text:
Politics: Corruption And Punishment!
Even as the worst crisis for the ruling UPA-2 coalition government continued to gain momentum every day this week witnessed two huge days for the media fraternity—Wednesday, the 8th of May 2013, and Friday the 10th of May 2013. That momentous Wednesday was a picture of ecstasy and agony—a political study in contrasts. And, on Friday yesterday heads rolled as expected and anticipated on a daily basis.
The main national opposition BJP has been chasing the Congress led UPA-2 Government relentlessly, tirelessly and also ambitiously on the issue of corruption for the last at least two years. In its obsessed aim of cornering the Government the BJP, basically a political party that ruled India earlier, even did not bother joining hands with the anti-corruption activists—at times with Anna Hazare and with Baba Ramdev at other. But, the BJP was routed in the Assembly Elections of the southern state of Karnataka the counting for which was taken up on Wednesday for running a corrupt and non-performing government there. The root cause being BS Yeddyurappa, a veritable symbol of corruption, defecting from BJP and forming a separate political entity thus splitting the votes as well as creating a somewhat anti-corruption wave in the state.
Congress party of the scam and corruption infested UPA-2 got a landslide victory and was in a position to form the government on its own. This was the ecstasy for the beleaguered national party—the highlights being the prevention of further corruption through possible horse trading on a hung verdict and the marginalization of Yeddyurappa who naturally wanted to be a kingmaker. However, almost simultaneously that Wednesday the agony came in the form of the Supreme Court of India slamming UPA-2 for meddling with the Coalgate report of the Central Bureau of Investigation (CBI) to the apex court and making the premier investigating agency of the country a 'caged parrot'. The position of the Law Minister became untenable after those scathing observations and the Railway Minister was already in the dock for Railgate. Pressure mounted on UPA-2 to punish the indicted ministers. The ministers' alleged closeness to the Prime Minister made it all the trickier for the ruling coalition. The stock responses like 'Let investigations take the due course' or 'The matter is sub-judice' failed to convince anyone.
Mounting media and public pressure forced the Government to take the much awaited action. Two top cabinet ministers were sacked within just one hour last evening, the Friday we mentioned. Now, this move can very well be interpreted as taking cue from the so-called anti-corruption wave of Karnataka Poll and punishing the corrupt, and if it is so things are not to be merrier for the BJP. Because, to try coming back to power in its only southern bastion, Karnataka, the BJP still wants Yeddyurappa badly. If it does take him back it will be criticized as welcoming back corruption for political ends. Therefore, the citizens of this hapless country stand to benefit by default if the issue of anti-corruption becomes the main plank for 2014 General Elections.
However, politics is politics. For the latest the BJP and the Left parties are now, as expected, after the Prime Minister of India demanding his resignation.
Anna Hazare BJP Corruption Politics Ramdev Baba UPA-2
The Indian Ironies With The Courts Finally Trying To Iron Out!
Yesterday, the 23 rd of December 2021, I, and perhaps millions of citizens of India, had been eagerly waiting for the emergency meet by Prime Minister Narendra Modi on COVID-19 situation in view of the fast-spreading Omicron scare, expecting some major steps; however, nearly the whole day the honorable PM had been busy addressing rallies in the poll-bound state of Uttar Pradesh with thousands of citizens or voters cheering him in mostly mask-less fascination, while the social distancing was reduced to an absurdity as always. And then, in the evening the PM, back in the capital, found the time to chair the important meeting, and sounded a pan-India alert announcing the precautions to be taken. We have no option but to wonder: why doesn't the beloved leader of millions lead by examples like bringing the mass rallies into the ambit of the restrictions. During the second wave early this year too we witnessed the same cardinal mistake of going ahead with the assembly elections, and we a
India Vs South Africa ODI Series: Rohit To Be Missed, Selection Of Shikhar Good Decision!
On the very first assignment as the regular One-Day International (ODI) captain for the India's South Africa Tour-2021-22 and in the aftermath of the Virat split-captaincy controversy Rohit Sharma was finally ruled out of the full tour. This comes as a huge setback for Team India who has been doing well to take a 1-0 lead in the Test Series with the 3-match ODI Series to start from 19 th January 2022. Rohit had been suffering from a hamstring injury and was earlier ruled out for the Test Series which led to a lot of speculation about test captain Virat not playing the ODIs under the leadership of Rohit. As we wrote about Virat Kohli deciding to play the ODIs in his pre-tour press conference where he dropped a bombshell involving the Board of Control for Cricket in India (BCCI) President Sourav Ganguly and it was not made clear till now who was probably lying with Ganguly saying the matter would to be sorted out as and when appropriate and the latter going down with COVID infection s
PM Modi Announces Booster Doses And Jabs For Kids Even As DCGI Approves Covaxin For 15-18 Age Group!
Prime Minister Narendra Modi has announced, in another unexpected national address late evening yesterday perhaps as a Christmas gift like he did recently on the occasion of Prakash Parv (an annual festival of the Sikhs in Punjab and Haryana) to repeal the Three Farm Laws, booster doses or precautionary doses for the healthcare and frontline workers and all citizens above 60 years of age with comorbidities, to start from the 10th of January 2022, amid the rising Omicron scare in India. In a bid to make the parents confident enough to send their children to the schools the Prime Minister further announced vaccines jabs for children between 15 and 18 years of age to start from January 3, 2022. He also appealed to the people to not panic and follow COVID appropriate behavior strictly while cautioning them against rumors, fear mongering and misinformation. This announcement of the PM has been hailed all over as the most welcome move considering the global Omicron crisis—by the medical fr
Assembly Election Dates Announced By The ECI: Step Aside, Omicron!
The Election Commission of India (ECI) has today, a day when the country logged 1,41,986 new COVID-19 cases, announced the dates for assembly elections in 5 states of India, Uttar Pradesh (UP), Uttarakhand, Punjab, Manipur and Goa, starting from February 10, 2022. The polling in all five states will be completed between 10 th February and 7 th March in seven phases while the counting is to take place on 10 th March for all five states. UP election will be spread over all the seven phases till 7 th March; Uttarakhand, Punjab and Goa will have single phase polls on 14 th February; and Manipur will have two-phase polling due to security concerns in the state on 27 th February and March 3, 2022. More than 180 million citizens are set to exercise their voting rights during this what is often referred as festival of democracy. The Chief Election Commissioner (CEC), Sushil Chandra, assured while addressing a press conference in the national capital Delhi that the elections would b
Movies: Filmmaker Rituparno Ghosh Dies Young At 49!
IPL Spot Fixing Scandal: HE Is India!
IPL Finals: N Srinivasan Vs BCCI, CSK Vs MI!
Naxals Attack Congress Convoy, Kill 28!
IPL Spot Fixing Scandal: Gurunath Meiyappan Arrested!
IPL Spot Fixing Scandal: Gurunath Meiyappan Keeps ...
IPL Spot Fixing Scandal: Now The Umbilical…Sorry…T...
IPL Spot Fixing Scandal: Trail Leads To The Top!
IPL Scandal: Bollywood Connection To Bookies, Vind...
IPL Scandal: New Law To Check Match Fixing?
IPL Spot Fixing Scam Gets Bigger And BCCI Does Not...
IPL: The Slimy World Of Sin!
Politics Of Corruption: Chaos, Scams And Gates Gal...


Elfsight PayPal Button provides a simple way to allow your customers to make payments via PayPal on your website. It enables you to create buttons for single payments that can include taxes and shipping price; subscriptions with recurring option; and donations with specified or open value.
Buy PayPal Button – WordPress PayPal Plugin 1.0.0 for Wordpress only for $3.99. Offer available for a limited period. Join the club of more than 5500 happy members.


As a member of frosinisociety.org you get a user on the site and our newsletter. To be a member is easy, fast and free by register below and then enter the site at the right.
To get full access to all material (categories to the left) you need to pay for two month 10 Euro or a yearly fee of 50 Euro. All this is easy made by a credit-card, by postal giro or bank giro service when you have entered.
Enter information. Important, the email address you register will be your username on this site.
Yes, I want information from the Frosinisociety by email.
Yes, I agree with the terms.
Do you have any questions regarding registration or payment? Send an email with your email address to lars@frosinisociety.org or use our form and we will get back as soon as possible.


text:
The Seas: An Experience in Madness
Feb 17 ● BY Shilo Niziolek
Reading The Seas by Samantha Hunt is like being swept away by a beautiful and sometimes frightening lucid dream. Its first person point of view traps us in the perspective of a girl who alternates between moments of clarity and insanity. This perspective offers readers no distance from the experience of a woman unraveling—trapped in a town where she feels she doesn't belong, she grieves the loss of her missing father, who one day wandered out into the ocean, never to be found. She maintains an unrequited love for Jude, an older soldier who is one of the many town drunks—and, even more compelling, the narrator is sure that she is a mermaid, that she comes from and will one day return to the sea. She takes on the qualities of the ocean, her body loose and fluid and swirling in the wake of her own loneliness and despair.
The Seas is a meditation on grief as liquid, uncontainable. The narrator slips from dreamlike trances into crystallized moments of despair, such as the moment she tries to drown herself in the bathtub in order to return to the sea and join her father. Then, in the next moment, a wave breaks, and we find ourselves again planted in reality, where she is lying in a hospital bed being recommended for psychiatric care. As the narrator says, "There is a lot of this kind of sadness here. It slips in like the fog at night. The fog that creeps out of the ocean to survey the land that one day she thinks will eventually be hers."
First person point of view allows the narrator to dramatize her own mental unraveling. Her sanity ebbs and flows tidally, such as in the moment at the end of the book where she and Jude make love. I am there, riding the high of reality with her, or at least what I am led to believe is reality: "I kiss him back, his arms, his chest, his neck. I lift his shirt and I can taste his scars. He puts his hand on the small of my back and underneath one of my legs." But a shift takes place in the small moment where she says she can "taste his scars." The lovers are kissing and undressing, and the flow of the unreal creeps into the moment, taking over the narration: "I have never felt love in my lungs before. Jude looks like a horse. A seahorse. He is pushing up against me and inside me and every time I kiss him his lips are wetter than before. He is melting and he has been drinking so that I feel like I am rocking, like we're on the sea." Had this story been told in third person, I would have lost the immediacy of vacillating between the dreamy quality of love making into the dreamy quality of a woman losing her mind.
In The Seas, metaphors about ocean and grief turn me on my head from the very beginning, leaving me unsure of what I am seeing, what I am supposed to be seeing, what the narrator is experiencing in the real and unreal time of things. In the first chapter, "Maps," where the narrator lays out the town and its dynamics for us, she presents a strange metaphor: "The town is built on a steep and rocky coast so that the weathered houses are stacked like shingles, or like rows of razor wire in a prison, one on top of the other up the hill." Hunt moves between the real and the unreal seamlessly, creating a sense of uncertainty from the very beginning about what the narrator, and by extension the reader, is seeing. Is the narrator seeing the images of the town she came from overlaying the stark imagery of a prison? Or does the narrator see the town itself as a prison? Throughout the story we are given glimpses into the future by way of metaphor, but is it metaphor, or is it delusion? By the end of the story, I am unclear which is which. The water and sea metaphors continually call the narrator's sanity into question.
The beauty of being in the perspective of the unreliable narrator is that the readers don't know more than what she knows, and what she knows may be altogether different than what the truth is: "My mother sometimes works with me chambermaiding at the tourist motels, or we take on shifts at the sardine factory. They call us when they need us. At the factory, by 4 o'clock our hands are silver and slick from scales and soya oil. If I knit my fingers together my hands become odd fish themselves. They even try to swim away but I catch them." Is this simply a metaphor that lends itself to the mystery of this place and of the woman who believes herself to be a part of the ocean? Or does she actually watch, mesmerized, as her fingers turn into fish? Part of the magic of this novel is that we never really know.
It is clear that the imagination of the protagonist is intrinsic to her nature, and it creates a dreamlike quality that shifts through the pages, swirling like the ocean that surrounds her. In one scene, the narrator is sure she has found a beached King Neptune; she works quickly to try to return the King to the sea, all along having an intimate conversation with the creature. I assumed that she was imagining the conversation with this giant sea creature, the same way we imagine having a conversation with our cat. Yet after she cuts her hand, the dream manifestation begins to disintegrate around her: "I push and push King Neptune and then I give up. And then I can see clearly. King Neptune isn't, and underneath my cut hands is a rock shaped like a king, a rock deposited on the beach when the ice age flowed home, beaten, in retreat." The propelling force in this story isn't plot at all, but a fascinating, foreign, and terrifying series of flashes from someone who is experiencing multiple worlds stacked one on top of the other.
The narrator continually inhabits both real and imaginary worlds. I'm not entirely sure what is real, such as the character Jude, the older man she is in love with. The first time she sees Jude swimming out in the ocean until he is blue in the lips, she is sure that he is her father returned to her: "The possibility exists that one day the molecules of a body could arrange themselves just so that a person would be able to pass through a wall that appears solid to the eye. That is how much room we have between our molecules. I thought of that then I thought, 'This is the place where all my father's molecules went.' Then Jude was coming out of the water and I thought, in quantum physics there might be a possibility that all the molecules of my father would find each other again and would walk out of the water looking at least a bit like him." In this way, from the very beginning, Jude is a manifestation of both the love she has for her missing father and her love for the ocean, turning him into something other than what he actually is: a suffering drunken veteran. By the end, when she finally sleeps with Jude and hears his story only to wake and find him gone, I am utterly unconvinced of Jude's existence at all, or what the narrator believes she is or isn't experiencing. She finds Jude on the living room floor in the form of a puddle, and she drinks him, swallows him whole the way the grief of all the characters seems to be eating them alive. It isn't until she devours her grief that she feels complete: "I feel buoyant. I feel light and ready. I feel like we are getting out of here and mostly I feel Jude inside of me and it feels like love." When I later learn Jude is dead—was found dead on the living room floor where she drank up his body—I understand the deep level of the character's dissociation and am left wondering: what was it that she drank? Was it Jude's blood? Was she drinking anything at all, or was it the feeling of drowning?
Throughout the text, the narrator is preoccupied with the idea that she can't see clearly: "I told her I was in love so badly that it was affecting my vision." Her inability to see clearly, to think clearly, permeates the text as she returns again and again to the ophthalmologist who treats her as if she isn't losing her mind: "I think the trouble with my eyes started because they don't have enough pigment. They are more colorful than ice with a little blue in them. Eyes are an exception to ocean, sky, and blood. Eyes can be blue where there is no oxygen." It becomes clear that what is clouding her vision is the color blue—the blue of sadness, of grief, of loneliness, of loss, of the waves swirling around her head, swirling round and round the place where she lives. The continual undercurrent of her inability to see properly, the sense that she believes it is love that is clouding her vision, brings me to understand more clearly the dissonance of the narration, that I only see what she can see, and what she sees is distorted by her own mental unstableness and by the reality which I know: that love and grief cloud my vision, that when I am swimming and open my eyes, my sight is blurry. What I think I see may be altogether different than what actually exists.
Through the first person narration of a character on the brink of insanity, Hunt gives us a portrait that can only be experienced from the outside. First person puts me in the realm of reality in a way that I may not experience otherwise, for the reality of an insane person is still their reality. Never before have I encountered a text that so fully embraces and encompasses the beautiful madness of breaking from reality—of what it means to really dream into the world that I live in. What I think I am experiencing, may in fact be something altogether different than the experience of another. What is making love to one is drowning to another. What is insanity may very well be reality.
Share in email
BY Shilo Niziolek
Shilo Niziolek is a writer based in Oregon. Her work has appeared in Broad River Review, Oregon Humanities Beyond the Margins, SLAB, and Clackamas Literary Review, among others. She has work forthcoming in BARNHOUSE and New Plains Review. Shilo is a candidate for an MFA in fiction and nonfiction from New England College.
Interviews,
Off-Kilter: A Conversation with Kevin Wilson
BY Molly Yingling
You have to be prepared to say that the failure is worth it if it means at the end of it, you have something you can be proud of.
Field Notes,
Porter House Reads: Poetry for Music Lovers
I wanted to get together with my fellow poets on the Porter House Review staff and suggest poetry books for all the music lovers out there so that they too might come to love poetry in the same way that I did.

redpajama_set_name: RedPajamaCommonCrawl


text:
12/20/2019 _Perspective
Marilyn Allen
de[re]territorialisation
digitality absurdism abstract machine parapoetics paratext
URN: https://nbn-resolving.org/urn:nbn:de:hebis:26-opus-150972
Download as: PDF
de[re]territorialisation adopts a bi-column structure as a method to explore how meaning is distributed between human and digital voices. This bi-discursive paper was generated via a performative gesture where words spoken by a human subject, occupying the left-hand column, were translated by a digital subject to produce text for the right-hand column. de[re]territorialisation explores the potentiality for new narrative flows to be produced through errancy and anomaly, and the capacity for the interplay between the human voice and computational voice recognition systems to deterritorialise and reterritorialise content.
de[re]territorialisation D[really]territorialisation
For the 21st Century citizen communication typically takes place in a digital context. When we engage with electronic systems our voices enter into a maelstrom of utterances both generated and archived in digital space: A space where the human voice is deterritorialised from the corporeal. For the 21st Century citizen communication typically takes place in a digital context. When we engage with electronica systems are voices entered into a maelstrom utterances both generated and archived in digital space: a space with human voices D territorialisation from the corporeal.
When we begin a conversation with our computational counterparts we participate in the illusion of a discourse conducted with a reasonably human-sounding interlocutor; however, the different intonation and emphasis within the syntactic structures of the exchange typically generates a rupture in this pseudo-conversational experience. When the iteration of words and the coherence of sentences are not entirely plausible we begin to observe a rupture in this simulation of human voicing. In these computational ruptures we perceive the interplay between sense and nonsense, nuance and nuisance, difference and différance. As I speak the word différance into this computer's voice recognition software it types the word difference, thus performing Derridean deconstruction. When the word différance is uttered it is perceived as difference; however, this imperceptible change from difference to différance silently deconstructs the metaphysical privilege afforded to speech over writing. Différance is performed through the gestures between human utterance and digital perception, between text and paratext. Derrida suggests that différance belongs to neither speech nor writing and alternatively exists in a space beyond or between these two terms: "It belongs to no category of being, present or absent."1 The mark of distinction between the terms difference and différance remains inaudible; a mute irony with the disruptive potential of différance. When we begin a conversation with our computational counterparts we participate in the illusion of a discourse conducted with a reasonably human sounding into the computer; however, the difference internation and emphasis within the syntactic structures of the exchange typically generates a rupture in the Sudo-conversational experience. When the iteration words in the coherence of sentences are not entirely plausible we begin to observe a rupture in the simulation of human voicing. In the song computational ruptures we perceive the interplay between sense and nonsense, new wants a nuisance, difference in difference. As I speak the word difference into this computers voice recognition software types the word difference, that's performing do Indian construction. When the word differences is uttered it is perceived is difference; however, this imperceptible change from difference to different side of the deconstructs the metaphysical privilege afforded to speech have a writing. Differences the form through the gestures between human at once and digital perception, between text and para text. Debit or suggests a difference belongs to neither speech and writing alternatively exists in a space beyond or between these two terms: "It belongs to know category being present or absent."1 The mark of distinction between the tens difference difference remains in audible; I meet irony with the disrupted potential difference.
The para is situated to the side of a dominant ideology; however, as Steve McCaffery suggests the "Beside is also between, interstitial and intervallic, as well as extra, outside."2 This condition of the extra, the outside, is a production of excess which suggests that it is not simply a process of transcribing data from one system (the human) into another (the computer) but rather that through this process of translation there are moments of incompatibility that generate linguistic debris. The paratext (the digitally generated text) is situated to the side of the central text (the human voice); however, it is also that which has the potential to disrupt the authority of the central text; disrupting from between and within the axioms of language. David Caroll's description of paraesthetics offers an associative relation to the paratext in his assertion that it is "something like [a text turned against itself […] a faulty, irregular, disordered, improper [text] – one not content to remain within the area defined by the [words spoken]." 3 The parrot is situated to the side of the dominant ideology; however, Steve McCarthy suggests that the side is also between interstitial and intervallic as well as extract outside. This condition of the extra, the outside, is a production of excess which suggests that it is not simply a process of transcribing data from one system (the human) into another (the computer) but rather that through this process of translation there are moments of incompatibility that generate an Khristich Deborah. Apparently (the digital generated text) is situated to the side of the central text (the human voice); however, it is also that which has the potential to disrupt the authority of the central text, distracting from between and within the axioms of language. David Carroll's description of paraesthetics office and associated relation to the para text in his assertion that it is "something like [a text] turned against itself […] a false, irregular, disordered, improper, [text]- one not content to remain within the area defined by the [word spoken]." 3
This paper may be described as paratextual performance; a series of transdisciplinary utterances which subsequently question our human proclivity for authority over voice and meaning. The digital paratext raises the question as to who speaks, and for whom? How do humans and machines articulate themselves, and how can we avoid a propensity toward quantifying these utterances against human language systems? This paper may be described as a para text your performance; a series of transdisciplinary entrances which subsequently question of human property for 30 have a voice and meaning. The digital parrot text raises the question as to who speaks and for whom? How do humans and machines articulate themselves, and how can we avoid a propensity towards quantifying these actresses against human language systems?
The paratext necessitates our negotiation of parallel vocabularies, of grammatical and syntactical difference différance. The inconsistencies in the process of digital translation yield similar results to that of parapoetics: a poetics derived from the supposedly extraneous irregularities generated through semantic slippage and phonetic intertextuality. McCaffery introduces the concept of error, generated through typographical inaccuracies. He writes: The para text necessitates a negotiation parallel to cabarets, of grammatical and some tactical difference difference. The inconsistencies in the process of digital translation you Somerley results to that of paraparetic: a poetics derived from the supposedly extraneous regularities generated through semantic slippage and phonetic intertextuality. McCaffrey introduces the concept of error, generated through typographical inaccuracies. He writes:
"Like a slip of the tongue the clinamen is less a performance than a happening.
Like a ship of the tongue the clinamen is less a performance than a harpooning."4 "Like a slip of the tongue the Kinnaman is less a performance that are happening.
Like a ship of the time the Kinnaman is less a performance than a harpooning."4
This linguistic absurdism plays on the indeterminacy of language and celebrates the failed efforts of communication and the subsequent oscillation between meaning and nonmeaning: from a slip of the tongue to a ship of the tongue, from happening to harpooning. This mode of linguistic failure finds an alliance with the literary absurd where breakdowns in communication and misunderstandings generate new practices. In Lewis Caroll's Alice's Adventures In Wonderland a conversation between Alice and the Mock Turtle generates new discursive modalities. The Mock Turtle opens with: This linguistic absurdism place on the end of tenancy of language and celebrates the failed efforts of communication and the subsequent oscillation between meaning and not meaning: from the slip of the tongue to ship of the time that from happening to happening. This mode of linguistic Phalia finds an alliance with a literary absurd where breakdowns in communication and misunderstanding is generating practices and Lewis Carroll's Alice's Adventures in Wonderland a conversation between Alice and the Mock Turtle generates new discursive modalities. The Mock Turtle opens with:
"I only took the regular course."
"What was that?" inquired Alice.
"Reeling and Writhing, of course, to begin with," the Mock Turtle replied; "and then the different branches of Arithmetic – Ambition, Distraction, Uglification, and Derision."5 "I only took the regular course."
What was that?" enquired Alice.
"Reading and Writing, of course, to begin with," the Mock Tail replied; "and then the different branches of Arithmetic – Ambition, Distraction, Uglification, and Division."5
The principles of the absurd may provide a method with which to negotiate the material which is produced during our interactions with the digital; materials of both sense and nonsense. Automatic speech recognition enables the speech to text process to be enacted. Through this process language is distributed, an homogenous human utterance ceases to exist and language is scattered between the human and the digital. It is in the story of Babel that this scattering of language may be elucidated. The myth of Babel describes the construction of a tower. The Tower of Babel was an attempt to reach the heavens and its initial success was the product of linguistic unity. According to biblical account, punishment was placed upon the people of Babel, serving to confound their language (etymologically, Babel is taken from the Hebrew word balal, meaning to jumble). The homogenous language uniting the people of Babel in the single act of constructing a tower is confused, thus Babel is transformed into babble. "The Tower of Babel remains incomplete, never to become numerically one."6 The myth of Babel parallels the process of digital translation where the coherence of language is confounded through phonetic intertextuality. The principles of the absurd may provide a method with which to negotiate the material which is produced during our interactions with the digital; materials of both sense and nonsense. Automatic speech recognition enables the speech to text process to be in acted. Through this process language is distributed, and homogenous human actions ceases to exist and language is scattered between the human and the digital. It is in the story of Babel that the scattering of language may be elicited. The myth of people describes the construction of a tower. The tower of Babel was an attempt to reach the heavens and its initial success was the product of linguist Dick unity. According to biblical account, punishment was placed upon the people of Babel setting to confound the language (etymologically, tables taken from the Hebrew word parallel meaning to jumble). The modulus language uniting the people of Babel in the single act of constructing a tower is confused, best Babel is transformed into bubble. "The tower of Babel remains in complete never to become numerically one."6 The myth of Babel parallels the process of digital translation where the coherence of language is confounded to phonetic intertextuality.
Through the capacity for instant digital recording, the present is immediately perceivable as data and thus performs an active archival structure. The computer's voice recognition system enables the process of dictating words to be typed: Dictation alludes to the giving of orders authoritatively or categorically; however, the glitch phenomenon exposes the system's fallibility. The communication between the human and the digital in this context produces a stuttering and stammering practice that disrupts the anticipated autonomy of human voicing. Wolfgang Ernst suggests that "a semantic lag opens" in this process which produces a delay between the spoken word and digital recognition, he asks: "Where does 'liveness' stop and 'delayspace' start?"7 To the capacity for instant digital recording the present is immediately conceivable as data that the form is an active archival structure. The computer is voice recognition system enables the process of dictating words to be typed: Dictation leads to the giving of orders authority to people categorically; however, the glitch phenomena exposes the system's fallibility. The communication between the human and the digital in this context produces a stuttering and stammering practice that disrupts the anticipated autonomy of human voicing. Wolfgang Ernst suggests that "a semantic love opens" in this process which produces a delay between the spoken word and digital recognition, he asks: "Where does 'lifeless' stop and 'delay space' start?"7
This interaction with the digital produces a separation between body and voice, and generates the construction of a disembodied voice, producing what Schafer called schizophonia8 – this interrelation with voice recognition software maybe described as a schizophonic practice; a double-voicing engendered by the digital. This digital machine, like the Deleuzian abstract machine, does not function to represent but rather, as Simon O'Sullivan suggests, "constructs a real that is yet to come, a new type of reality."9 It is perhaps worth noting that the word machine is derived from the Latin machina, meaning trickery – a device to deceive – the simulation of human cognition and language. We find humour in the ludicrous errors intermittently generated amidst an otherwise remarkable technical performance. In Fox Harrell's text Toward a Theory of Phantasmal Media "There is always a mixture between [the] human interpretation of meaning, and the limited symbolic ways that machines encode meaning."10 Digital technologies offer pragmatic solutions to data processing and storage yet contained within this language of coded logic is the potential for illogic and the production of difference. Perhaps what is generated here is a performance of what Sianne Ngai refers to as the stuplime;11 a combination of the stupid and the sublime. The alliance between the digital and the absurd provides a space for contemplating the paratextual data generated in human/digital exchanges. The glitch phenomenon is part of this language of the digital absurd: The production of a stuttering and stammering stuplime: This interaction with the digital produces a separation between body and voice generates the construction of a disembodied voice, producing watch schaper called schizophrenia8 – this into relation with voice recognition software may be described as a schizophrenic practice; a double-voicing engendered by the digital. The digital machine, like the Delusion abstract machine, does not function to represent but rather, assignment O'Sullivan suggests, "constructs a real that is yet to come, a new type of reality."9 It is perhaps worth noting that the work machine is derived from the Latin makanna meaning trickery – a device to deceive – the stimulation of human cognition and language. We find humour in the ludicrous errors intermittently generated and it's an otherwise remarkable technical performance. In foxholes text Towards a Theory of Phantasmal Media "There is always a mixture between [the] human interpretation of meaning and the limited symbolic ways that machines include meaning."10 Digital technologies of a pragmatic solutions to data processing and storage yet contained within this language of coded logic is the potential for logic and the production of difference. Perhaps what is generated here is a performance of what Siena and Guy refers to as the steep line,11 a combination of the stupid and the sublime. The alliance between the digital in the absurd provides space for contemplating the parrot extra data generated in human/digital exchanges the glitch phenomena is part of this language of the digital absurd: the production of a stuttering and stammering stupid line:
*Error reading file, contents are corrupted *Error reading file, contents are corrupted
Digital practice is made possible by digital media technologies, and as Katherine Hayles suggests, that more than being marked by digitality, electronic practices are actively formed by it.12
Digital practice is made possible by digital media technologies, and is Catherine Hails suggests, that more than being marked by digital IT electronic practices are actively formed by it.12
1. Jacques Derrida, "Différance," in Théorie d'ensemble, Editions Seuil, (Illinois: reproduced by permission of Northwestern University Press, 1968), 259 1. Jack Derrida, "Difference," in Theory the ensemble, Additions to L, (Illinois: reproduced by permission of Northwestern University Press, 1968), 259
2. Steve McCaffery, Contemporary Poetics (Illinois: Northwestern University Press, 2006), 323 2. Steve McCaffrey, Contemporary Poetics (Illinois: Northwestern University Press, 2006), 323
3. Steve McCaffery "Parapoetics and the Architectural Leap," in Architectures of Poetry, eds. Craig Dworkin & Maria Sánchez (New York: Rodopi Publishers, 2004), 91 3. Steve McCaffrey, "Paraparetic is in the Architectural Leap," in Architecture is a Poetry, eds. Great Talking and Maria Sánchez (New York: Dopey publishers, 2004), 91
4. Steve McCaffery, Prior to Meaning: The Protosemantic and Poetics (Illinois: Northwestern University Press 2001), 18 4. Steve McCaffrey, Prior to Cleaning: The Protosemantic and Poetic (Illinois: Northwestern University Press 2001), 18
5. Lewis Carroll, Alice's Adventures In Wonderland (London: HarperPress 2010), 94 5. Lewis Carroll, Alice's Adventures in Wonderland (London: HarbourPress 2010), 94
6. Yve Lomax, Sounding the Event: Escapades in Dialogue and Matters of Art, Nature and Time (London: I.B. Tauris 2004), 27 – 28 6. Even Though Max, Found in the Event: Escapades in Dialogue and Matters about Nature and Time (London: I.B. Torres 2004), 27 to 28
7. Wolfgang Ernst, The Contemporary Condition – The Delayed Present Media-Induced Tempor(e)alities & Techno-traumatic, (Berlin: Sternberg Press 2017), 12&15 7. Wolfgang Ernst, The Contemporary Condition – The Delayed Present Media and Use Temporalities and Techno Traumatic, (Berlin: Standard Press 2017), 12 and 15
8. Raymond Schafer, The New Soundscape, (London: Universal Edition 1974) 8. Rain in Shape for, The New Soundscape, (London: Universal Edition 1974)
9. Simon O'Sullivan, Art Encounters Deleuze and Guattari: Thought Beyond Representation, (Hampshire UK: Palgrave Macmillan 2006), 34 9. Simon Oh Sullivan, Art in Counters Delusion Guitar: Thought Beyond Representation, (Hampshire UK: Palgrave Macmillan 2006), 34
10. D. Fox Harrell, Toward a theory of phantasmal media: An imaginative cognition and computation-based approach to digital media, accessed April 28, 2019, http://www.ctheory.net/printer.aspx?id=610 10. D box Harrow, Toward the theory of phantasmal media: And imaginative cognition and computation-based approach to digital media, accessed April 28, 2019, http://www.ctheory.net/printer.PSPX? ID equals 610
11. Sianne Ngai, Ugly Feelings, (Massachusetts: Harvard University Press 2007) 11. Siano and Guy, Ugly Feelings (Massachusetts: Harvard University Press 2007)
12. N. Katherine Hayles, "Intermediation: The pursuit of a vision." in New Literary History 38.1 (2007) 99-125 12. N. Catherine Hails, "Intermediation: The pursuit of vision." in New Literary History 38.1 (2007) 99 to 1 to 5
Metaphors of Migration
Issue №
Related Issue:
Editorial: Distribution
Latest _Perspectives
Troubling the Border
Maria Cristache
Modernist Architecture and Visual Culture
More _Perspectives


There are umpteen styles of commercial windows that you find in the market these days and that's quite obvious to the makers of commercial windows who happen to be a part of this industry for many years. Most commercial window companies are constantly updating their knowledge and expertise to understand the needs of their customers in tune with the evolving trends. But when it comes to Staffordshire Replacement Windows, commercial companies like them provide commercial windows and doors to customers of the UK with the kind of quality that they are looking for by taking in account different work and practices.
Staffordshire replacement windows which are located in Staffordshire primarily deal in commercial aluminium windows. Alongside this many highly specific projects are available too. This makes sure we always improve our ways and our offers.
Different types of commercial windows and doors are produced for specific reasons and it is important to understand these reasons while choosing a particular type of solution. Commercial windows and doors are mainly constructed to fit a particular construction. When it comes to safety these commercial doors and windows are made to meet the highest standards.
Commercial window solutions are designed for modern businesses, which are looking forward to providing their customers with the best possible experience. Every situation may not need very accurate commercial window solutions. Retail customers should therefore position themselves as an informed customer. Speaking to our expert and experienced professionals like the commercial windows and doors specialist at Replacement Windows Staffordshire Is the quickest way to achieve this.
By ensuring efficient execution of your commercial projects, you can expect the best returns from your financial investments, over the longer term. As mentioned before, commercial windows and doors solutions are in most cases peculiar, and if you're interested in making this type of investment it is imperative that you make the correct call; the staff of Replacement Windows Staffordshire in Staffordshire Are proud to say that they are qualified to provide you with the proper background information before the purchase.Of course, it is important that you learn something more about commercial windows and doors on your own.
Commercial windows require a higher amount of money than the household windows, as customers will look at what is improved in commercial windows and what advantages they'll have. Offices are bigger in size compared to homes and for that reason the usage of commercial windows and doors comes into the picture. Since they are used more often, more wear and tear takes place, making it very important to use the highest quality material in its manufacturing.
High-quality commercial window solutions can provide better security and safety, and this is perhaps one of the most relevant reasons, which must be considered. And Replacement Windows Staffordshire in Staffordshire is dedicated to provide that to clients since its time of inception.
Whatever choice you make be certain that it is the right investment for you because all these actions take place in public places. The choice of commercial windows and doors needs to be meeting all safety standards in every situation.
Commercial windows and doors are peculiar and as such, they require special attention while realizing the solution; we at Replacement Windows Staffordshire know that due to our background working experience. So quality and value for money are necessary when you make this type of investment.
Commercial windows and doors ask for higher quality standards. Aluminium commercial doors and commercial aluminium windows must meet the industry standards within the UK when being manufactured.
When dealing with a commercial project it is also essential for you to place the safety factor at a higher level. Replacement Windows Staffordshire is aware that business establishments have to comply with safety and health regulations laid down by the UK Government.
The variety of selections of commercial windows are a particular fragment of this field and clearly to everyone who is working on this matter whether directly or through dealers. This indirectly indicates that different types of commercial Windows are undoubtedly a highly specific part within this industry, and the information is well known to all commercial window manufacturers and service providers that understand that dealing with commercial windows needs the relevant experience and knowledge. Different commercial window companies are improving their work by constantly gathering new insights and expertise allowing the commercial window company to completely understand the needs of the different types of commercial clients.
Staffordshire Replacement Windows offers their solutions throughout the UK, though quality is of utmost importance, and for it to be provided, the company must be highly informed both about the characteristics of the products and the needs of the customers - our company prides itself to admit that it has met that standard. The sky's the limit when you think of what this business has to offer as we also undertake repairing and fixing of commercial aluminium windows. Alongside they offer many different special technical projects.


Northland Physical Therapy and Rehabilitation Services has been a North of the River treasure for more than 40 years. Started in 1970 by therapist Bill Dunn, Frank Ferrantelle, P.T., purchased the practice in 1991. Ferrantelle, a Kansas City native and graduate of the University of Missouri School of Physical Therapy, continues to lead Northland Physical Therapy today.
Since those early years, Northland Physical Therapy has grown from 4 employees to 20 and has added 2 locations. The North Kansas City office remains where Northland Physical Therapy began over 40 years ago, but now there are also Liberty and Barry Road locations, opening in 2001 and 2005, respectively. While Northland Physical Therapy has grown through the years, its core mission and commitment to its patients remain unchanged, and its top-notch staff members continue to be leaders and innovators in physical therapy for the Greater Kansas City community.
Most recently, Ferrantelle and Northland Physcial therapy were honored by the Kansas City Business Journal receiving the 2011 Twenty-Five Best Small Businesses in Kansas City and Kansas with 25 or fewer employees.
We welcome you to the most established outpatient physical therapy clinic in the area. We pledge to you and to your doctor our best efforts with a rehab design like no other. That is the Northland Physical Therapy experience.


text:
Q: Can't have authorization for the app_installations methode I'm working on a github application and my actual task is to  retrieve list of github user account / github organization on which the app has been installed.
So basically, I'll be using the app_installations() Method in Github3.py Library.
This method require authentication. So by running the following code :
def get_users():

    user = "bilel.e***********"
    password = "5QPN74dHD******"

    gh = login(user, password)
    #gh is an instance of <class 'github3.github.GitHub'>

    scopes = ['user', 'repo']

    auth = gh.authorize(user, password, scopes)
    ghi = gh.app_installations()

    return ()
get_users()

I receive the following output :
    Traceback (most recent call last):
  File "ghe-admin-app/service.py", line 33, in <module>
    get_users()
  File "ghe-admin-app/service.py", line 29, in get_users
    auth = gh.authorize(user, password, scopes)
  File "/usr/local/lib/python3.7/dist-packages/github3/github.py", line 503, in authorize
    json = self._json(self._post(url, data=data), 201)
  File "/usr/local/lib/python3.7/dist-packages/github3/models.py", line 156, in _json
    raise exceptions.error_for(response)
github3.exceptions.UnprocessableEntity: 422 Validation Failed

I should mention that I tried to put a wrong password on purpose and the result was as expected :
github3.exceptions.AuthenticationFailed: 401 Bad credentials

A: Fixed issue !
I was using the wrong Authentication method.
I should use login_as_app(private_key_pem=key_file_pem, app_id=app_id) instead in order to use the app_installations() method.

redpajama_set_name: RedPajamaStackExchange