, tiyatro, film gibi farklı edebî türler üzerine yoğunlaşır ve bu türlerin yapıları ve karakteristik özellikleri edebî tür eleştiriciliğinin başlıca alanlarını oluşturur.

Accidental erasing of recordings on magnetic storage media may cause huge disadvantages. If the erasure of magnetic recordings is intended it has to be insured that information cannot be reconstructed.

Communication process is not limited to what we say with words. There are 3 elements of communication: Words (7% of information is communicated though words), Body language (55%) and tone of voice (38%).

(unjammable coding in packet networks)

Обратим внимание и на универсальность потоковых кодов. Они могут быть использованы в любом канале со стираниями, независимо от статистики стираний. Более того, потоковые коды принципиально можно использовать и для повышения достоверности доставки сообщений в каналах со сложной помеховой обстановкой, например, в радиоканалах. Для этого физический канал с помехами следует представить моделью в виде внешнего канала со стираниями и внутреннего канала с ошибками. При этом для внутреннего канала можно использовать какой-либо хороший код для борьбы с помехами, для внешнего канала – потоковый код для борьбы со стираниями. Такие каскадные кодовые конструкции сегодня реально рассматриваются.

If the designated beneficiary for the convenience store "Family Mart" "Circle K" "thanks", "Ministop Co., Ltd." Choose from a convenience store.

In contrast,
the expression 'Not sad'
makes besides happiness
the image of sadness
which does not exist appear

Prépositio used to mark the situatio ue of thing with respect to ue other is on top, which is above. Under heaven.The people who sot as lige. Sous le toit. Under the roof. Sous la chemiée.Under the bed. Under the cover.

fпомарка; подчистка, выскабливание
(написанного)

Derrida extended the problem of presence and absence to include the notion that erasure does not mark a lost presence, rather the potential impossibility of presence altogether. In other words, the potential impossibility of univocity of meaning ever having been attached to the word or term in the first place. In other words, the potential impossibility of univocity meaning of ever having been attached to the word or term in the first place. Ultimately, Derrida argued, it was not just the particular signs that were placed under erasure, but the whole system of Ultimately, Derrida argued, it was not just the particular signs that were placed under erasure, but the whole system of signification meaning .

Sous rature as a literary practice originated in the works of German philosopher Martin Heidegger Martin Heidegger (1889-1976). (1889-1976). The practice of placing words or terms under erasure first appeared in Heidegger’s work in a letter he penned to Ernst Junger in 1956 titled Zur Seinsfrage (the English translation is The Question of Being), in which Heidegger is seeking to define The practice of placing words or terms under erasure first appeared in Heidegger's work in a letter he penned to Ernst Junger in 1956 titled Zur Seinsfrage (the English translation is The Question of Being), in which Heidegger is seeking to define nihilism nihilism . . [ Spivak, GC 1997, “Translator’s Preface” in Derrida, J 1967, Of Grammatology, John Hopkins University Press, Baltimore, pxiv ] During the course of the letter, Heidegger also begins to speculate about the problematic nature of defining anything, let alone words. [Spivak, GC 1997, "Translator's Preface" in Derrida, J 1967, Of Grammatology, John Hopkins University Press, Baltimore, pxiv] During the course of the letter, Heidegger also begins to speculate about the problematic nature of defining anything, let alone words. In particular, the meaning of the term ‘Being’ is contested and Heidegger crosses out the word, but lets both the deletion and the word remain. In particular, the meaning of the term 'Being' is contested and Heidegger crosses out the word, but lets both the deletion and the word remain. “Since the word is inaccurate, it is crossed out. "Since the word is inaccurate, it is crossed out. Since the word is necessary, it remains legible.” [ Spivak, pxiv ] According to the Heideggerian model, erasure was concerned with the problem of presence and absence of meaning in language. Since the word is necessary, it remains legible. "[Spivak, pxiv] According to the Heideggerian model, erasure was concerned with the problem of presence and absence of meaning in language. Heidegger was concerned with trying to return the absent meaning to the present meaning and the placing of a word or term under erasure “simultaneously recognised and questioned the term’s meaning and accepted use.” [ Taylor, p113 ] Heidegger was concerned with trying to return the absent meaning to the present meaning and the placing of a word or term under erasure "simultaneously recognized and questioned the term's meaning and accepted use."

Sous rature has been described as the "expression of typographical deconstruction deconstruction ” [ Taylor, VE & Winquist, CE 2001, Encyclopaedia of Postmodernism, Taylor & Francis, London, p113 ] which is a movement in "[Taylor, VE & Winquist, CE 2001, Encyclopaedia of Postmodernism, Taylor & Francis, London, P113] which is a movement in literary theory literary theory that seeks to identify sites within texts where key terms and concepts may be paradoxical or self-undermining, rendering their meaning undecidable. that seeks to identify sites within texts where key terms and concepts may be paradoxical or self-undermining, rendering their meaning undecidable. [ Belsey C 2001, Critical Practice 2nd ed., Routledge, London, p116 ] To extend this notion, deconstruction and the practice of sous rature also seek to demonstrate that meaning is derived from difference, not by reference to a pre-existing notion or freestanding idea. [C 2001 Belsey, Critical Practice 2nd ed. Routledge, London, P116] To extend this notion, deconstruction and the practice of sous rature also seek to demonstrate that meaning is derived from difference, not by reference to a pre-existing concept or freestanding idea.

Sous rature is a strategic philosophical device originally developed by Martin Heidegger Martin Heidegger . . Usually translated as 'under erasure', it involves the crossing out of a word within a text, but allowing it to remain legible and in place. Usually translated as' under erasure ', it involves the crossing out of a word within a text, but allowing it to remain legible and in place. Used extensively by Used extensively by Jacques Derrida Jacques Derrida , it signifies that a word is "inadequate yet necessary" [ Madan Sarup, "An Introductory Guide to Post-Structuralism and Postmodernism" p33. ] ; that a particular , It signifies that a word is "inadequate yet necessary" [Madan Sarup, An Introductory Guide to Post-Structuralism and Postmodernism "p33.] That a particular signifier mean is not wholly suitable for the concept it represents, but must be used as the constraints of our language offer nothing better. is not wholly suitable for the concept it represents, but must be used as the constraints of our language offer nothing better.

110mm x 178mm


испещрённый помарками

15 commenti:

eight or eight enough ha detto...

∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞

troylloyd ha detto...

To pay attention to the universality of stream codes. They can be used in any erasure channel, regardless of the statistical abrasion. Moreover, a code stream can be used to improve the reliability of message delivery in channels with complex jamming environment, for example, in radio stations. To this end, the physical channel interference should provide a model of the external canal with removal of internal and channel errors. At the same time for the domestic feed, you can use a good code to deal with interference to the outside channels - streaming code to deal with the removal. Such cascading code design now actually being considered.

troylloyd ha detto...

i like sana "lookalike


sanomaton suussa,
ne käteisvaroja.


Fotograf,
että graphickness
ei koskaan arvannut.



s / on


Min knackiga svenska kommer
snart bli jättebra!
(hoppas jag)


ove minulle
loave minulle ei ole,
leivän leipomisen
& Ilmataskuja
ovat tärkeitä:

täydellä nopeudella!

& c.

(bottlecaps)

& Etcettera


, Armahdus minun cluttery keypunching.

dune veistetty dyyni, aurinko uponneita sun

yksi tuhannesta
suu,
lehtikasvis
mistä
lehtiä --
instru
OIMET
ei
sisällyttää
d.


kaksi silmää kunkin tasaveroisten twentysix



(drainholed varten dreamtimes)


licking silmämunasta kokkare puhdistaa nukkua, nähdä ulkopuolelta drazzled lehtiläikkävirus & mankeli ratsulle viritä yksi sakottaminen edelleen löytää, pyh pyh estää lampaiden & alls villaa, joka päättyy villapaita, tippuvalta sauhuta on hautalaatta maa haaste waterwise yellow'd, niin kultainen suihku meidän elinten tanssi makaaberi aalto aallot, että rantaviivan kaatuu tällaisia nesteitä ei seistä Nänni, loputon Nänni, kaikki pystyttää vuonna huomiota tuulet sumua, joka haluaa valaita & penniä heittää.

b i n d e r y


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



ea. lehtikasvis
kireä selkä
& Bonefolder
taitettua flatwidth
recto varten verso
& Multisignatures
press'd sen massa
on pound'd paperi,

sivuja.








«Kääntämällä

&

kääntämällä »

weweaaveve

merge että kaarros

Alustavasti, uunin kielen elävä meille (& WOT tai nhat filfull) pelissä enemmän sightly häviämässä Quebrada.

niin täplä miksi täplät ovat spots jos camoflauge kohtauksia tällaisia maisemia: jos olisi bussi-pysäkki mennä ilman merkkijäämä? pois reitin tai noki juuripalvelimet useimmat mot les mots takaisin paikalla joka raita.


(helleaallon spermbath)

tetterettetten ppapperlappapp

(inscrivere e cancellare)


Avangard (johtava) Kritiikkiä: Sanakirja tarkoitettu innovaatio, joka on luoda uusi muoti. Tämä suuntaus usein viittaamalla osia massa kulttuurin, elämän ja kirjallisuuden suhdetta hämärtyminen käsi matkalla vähintään ovat hämärtäneet helpottaa hakua. Avant-garde taiteilijoiden ja taide-elämän on hämärää suhdetta tarkoituksena Nykyaikaistamiseen .. Samalla niiden elämän ja taiteen jolla vieraantunut vallitsevaa järjestystä, hän näkee.


semiyotik


Edebiyatta kullanılan değişik türler ve Nazim şekilleri ile ilgili araştırmalar bu gruba girer. Türle ilgili araştırmalar latinalaisin, kisa hikâye, şiir, tiyatro, elokuva gibi farklı edebî türler üzerine yoğunlaşır ve bu türlerin yapıları ve karakteristik özellikleri edebî tur eleştiriciliğinin başlıca alanlarını oluşturur.

Vahinkoinjektio pyyhkimis Tallenteiden magneettisella tallennusvälineitä voi aiheuttaa suuria haittoja. Jos poistaminen magneettinen tallenteet on tarkoitettu on vakuutettu, että tietoja ei voi palauttaa.

Tiedonanto ei ole rajoitettu, mitä sanoa sanoja. On 3 osia viestintä: Words (7% ja tiedot on kuitenkin sanaa), Body kielellä (55%) ja sävy äänellä (38%).


(unjammable koodausstandardien Packet verkot)


Обратим внимание и на универсальность потоковых кодов. Они могут быть использованы в любом канале со стираниями, независимо от статистики стираний. Более того, потоковые коды принципиально можно использовать и для повышения достоверности доставки сообщений в каналах со сложной помеховой обстановкой, например, в радиоканалах. Для этого физический канал с помехами следует представить моделью в виде внешнего канала со стираниями и внутреннего канала с ошибками. При этом для внутреннего канала можно использовать какой-либо хороший код для борьбы с помехами, для внешнего канала - потоковый код для борьбы со стираниями. Такие каскадные кодовые конструкции сегодня реально рассматриваются.

Jos nimetty edunsaaja varten convenience store "Family Mart" "Circle K" "kiitos", "Ministop Co, Ltd" Valitse jokin convenience varastossa.


Sitä vastoin
Ilmaisulla "Ei surullista"
tekee lisäksi onnea
kuvan surun
joka ei näy


Prépositio käytetään merkitsemällä situatio ue asioita suhteessa ue toinen päälle, joka on edellä. Alle heaven.The ihmisiä, jotka sot kuin lige. Sous le Toit. Alle katolle. Sous la chemiée.Under the bed. Alle kansi.


fпомарка; подчистка, выскабливание
(написанного)


Derrida laajennettu ongelma läsnäolo ja puuttuessa myös se, että poistaminen ei merkitse menetetty läsnäolo pikemminkin mahdollisuuksia mahdotonta läsnäolo kokonaan. Toisin sanoen, mahdollinen mahdotonta univocity merkityseroja koskaan ollut liitetty sana tai aikavälillä ensimmäinen paikka. Toisin sanoen, mahdollinen mahdotonta univocity tarkoitettu koskaan ollut liitetty sana tai aikavälillä ensimmäinen paikka. Loppujen lopuksi, Derrida väittää, se ei ollut vain erityisesti merkkejä siitä, että on asetettu poistamisista, mutta koko järjestelmä lopulta Derrida väittää, se ei ollut vain erityisesti merkkejä siitä, että on asetettu poistamisista, mutta koko järjestelmän merkityksellistäminen merkitystä.

Sous rature kuin kirjallisuuden käytännössä alkunsa teokset saksalainen filosofi Martin Heidegger Martin Heidegger (1889-1976). (1889-1976). Käytäntö saattaa sanoja tai ehtoja poistamisista ilmaantui vuonna Heidegger työn kirjeessä hän penned, että Ernst Junger vuonna 1956 nimeltään Zur Seinsfrage (jäljempänä Englanti käännös on kysymys Being), jossa Heidegger pyrkii määrittelemään käytännön saattamisesta sanoja tai ehtoja poistamisista ilmaantui vuonna Heidegger työn kirjeessä hän penned että Ernst Junger vuonna 1956 nimeltään Zur Seinsfrage (jäljempänä Englanti käännös on kysymys Being), jossa Heidegger pyrkii määrittelemään Nihilismi Nihilismi. . [Spivak, GC 1997, "Kääntäjän Esipuhe" vuonna Derrida, J 1967, Of Grammatology, John Hopkins University Press, Baltimore, pxiv] aikana kirjeen, Heidegger myös alkaa spekuloida ongelmallisesta luonteesta määritellä mitään, puhumattakaan sanoja. [Spivak, GC 1997, "Kääntäjän Esipuhe" vuonna Derrida, J 1967, Of Grammatology, John Hopkins University Press, Baltimore, pxiv] aikana kirjeen, Heidegger myös alkaa spekuloida ongelmallisesta luonteesta määritellä mitään, puhumattakaan sanoja. Erityisesti tarkoitettu käsite "Ovat" on riitautettu ja Heidegger ylittää, on sana, mutta avulla sekä poistetaan ja sana pysyy. Erityisesti tarkoitettu käsite "Ovat" on riitautettu ja Heidegger ylittää, on sana, mutta avulla sekä poistetaan ja sana pysyy. "Koska sana on virheellinen, se on yliviivattu. "Koska sana on virheellinen, se on yliviivattu. Koska sana on tarpeen, se on edelleen luettavissa." [Spivak, pxiv] mukaan on Heideggerian malli, poistamisista koski ongelmaa läsnäolo ja puuttuessa merkitys kielellä. Koska sana on tarpeen, se on edelleen luettavissa. "[Spivak, pxiv] mukaan on Heideggerian malli, poistamisista koski ongelmaa läsnäolo ja puuttuessa merkitys kielellä. Heidegger käsiteltiin yrittää palata poissa merkitys nykyisen merkityksen ja saattami sana tai aikavälin poistamisista "samanaikaisesti tunnustetaan ja kyseenalaisti aikavälin merkityksen ja hyväksytty käyttöön." [Taylor, p113] Heidegger käsiteltiin yrittää palata poissa merkitys nykyisen merkityksen ja saattami sana tai aikavälin poistamisista "samanaikaisesti tunnustetaan ja kyseenalaisti aikavälin merkityksen ja hyväksytty käyttöön."

Sous rature on kuvattu nimellä "ilmaus kirjoitusvirheitä purkamalla purkamalla" [Taylor, VE & Winquist, CE 2001, Encyclopaedia ja postmodernismi, Taylor & Francis, London, p113], joka on liikkeen "[Taylor, VE & Winquist, CE 2001, Encyclopaedia ja postmodernismi, Taylor & Francis, London, P113], joka on liike kirjallisten teoriassa kirjallisuuden teoria, joka pyrkii tunnistamaan sivustojen tekstit jossa keskeiset termit ja käsitteet voidaan paradoksaalista tai itsenäisenä heikentää, jolloin niiden merkitys undecidable. , joka pyrkii tunnistamaan sivustojen tekstit jossa keskeiset termit ja käsitteet voidaan paradoksaalista tai itsenäisenä heikentää, jolloin niiden merkitys undecidable. [Belsey C 2001, Kriittinen Practice 2nd ed., Routledge, London, p116] jatkaa tätä käsitettä, purkamalla ja käytännöt sous rature pyritään myös osoittamaan, että merkitys on saatu erotus, ei viittaus olemassa oleva käsite tai freestanding ajatus. [C 2001 Belsey, Kriittinen Practice 2nd ed. Routledge, London, P116] jatkaa tätä käsitettä, purkamalla ja käytännöt sous rature pyritään myös osoittamaan, että merkitys on saatu erotus, ei sellaisen jo olemassa olevaan tai freestanding idea.

Sous rature on strateginen filosofinen laite alun perin kehitetty Martin Heidegger Martin Heidegger. . Yleensä käännetty "nojalla poistamisista", siihen liittyy risteyksessä, kun sanan teksti, mutta jotta se voi edelleen luettavissa ja paikka. Yleensä käännetty "nojalla poistamisista", siihen liittyy risteyksessä, kun sanan teksti, mutta jotta se voi edelleen luettavissa ja paikka. Käytetään laajasti käyttää laajasti Jacques Derrida Jacques Derrida, se merkitsee, että sana on "riittämätön vielä tarpeen" [Madan Sarup, "An Introductory Guide to Post-Structuralism ja postmodernismi" p33. ], Että tietty, se merkitsee, että sana on "riittämätön vielä tarpeen" [Madan Sarup, An Introductory Guide to Post-Structuralism ja postmodernismi "p33.], Että tietty signifier tarkoita sitä ei ole kokonaan soveltuvat käsite se on, mutta on käytettävä rajoitteet meidän kieli tarjota mitään parempaa. ei ole kokonaan soveltuvat käsite se on, mutta on käytettävä rajoitteet meidän kieli tarjota mitään parempaa.


110mm x 178mm




испещрённый помарками
EnglishRussianTurkish—Detect language—AlbanianArabicBulgarianCatalanChineseCroatianCzechDanishDutchEnglishEstonianFilipinoFinnishFrenchGalicianGermanGreekHebrewHindiHungarianIndonesianItalianJapaneseKoreanLatvianLithuanianMalteseNorwegianPolishPortugueseRomanianRussianSerbianSlovakSlovenianSpanishSwedishThaiTurkishUkrainianVietnamese > FinnishEnglish—AlbanianArabicBulgarianCatalanChinese (Simplified)Chinese (Traditional)CroatianCzechDanishDutchEnglishEstonianFilipinoFinnishFrenchGalicianGermanGreekHebrewHindiHungarianIndonesianItalianJapaneseKoreanLatvianLithuanianMalteseNorwegianPolishPortugueseRomanianRussianSerbianSlovakSlovenianSpanishSwedishThaiTurkishUkrainianVietnamese swap

troylloyd ha detto...

comme le mot "d'apparence similaire


paroles de la bouche,
ils flottent.


fotograf,
la graphickness
n'est jamais deviné.



s / a


Min knackiga svenska kommer
snart bli jättebra!
(hoppas jag)


ove-moi
loave-moi pas,
la fabrication du pain
Et des poches d'air
sont importants:

à pleine vitesse!

& c.

(bottlecaps)

& Etcettera


, Pardon mon cluttery keypunching.

dune dune taillés, le soleil a coulé dimanche

un mille
bouche,
feuilles
à partir de
feuilles --
instruments
ctions
pas
comprendre
d.


chacun des deux yeux est égal à twentysix



(drainholed pour dreamtimes)


licking glob propres yeux le sommeil, vu que l'extérieur de la feuille et mangle drazzled monture, une amende à hauteur de plus de trouver, bah bah bloc alls laine des moutons et qui se termine laineux, des gouttes de pisse gravestone terre bref waterwise yellow'd, pour la douche d'or de nos organismes de la danse macabre d'onde des vagues, de s'écraser sur le rivage de tels fluides, il se mamelons, une infinité de mamelons, tous dressés dans l'attention aux vents du brouillard, des baleines et souhaitent cents jetés.

b i n d e r i e


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



/ pc. feuilles
enfilées colonne vertébrale
& Bonefolder
augmenté flatwidth
recto verso pour
& Multisignatures
press'd à la pâte
pound'd de papier,

pages.








«Tournant

&

tournant »

weweaaveve

fusion à l'embardée

Ment, la fournaise de la langue qui nous habite (ou & wot nhat filfull) mise sur la disparition de plus sightly quebrada.

afin de speckle pour les taches sont des taches, si de telles scènes camoflauge paysages: le cas de l'arrêt de bus aller sans un marqueur? de route ou de la suie de la racine, plus les mots mot à bande endroit.


(canicule spermbath)

tetterettetten ppapperlappapp

(inscrivere e cancellare)

troylloyd ha detto...

Ik ben dol op het woord "lookalike


woorden de mond,
ze zweven.


Foto,
de graphickness
is nooit geraden.



s / hebben


Min knackiga svenska Kommer
snart BLI jättebra!
(hoppas JAG)


Ove me
loave me niet,
brood bakken
& Luchtzakken
zijn van belang:

op volle snelheid!

& c.

(bottlecaps)

& Etcettera


, Gratie mijn cluttery keypunching.

duin hewn duin, zon verzonken zondag

een duizend
mond,
blad
van
blad --
instru
CTIES
niet
omvatten
d.


twee ogen elk gelijk twentysix



(drainholed voor dreamtimes)


likken oogbollen glob schoon de slaap, gezien buiten als drazzled blad & mangle ros, tune een klaringsmiddel van verdere bevinding, bah bah blok schapen & ITNODIGINGEN wol dat eindigt wollig, druipwater pissen van grafsteen aarde dagvaarding waterwise yellow'd, dus gouden douche van onze organen dans macabere golf door de golven op de kustlijn crashen dergelijke vloeistoffen er staan tepels, eindeloze tepels, alle opgaand in de aandacht op de wind mist, willen walvissen & penningen gegooid.

b i n d e r y


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



/ st. blad
strung wervelkolom
& Bonefolder
gevouwen flatwidth
voor recto verso
& Multisignatures
press'd tot pulp
van pound'd papier,

pagina's.








«Keerpunt

&

keerpunt »

weweaaveve

fuseren tot het afdwalen

Sionally, de oven van de taal die ons bewoont (& wot of Nhat filfull) het spel op meer fraai verdwijnen Quebrada.

zo te spikkelen waarom plekken zijn plekken als camoflauge scènes die het decor: waar zou de bus-stop gaan zonder een marker? van de route of roet van wortel, meest mot les mots terug naar de plek die streep.


(hittegolf spermbath)

tetterettetten ppapperlappapp

troylloyd ha detto...

Líbí se mi slovo "dvojník


nevyjádřený v ústech,
budou plavat.


fotograf,
o graphickness
není nikdy myslet.



s / se


Min knackiga svenska kommer
snart bli jättebra!
(hoppas zoubkovat)


ove mi
loave mě není,
pečení chleba
& Vzduch kapsy
jsou důležité:

na plný plyn!

& c.

(bottlecaps)

& Etcettera


, Mého cluttery keypunching.

duna tesaným duna, slunce utopené neděle

One-tisíc
ústa,
listí
od
listová --
nást
PATŘENÍ
ne
zahrnovat
d.


dvě oči každý rovná twentysix



(drainholed pro dreamtimes)


lízání bulvy GLOB čištění spánku, jak je vidět mimo drazzled listí & mandl oř, doladit jeden pokutování dalšího zjištění, bah bah blok ovce & ÝZVY vlna, která končí rozplizlý, kape moč na náhrobek zemi příkaz waterwise yellow'd, takže zlatá sprcha našeho orgánů taneční děsný vlny do vln na pobřeží shazovat takové kapaliny tam stojí bradavky, nekonečné bradavky, všechna vystavět v pozornosti na winds mlhy, které chtějí velryby & haléře házet.

b i n d e r y


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



ea. listí
navlékl páteře
& Bonefolder
zmačkaný flatwidth
líc na rub
& Multisignatures
press'd na řízky
pound'd z papíru,

stránkách.








«Soustružení

&

odbočka »

weweaaveve

sloučit se říznout

Sionally, peci o jazyk, který žije v nás (& wot nebo nhat filfull) zájem o více pohledný mizejících Quebrada.

tak proč to flíček spoty jsou skvrny, pokud camoflauge scény takové kulisy: pokud by autobus-zastávka jít bez markerovou? z cesty, nebo saze z kořene, většina mot les mots zpět na místě, které pruhem.

troylloyd ha detto...

ở tốc độ!

& c.

(bottlecaps)

& Etcettera


, Pardon tôi cluttery keypunching.

Dune Dune đeo, Chủ Nhật và chìm sâu Chủ Nhật

một nghìn
miệng,
leaf
từ
leaf --
instru
ctions
không
bao gồm
d.


hai mắt mỗi bằng twentysix



(drainholed cho dreamtimes)


licking eyeballs glob sạch những giấc ngủ, thấy bên ngoài như lá drazzled & mangle steed, điều chỉnh một fining việc tiếp tục tìm kiếm, bah bah khối sheep & alls len rằng kết thúc wooly, dripping piss gravestone của trái đất thư waterwise yellow'd, do đó, vòi sen vàng của chúng tôi khiêu vũ cơ quan lo âu sóng của sóng, trên shoreline crashing các chất lỏng có đứng nipples, nipples bất tận, trong tất cả các erect chú trọng đến winds mist, mong muốn whales & pennies ném.

b n e d r y


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



EA. leaf
strung cột sống
& Bonefolder
creased flatwidth
recto cho trang
& Multisignatures
press'd vào bột giấy
của pound'd giấy,

trang.








«Xoay

&

chuyển »

weweaaveve

troylloyd ha detto...

αμμολόφων hewn αμμολόφων, ήλιος βυθιστεί Κυριακή

ένα χιλ.
στόμα,
φυλλώδες
από
φύλλα --
μέσο
ΝΕΡΓΕΙΕΣ
δεν
περιλαμβάνουν
δ.


δύο μάτια κάθε ισούται twentysix



(drainholed για dreamtimes)


οφθαλμικού βολβού licking GLOB καθαρισμό του ύπνου, εκτός θεωρηθεί ως drazzled φύλλα & μάγγανο άτι, ένα κομμάτι της επιβολής περαιτέρω διαπίστωση, BAH BAH μπλοκ & ΡΟΣΚΛΗΣΕΙΣ μαλλί προβάτων που τελειώνει wooly, στάζουν ουρώ πλάκα της γης επιμελητή waterwise yellow'd, τόσο χρυσή ντους μας φορείς χορού μακάβρια κύματος από τα κύματα, στην ακτογραμμή συντρίβεται υγρά υπάρχει τέτοια ηρεμία θηλές, ατελείωτες θηλές, όρθια σε όλους την προσοχή στην ομίχλη ανέμους, που επιθυμούν φάλαινες & πέννες ρίχνονται.

β i n d e r y


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



εα. φυλλώδες
strung σπονδυλικής στήλης
& Bonefolder
αυξήθηκε flatwidth
για recto verso
& Multisignatures
press'd σε πολτό
pound'd του χαρτιού,

σελίδες.








«Καμπή

&

καμπή »

weweaaveve

συγχώνευσης με την στραβοτιμονιά

Sionally, τον φούρνο του που κατοικεί γλώσσα μας (& WOT ή nhat filfull) συμμετοχή στις πιο ευειδής εκμηδενίσεως quebrada.

ώστε να στίζω γιατί αν τα μηνύματα είναι μηνύματα camoflauge σκηνές τέτοια σκηνικά: όταν θα την στάση λεωφορείου go ΧΩΡΙΣ δείκτης; από την οδό ή αιθάλη της ρίζας, τα περισσότερα mot τις λέξεις πίσω στο τόπου που λωρίδα.

troylloyd ha detto...

Eu gosto da palabra "mira como unha


mudo a boca,
Eles flutuam.


fotografías,
o gráfico de espessura
nunca se imaxinar.



s / ter



me amar
loave min non,
assar pan
& Ar bolsas
son importantes:

a toda a velocidade!

& C.

(garrafa Caps)

E así por diante


, Sentímolo a miña confusión Puncionamento clave.

duna duna hewn, sol irrecuperáveis domingo

un mil --
boca,
foliar
de
folla --
instrumentos
CÇÕES
non
incluir
d.


dous ollos é igual a cada vinte e seis



(dreno burato para soñar veces)


lamba ollos bola limpa o sono, visto que fora drazzled folla & acetinar corcel, sintonizar unha busca de novas multi, bah bah bloque & ONVITES la de ovinos que remata rouco, pinga mijo de lápide terra write waterwise yellow'd, tan dourada ducha do noso organismos danza macabra vaga por ondas, na costa romper eses fluidos alí stand mamilos, intermináveis mamilos, ereto en conta a todos os ventos névoa, quero baleias & tostões tire.

vinculados


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



/ Un. foliar
con chavêtas columna
& Bonefolder
dobrado flatwidth
fronte a verso
& Múltiples subscricións
press'd a polpa
pound'd de papel,

páxinas.








«Virage

&

Virage »

weweaaveve

fundar o desvío a

Sionalmente, o forno da lingua, que habitan nos (& WOT ou Nhat filfull) no partido máis fermoso vanishing romper.

para speckle por qué spots son Mancha se camoflauge cenas tales escenarios: onde estaría o Autobuses-stop ir sen un marcador? fóra de ruta ou fuligem de raíz, máis Mot les mots voltar ao local que striped.


(canícula esperma baño)

troylloyd ha detto...

Mi piace la parola "come uno sguardo


senza parole la bocca,
che galleggiano.


fotograf,
la grafica di spessore
non è mai indovinato.



s / ha



love me
loave me no,
panificazione
E sacche d'aria
sono importanti:

a pieno ritmo!

& c.

(tappi di bottiglia)

E così via


, Perdono il mio disordine chiave punzonatura.

duna duna scavata, affondata domenica domenica

un migliaio di
bocca,
foglia
da
foglia --
strumenti
ZIONI
non
includere
d.


due occhi è uguale a venti ogni sei



(foro di scarico per sogno volte)


leccare occhi glob pulire il sonno, visto come al di fuori drazzled foglia e mangle destriero, sintonizzare una multa di un ulteriore accertamento, bah bah blocco alls lana di pecora e che termina Wooly, piss stillicidio di sepoltura terra scritta waterwise yellow'd, in modo d'oro della nostra doccia organismi danza macabra onda dalle onde, sulla battigia tale danneggiamento di fluidi vi stand nippli, infinite nippli, tutti eretti nel attenzione ai venti nebbia, che desiderano balene e gettato centesimi.

vincolanti


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



/ pz. foglia
strung colonna vertebrale
& Bonefolder
aumentati flatwidth
per recto verso
E più firme
press'd di pasta
pound'd di carta,

pagine.








«Svolta

&

svolta »

weweaaveve

unione per la svolta

Mente, il forno della lingua, che ci abita (& wot o Nhat filfull) gioco su più sightly fuga Quebrada.

al fine di speckle perché sono macchie macchie se camoflauge scene tale scenario: dove sarebbe la fermata andare senza un marcatore? di rotta o di fuliggine di radice, la maggior parte mot les mots torna a posto, che striscia.


(sperma caldo bagno)

troylloyd ha detto...

رقطة السبب في ذلك إلى مناطق هي البقع إذا camoflauge هذه المشاهد مشهد : أين توقف الحافلة تمر دون علامة؟ للخروج من الطريق أو السناج من جذورها ، ويذكره ليه الفحوص السنوية الى المكان الذي الشريط.


(الحيوانات المنوية موجة الحر حمام)

troylloyd ha detto...

Ich mag das Wort "sehen, wie


Worte im Mund,
sie schweben.


fotograf,
die Grafik Dicke
ist nie erraten.



s / haben



wie ich
Brot mich nicht,
Brot backen
Luft & Taschen
sind wichtig:

auf Hochtouren!

& C.

(Flaschenverschlüsse)

Und so weiter


, Vergebung meiner Unordnung Schlüssel Stanzen.

Düne Düne gehauen, Sonne sank Sonntag

ein-tausend
Mund,
Blatt
von
Blatt --
Instrumente
KTIONEN
nicht
gehören
d.


zwei Augen jeder gleich sechsundzwanzig



(Abflussöffnung für Traum mal)


lick Augen glob Reinigung der Schlaf, die sich außerhalb als drazzled Blatt & mangle Ross, optimiert Schönung der weiteren Feststellung, bah bah Block Schafe & alls Wolle, endet Wooly, Tropfen Pisse von Grabstein Erde geschrieben waterwise yellow'd, so goldenen Dusche unserer Stellen Tanz makabre Welle von Wellen, an der Küste zum Absturz zu bringen solche Flüssigkeiten es sich Brustwarzen, endlose Brustwarzen, alle Aufmerksamkeit zu errichten, in den Wind Nebel, wollen Wale & Groschen geworfen.

verbindlich


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



EA. Blatt
aufgereiht Wirbelsäule
& Bonefolder
gestiegen flatwidth
recto für Verso
& Mehrere Unterschriften
press'd zu Zellstoff
pound'd von Papier,

Seiten.








«Drehen

&

Drehen »

weweaaveve

fusionieren, um die Wendung

Sionell, den Ofen der Sprache, die uns lebt (und WOT oder nhat filfull) auf dem Spiel steht mehr leicht verschwinden Quebrada.

so Speckle, warum Spots Spots sind, wenn camoflauge Szenen wie Landschaft: Wo wäre der Bus-Haltestelle gehen, ohne ein Marker? aus der Route oder Ruß der Wurzel, die meisten mot les mots wieder zu erkennen, die Streifen.


(Hitzewelle Sperma Bad)

troylloyd ha detto...

sa puspusang bilis!

at c.

(bote takip)

& Kaya manganak


, Pakiulit ang aking mga kalat ng mga basura key pagsuntok.

dune natagpas dune, Linggo mas mababa sa araw

isang-libong
bibig,
dahon
mula
dahon --
instru
ctions
hindi
isama
d.


ng dalawang mga mata ng bawat katumbas dalawampu't anim na



(patuluin butas para sa pangarap na beses)


dilaan eyeballs glob malinis sa pagtulog, na makikita sa labas bilang drazzled talulot & luray kabayo, tune isang fining ng karagdagang paghahanap, Ba Ba block tupa & alls lana na magwawakas mabalahibo, malaking umihi ng gravestone daigdig kasulatan waterwise yellow'd, kaya ginintuang shower ng aming katawan ng sayaw mapanglaw alon ng alon, sa baybayin crashing tulad fluids may panindigan nipples, walang hanggan nipples, ang lahat ng matuwid sa pansin sa winds ulap, nais whales & pennies thrown.

umiiral na


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



ea. dahon
langkin gulugod
& Bonefolder
creased flatwidth
recto para sa kaliwang pahina ng aklat
At ang maramihang mga lagda
press'd sa masa
ng pound'd papel,

mga pahina.








«Panlalik

&

panlalik »

weweaaveve

magsama-sama sa paglihis

Sionally, ang pugon ng mga wika na kung saan inhabits kami (& wot o nhat filfull) tulos sa mga mas maganda naglalaho quebrada.

kaya sa batikin kung bakit spots spots ay kung camoflauge tanawin tulad senaryo: kung saan ay ang bus-stop pumunta nang walang marker? sa labas ng ruta o uling ng root, pinaka-nakakatawang pangungusap les mots bumalik sa spot na guhit.


(tag-init tamud sa banyo)

troylloyd ha detto...

s / ir



līdzīgs man
klaips man nav,
maizes cepšanas
& Gaisa kabatām
ir svarīgi:

ar pilnu ātrumu!

& c.

(pudeļu vākiem)

Un tā tālāk


, Apžēlošana manu traucējumu taustiņu perforēšanai.

kāpu hewn kāpu, saule sunk svētdiena

vienu tūkstoti
mute,
leaf
no
leaf --
instru
ASĀKUMI
ne
ietvert
d.


divas acis katru vienāds divdesmit seši



(drain caurums par sapnis reizes)


laizīšana eyeballs GLOB tīru miega, redzams ārpus kā drazzled leaf & rullēt zobens, melodija ir sods turpmāku konstatējumu, bah bah bloķēt aitu & alls vilna, kas beidzas wooly, pilošs mīzt no kapakmens zemes raksts waterwise yellow'd, tāpēc zelta duša mūsu struktūrām deju drausmīgs viļņa viļņi, par krasta crashing tādi šķidrumi tur stāvēt sprauslas, kāpurķēdes sprauslas, visi uzcelt uzmanības uz vējiem migla, kas vēlas vaļi & pennies izmet.

saistošs


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



ea. leaf
savērtas mugurkaula
& Bonefolder
creased flatwidth
lappuse par verso
& Vairākas parakstu
press'd uz celulozes
no pound'd papīra,

lapas.








«Pagrieziena

&

pagrieziena »

weweaaveve

apvienot ar novirzīšanās

Sionally, krāsns no valodām, kuru apdzīvo mums (& wot vai nhat filfull) spēles uz vairāk sightly saplūšanas quebrada.

lai traips kāpēc plankumus ar plankumiem, ja camoflauge ainas, piemēram dekorācijas: ja būtu autobusu pieturas aiziet bez marķieris? no maršrutu vai kvēpu saknes, vairums mot les mots atpakaļ uz vietas, kas svītru.


(karstuma spermas vanna)

troylloyd ha detto...

ฉันชอบคำว่า "รูปที่ต้องการ


ใบ้ปาก,
พวกเขาลอยน้ำ.


ถ่ายภาพ,
กราฟิกความหนา
คือไม่เดา.



รายการ / มี



เช่นฉัน
เอ้อระเหยฉันไม่
ขนมปังปิ้ง
และอากาศพ็อคเก็ต
มีความสำคัญ:

อ้าว!

& ค

(ขวดพิมพ์ใหญ่)

และเพื่อออก


, ให้อภัยของฉันวุ่นว่ายคีย์แหย่.

เนินทรายแสดงเนินทราย, อา. อ่างดวงอาทิตย์

หนึ่งในพัน
ปาก,
ใบ
จาก
ใบ --
คำแนะนำ
ไม่ใช่
รวม



สองตาแต่ละเท่ากับยี่สิบหก



(สะเด็ดหลุมสำหรับฝันครั้ง)


เฆียนตาลูกโลกล้างนอน, เห็นนอกเป็น drazzled สับและใบม้า, ปรับเป็น fining ของเพิ่มเติมค้นหา, bah bah บล็อกแกะและ alls ขนสัตว์ที่สิ้นสุดเป็นปุย, แหมะถ่ายปัสสาวะของ gravestone แผ่นดินอำนาจน้ำหัวหมอสีเหลืองทองดังนั้นฝักบัวของร่างกายเต้นรำน่ากลัวคลื่นโดยคลื่นในเส้นชายทะเล crashing ของเหลวดังกล่าวมียืน nipples, เจ็ดชั่วโคตร nipples ทั้งหมดชะลูดในสนใจลมพร่า, ประสงค์ปลาวาฬและเงินโยน.

ผูกมัด


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --



แต่ละใบ
ดีเสียวไส้
และกระดูกพับ
จีบแบนกว้าง
สำหรับ frontt กลับ
และหลายลายเซ็น
กดเพื่อเยื่อ
ของปอนด์กระดาษ

หน้า.








«กลึง

&

กลึง »

weweaaveve

ผสานกับแว้ง

ในบางโอกาสที่เตาสูบของภาษาที่เรา inhabits (และ wot หรือ nhat filfull) เดิมพันที่สวยงาม vanishing quebrada.

ดังนั้นเพื่อจุดทำไมจึงมีจุดจุดหาก camoflauge ฉากเช่นฉาก: ที่จะรถโดยสาร-หยุดไปโดยเครื่องหมาย? ออกจากเส้นทางหรือมินหม้อของรากส่วนใหญ่ mot les mots กลับไปที่จุดที่ริ้ว.


(ความร้อนคลื่นอสุจิบาท)