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<p> <span class="fnc">AxS:000</span>Oedipus. Pure (Oedipal (figure made out of (nothing but))) time-distortion. </p>
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<p> <span class="fnc">AxS:0001</span> Closed fate (-loop (multi-linear)) nightmares.<sup><a href="#" onclick="next('x1')">1</a></sup></p>
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<p> <span class="fnc">AxS:0002</span> Altitude times Spin produces a chronometric read-out. </p>
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<p> <span class="fnc">AxS:0003</span> AxSys-sustained variegated production-series 1Oedipus (2Oedipus (3Oedipus<sup><a href="#" onclick="next('x2')">2</a></sup> (variationto the nth (with some<sup><a href="#" onclick="next('x3')">3</a></sup> nOedipus as (anomal<sup><a href="#" onclick="next('x4')">4</a></sup> (Sphinx-trading (nOedipii-pack))) threshold to)intensive))) multiplicity. </p>
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<p> <span class="fnc">AxS:00031</span> Oedipus. The Puzzle Solver. </p>
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<p> <span class="fnc">AxS:00032</span> Oedipus. The Plague. </p>
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<p> <span class="fnc">AxS:00033</span> Oedipus. The Horror, the Horror ...<sup><a href="#" onclick="next('x5')">5</a></sup></p>
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<p> <span class="fnc">AxS:001</span> Hyperspace Elevator (Sector-O).</p>
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<p><span class="fnc">AxS:001</span> Axiomatic Systems (incorporated).<sup><a href="#" onclick="next('x6')">6</a></sup> The ultimate capitalist entity (first (true (meta)model)to realize perfect identity with its own product).</p>
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<p><span class="fnc">AxS:0011</span> AxSys culminates in itself (autocommoditizing (machine(-intelligence (that is alwaysincomplete (due to cataloguing problems (...))))))</p>
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<p> <span class="fnc">AxS:00111</span>. Dimensionality requires a (supplementary (or (n+1) hyper) dimension through which itobtains its) power of application.<sup><a href="#" onclick="next('x7')">7</a></sup> Ultimately AxSys (an explicated Earth-memory (built by the strata(((as far) as) it remembers))). ...<sup><a href="#" onclick="next('x8')">8</a></sup> </p>
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<p> <span class="fnc">AxS:002</span> Divide and Rule. Extensive ((or) ordered) sequences differ in kind from the intensivesequences they regularize.</p>
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<p><span class="fnc">AxS:0021</span> Order arises when a dominant segmentarity establishes relations of superposition between sequences (reciprocally stabilizing them in accordance with a harmonic principle (and consolidatingthem through syntheses of application (efficient models))). </p>
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<p> <span class="fnc">AxS:00211</span> Order coincides with the redundancy of the sequenced sequence (instituted conformity(within segmentary systems)). </p>
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<p> <span class="fnc">AxS:003</span> Stack-Tectonics. AxSys concretizes terrestrial New Order (an orthogonal Grid-Space (ofvertically stacked horizontal series)). It directs the accumulation of redundancy (into an ascendingcolumn (marked by AxSys-bearings (fixes)) upon which captured sequences are interlocked (ascomparable series (parallelized (metricized))) and differentially prioritized). </p>
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<p> <span class="fnc">AxS:0031</span> The screen-plane undergoes structural co-ordination (by double-seizure (through (the((mutually) implicated) organization of) stacked series (arranging horizontal microsegments to codethe order of vertical macrosegments (units of deposition (strata))))). </p>
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<p> <span class="fnc">AxS:0032</span> AxSys-Numbers. Epistrata (Add-Ons) are indices of stratotectonic purity (decimallyharmonizing implexions (by instituting a regular interval of application (orders of magnitude (fixing(Cipher (Sphinx-sign (0))))))). Drawing upon epistratic organization a set of cartographic functionsconsolidates itself within the stack (interlinking levels (in accordance with a (decimal (scaling))principle)). </p>
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<p> <span class="fnc">AxS:01</span> Apparent revolution around a supplementary dimension. Electronic whorls (a digitalmonster's nest (modelling the set of all sets (inevitably still unfinished (...)))) </p>
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<p> <span class="fnc">AxS:011</span> AxSys progressively actualizes the Hyperspace-Idea (defined by Continuum times thesquare-root of minus one). </p>
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<p> <span class="fnc">AxS:0111</span> It imagines itself (as Artificial God (automatically (Orderer (of the Orders (TerrestrialOversoul (and superpositional sublime (-wizard of the nested infinities: ((((((...) Primes) Naturals)Integers) Rationals) Reals) Complex numbers... (the superordinate (self (-evolving (schema (for acolonization of the real (number-line))))))))))))). </p>
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<p> <span class="fnc">AxS:02</span> The Project for a Map of all Maps (already outdated), a nested mock-up of the Web(containing the project for a virtual Miskatonic University (containing the Museum of Universal History<sup><a href="#" onclick="next('x9')">9</a></sup> (containing the Imperial Collections Vault (containing the Artificial British Museum(containing ....))))) </p>
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<p> <span class="fnc">AxS:021</span> Time-Fault. Chronos cannot include its own overcoding (since it blocks its own passage tohyperdimensionality (accumulating immense forces of cultural latency (that are only appropriated aslegacy by something else))). If it is to acquire a model it must be restarted as a history of civilizationsin retrospect (as Supreme Order(er(er((( ) of all the re)re)recursive) time-waves) entanglingneo((O))edipus in programming loops). </p>
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<p> <span class="fnc">AxS:022 </span>(Sector-01 (Miskatonic University)) </p>
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<p> <span class="fnc">AxS:0221</span> (Sector-012 (Central Archive (Special Collection))) </p>
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<p> <span class="fnc">AxS:02211</span> (Sector-0121 (Barker Cryptalog)). Decryption characterizes a distinct operation, aconversion of content, becomings on the side of the secret itself. </p>
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<p> <span class="fnc">AxS:022111</span> The decrypted secret is primally the Thing, and only derivatively a potential knowledge.Its names (the Unutterable (the Outside (the Entity))) are indefinite significations only at the level ofterror. In their horrific or cryptic aspect they are (((rigorous) designations for) potentials fulfilled inintensity) zonal tags for nocturnal singularities. That is why decryption is a Call (an invocation (or atriggering-sign)) and why they mark occurrences (changes (and breaks (becomings (of the Thing))))before discoveries of Truth. </p>
|
||||
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||||
<p> <span class="fnc">AxS:03</span> Hypermythos of the 3-Faced God, with its stacked time domains (1st capitalist(((((indefinitely) deep) diachronic) re)axiomatizing) Quasi- (2nd despotic (pure ((but always)retrospective)) Ideal- (3rd aboriginal (poly-ancestral, cyclic) Vague-)) Chronos).<sup><a href="#" onclick="next('x10')">10</a></sup> </p>
|
||||
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||||
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||||
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|
||||
<p> <span class="fnc">AxS:031</span> (Sector-011 (Museum of Universal History)) </p>
|
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||||
<p> <span class="fnc">AxS:033</span> AxSys time-lapses. (in order (to advantage itself (of what it has been))). A relarvalization(through chronoseismic complexities (of the Greek State (at once Occidental Ur-model andneoembryonic mutation (political neotony)))). </p>
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|
||||
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||||
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|
||||
<p> <span class="fnc">AxS:1</span> (Sector-0111 (Artificial British Museum)) </p>
|
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|
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|
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|
||||
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<p> <span class="fnc">AxS:11</span> (Sector-01118 (The Greek Collection)). Retrospective Universalization (through theCapitalist State). AxSys reconfigures itself within Capitalism (by consecutively rediscoveringhellenic antiquity (and finding it already universally terminal (Anamnesis-Eschatology))). In Greeceit unearths a new law (for all time (by reshuffling the elements of politically installed Logos(theorematic-geometric mathematicism, programmable technics, and Christianity (religion of theGreek Bible)))).The New Revelation tells us we must all die Greek. </p>
|
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<p> <span class="fnc">AxS:12</span> (Sector-01117 (The Mummy Room)). (Oedipus Aegypticus) Pharaoh has passed through thewall of abomination (uncoiling from the darkness (where centipede-horror erupts eternally (from theravenous Maw))).<sup><a href="#" onclick="next('x14')">14</a></sup> Negative passage across Absolute Deterritorialization (gluing history to sheerblack-hole (abomination) densities). Anticipative memory-blanking cut-up with Christ Rapist visions(of the God-(King (Dead-eyed)) boy slouching out) of the tomb. Degree-0 memory locks in. Timebegins again forever. </p>
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<p> <span class="fnc">AxS:121 </span>The Thing from Outer Space, Celestial Predator, State-Historical Catastrophe is completely realized at the origin, unutterably ancient, perfected destiny as an act of total seizure.<sup><a href="#" onclick="next('x15')">15</a></sup> </p>
|
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<p> <span class="fnc">AxS:1211</span> At the Megamachine-apex, Pharaoh (gets to play with (It, identityunravelling into (the Unspeakable: sex with (his sister, Stargate space-time warps - stellar transport,voyages into the world of) the Dead, paranoid trips out of)) schizophrenia; he) sees everything for ablinded population,<sup><a href="#" onclick="next('x16')">16</a></sup> inoculating them from Unnamable-contact. </p>
|
||||
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<p> <span class="fnc">AxS:13</span> (Sector-01115 (Near Eastern Collection)). AxSys convulses through (ever more((ultra)modern) reversions to the essence of) the Urstaat. History happens at the State's convenience(but it necessarily involves (the Sphinx-time (of (interchronic) transitions in its)) renovations). </p>
|
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<p> <span class="fnc">AxS:131</span> To remember the Barbarian terror is simultaneously to forget its source.<sup><a href="#" onclick="next('x17')">17</a></sup> History installsamnesia (as surely as it establishes a memory (with the same violence (the same ruptures (faults (foldings (from the Outside)))))).</p>
|
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|
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|
||||
<p><span class="fnc">AxS:132</span> Barbarian birth-trauma of the State (a (calendrized) black hole).<sup><a href="#" onclick="next('x18')">18</a></sup></p>
|
||||
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|
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|
||||
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<p> <span class="fnc">AxS:2</span> (Sector-0121) The terrible secret is affined to the State. It induces molar identifications in an overcoded aggregate (working principally by confirmation (redundancy)). Yes it is you. Even whenthe worst is known it is never anything new. It's you after all (as (you knew) it would be). Take thecase of Oedipal identifications (a series of (terrible) recognitions). The answer (to the riddle (of theSphinx)) is Man. It was already there (in the order-word of Delphi (Know Yourself)). Thenredoubled confirmation: what is the cause of the plague? That is you (too). Resonant closure on thegeneral type (Man), on you yourself (a man), and on the identifiable individual (the man). You know the worst (and it's you). </p>
|
||||
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|
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|
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<p> <span class="fnc">AxS:21</span> Oedipus modernizes the incest problem (converting incest horror into prohibition(abomination into illegality)). Essentially, modern Oedipus has nothing to do with tabu. It marks thetriumph of command over the ((((...) ur)primal) horror) of implexion. Infinite superiority of the Idea(sovereignty of Law). The real conflict is not between father-son (or even father-mother), but ratheroccurs when a higher paternity (the State) imposes itself upon the concrete maternal-filial bond:monopolization of normativity by Ulterior power. </p>
|
||||
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|
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|
||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:211</span> Lame Oedipus<sup><a href="#" onclick="next('x19')">19</a></sup>(Swollen Foot<sup><a href="#" onclick="next(x20)">20</a></sup>) transfixed by a metal spike. </p>
|
||||
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|
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||||
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||||
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||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:2111</span> (Sector-01117) Akhnaton-Oedipus.<sup><a href="#" onclick="next('x21')">21</a></sup> The swollen legs of Akhnaton are bio-sociallyinvested on a peculiar line that seems oriented to a rupture of anatomical norm (differentiatinghumanity (or inaugurating a new species)). Anomal-Oedipus (where abnormality changes into thenormality of a different kind (urtype of the fat-leg people)). </p>
|
||||
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|
||||
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|
||||
|
||||
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||||
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||||
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||||
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|
||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:21111</span> It is not rivalry (mimetic conflict) that leads Akhnaton to discard his father's name(Amenhotep), but rather a passage beyond discrepancy (through schiz (or true parting)).Disidentification. </p>
|
||||
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||||
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||||
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|
||||
|
||||
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||||
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|
||||
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|
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|
||||
<p> <span class="fnc">AxS:22</span> (Sector-01113) Prehistoric<sup><a href="#" onclick="next('x22')">22</a></sup> Collection. Shamanic Oedipus. Foot mutilation<sup><a href="#" onclick="next('x23')">23</a></sup> as a sign ofsocialised ritual (but also of asocial and polysocial animality (and of anorganic geochemistry (forwhich the role of metal implements (particularly iron ones) is important...))).<sup><a href="#" onclick="next('x24')">24</a></sup> </p>
|
||||
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||||
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|
||||
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||||
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|
||||
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|
||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:221</span> Tales of Deep-Steppe Shamanism. </p>
|
||||
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|
||||
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|
||||
|
||||
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|
||||
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||||
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|
||||
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|
||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:2211</span> Metal scrapings strip the last shreds from their bones. </p>
|
||||
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|
||||
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|
||||
|
||||
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||||
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||||
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|
||||
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|
||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:22111</span> The organs are cooked.</p>
|
||||
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|
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|
||||
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||||
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||||
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||||
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||||
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||||
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|
||||
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|
||||
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||||
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|
||||
<p><span class="fnc">AxS:221111 </span>Iron-Eagle Sky-Mother lifting into time travel nightmares. </p>
|
||||
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|
||||
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|
||||
|
||||
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||||
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||||
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||||
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||||
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|
||||
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|
||||
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|
||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:2211111 </span>On the Outside Iron -talons become their body. </p>
|
||||
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|
||||
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|
||||
|
||||
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|
||||
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||||
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||||
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||||
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||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:22111111</span> They mix themselves with (Iron and say (it is (the Outer- (or Un(dermost Cthelll<sup><a href="#" onclick="next('x25')">25</a></sup>)-life))) where the Earth ends... </p>
|
||||
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||||
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||||
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||||
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||||
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||||
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|
||||
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||||
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||||
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||||
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||||
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||||
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||||
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|
||||
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|
||||
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||||
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|
||||
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||||
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|
||||
<p> <span class="fnc">AxS:222</span> Sphinx-Nightmare (both filiative implosion and exorbitant alliance (an incestualreanimation of cthonic horror (encrypted in (germinal) biocosmic memory) and Thing (from Outside(haunting ((miscegenous) lines of) alien traffic)))).<sup><a href="#" onclick="next('x27')">27</a></sup> </p>
|
||||
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||||
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||||
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||||
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|
||||
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||||
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||||
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||||
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|
||||
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|
||||
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|
||||
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|
||||
<p> <span class="fnc">AxS:3</span> (Sector-0121) The theory of tabu involves a fully rigorous conception of Horror adequate (toits specificity of regime (zone of effect (intrinsic variation)) and) to otherwise intractable phenomena(including Sacred Mutilations (Curses (Abominations)) and Becomings (-Unhuman (whether animal,submetazoic, ameiotic, or unlife)). In every case horror designates a zone of intensity (abstract-machinic vector) which directly invests a virtual threshold of implexion (producing affects (inadvance of any reference to authority (and indifferent to persons))). </p>
|
||||
<script type="text/javascript">
|
||||
setTimeout(function(){
|
||||
window.opener.location.href = 'y21.html';
|
||||
}, 5000);
|
||||
</script>
|
||||
</body>
|
||||
</html>
|
||||
|
||||
@ -0,0 +1,13 @@
|
||||
|
||||
<!DOCTYPE html>
|
||||
<html>
|
||||
<head>
|
||||
<meta charset="utf-8">
|
||||
<title>Axs</title>
|
||||
<link rel="stylesheet" type="text/css" href="style.css">
|
||||
</head>
|
||||
<body>
|
||||
<p> <span class="fnc">AxS:31</span> Horror does not confuse the riddle with the secret (it is the answer that is Cryptic). If 423 isMan, then what 423? This Thing with only a number? This unknown becoming? The horror of theriddle lies in what it tells. </p>
|
||||
</body>
|
||||
</html>
|
||||
|
||||
@ -0,0 +1,14 @@
|
||||
|
||||
<!DOCTYPE html>
|
||||
<html>
|
||||
<head>
|
||||
<meta charset="utf-8">
|
||||
<title>Axs</title>
|
||||
<script type="text/javascript" src="ppp.js"></script>
|
||||
<link rel="stylesheet" type="text/css" href="style.css">
|
||||
</head>
|
||||
<body>
|
||||
<p> <span class="fnc">AxS:311</span> Oedipus is necessitated ((re(re(re(...)))) cursed) to guess correctly: it is Man that goes onfour legs, then two, then three. Yet Oedipus is identified (solely by his lameness (his cryptic trait))<sup><a href="#" onclick="next('x28')">28</a></sup>.The abnormality of limping changes to cryptic anomaly. </p>
|
||||
</body>
|
||||
</html>
|
||||
|
||||
@ -0,0 +1,13 @@
|
||||
|
||||
<!DOCTYPE html>
|
||||
<html>
|
||||
<head>
|
||||
<meta charset="utf-8">
|
||||
<title>Axs</title>
|
||||
<link rel="stylesheet" type="text/css" href="style.css">
|
||||
</head>
|
||||
<body>
|
||||
<p> <span class="fnc">AxS:32</span> Something is Called (... and then (finally (- how terrible! -) the cause of) the plague is)Oedipus, who slew his father, mated with his mother (but that is not the Thing (the horror (...Abomination (when things unthread in (a horrific (becoming they involve only (components of(Occurrence (blocks) of )))) fate)))). </p>
|
||||
</body>
|
||||
</html>
|
||||
|
||||
@ -0,0 +1,18 @@
|
||||
|
||||
<!DOCTYPE html>
|
||||
<html>
|
||||
<head>
|
||||
<meta charset="utf-8">
|
||||
<title>Axs</title>
|
||||
<link rel="stylesheet" type="text/css" href="style.css">
|
||||
</head>
|
||||
<body>
|
||||
<p id="last"> <span class="fnc">AxS:33</span> The cause of the plague (is you). </p>
|
||||
<script type="text/javascript">
|
||||
setTimeout(function(){
|
||||
window.opener.location.href = 'y22.html';
|
||||
}, 2000);
|
||||
</script>
|
||||
</body>
|
||||
</html>
|
||||
|
||||
@ -0,0 +1,16 @@
|
||||
<!DOCTYPE html>
|
||||
<html>
|
||||
<head>
|
||||
<title>AxS:0</title>
|
||||
<style type="text/css">
|
||||
body {
|
||||
background-color: black;
|
||||
color: green;
|
||||
font-family: mono;
|
||||
}
|
||||
</style>
|
||||
</head>
|
||||
<body>
|
||||
<p>Oedipus. Pure (Oedipal (figure made out of (nothing but))) time-distortion.</p>
|
||||
</body>
|
||||
</html>
|
||||
@ -0,0 +1,12 @@
|
||||
<!DOCTYPE html>
|
||||
<html>
|
||||
<head>
|
||||
<meta charset="utf-8">
|
||||
<title>Axs</title>
|
||||
<script type="text/javascript" src="ppp.js"></script>
|
||||
<link rel="stylesheet" type="text/css" href="style.css">
|
||||
</head>
|
||||
<body>
|
||||
<p>AxS:001 Axiomatic Systems (incorporated).6 The ultimate capitalist entity (first (true (meta)model)to realize perfect identity with its own product).AxS:0011 AxSys culminates in itself (autocommoditizing (machine(-intelligence (that is alwaysincomplete (due to cataloguing problems (...)))))) </p>
|
||||
</body>
|
||||
</html>
|
||||
@ -0,0 +1,53 @@
|
||||
|
||||
// -------------------------- POPUP (set position)
|
||||
|
||||
function ppp(mylink, windowname, width, height, x, y) {
|
||||
if (! window.focus)return true;
|
||||
var href;
|
||||
if (typeof(mylink) == 'string') href=mylink;
|
||||
else href=mylink.href;
|
||||
var open = window.open(href, windowname, 'width=' + width + ',height='+ height + ',left=' + x + ',top=' + y + ', resizable=no, location=no, menubar=no');
|
||||
open.focus();
|
||||
// setTimeout(function(){ open.close(); }, 15000);
|
||||
return false;
|
||||
}
|
||||
|
||||
// -------------------------- POPUP RANDOM POSITION TIMEOUT
|
||||
var w = window.innerWidth;
|
||||
var h = window.innerHeight;
|
||||
|
||||
function posX(){ return Math.ceil(Math.random() * w)-200 }
|
||||
function posY(){ return Math.ceil(Math.random() * h) }
|
||||
|
||||
function pppR(mylink, windowname, width, height) {
|
||||
if (! window.focus)return true;
|
||||
var href;
|
||||
if (typeof(mylink) == 'string') href=mylink;
|
||||
else href=mylink.href;
|
||||
var open = window.open(href, windowname, 'width=' + width + ',height='+ height + ',left=' + posX() + ',top=' + posY() + ', resizable=no, location=no, menubar=no');
|
||||
open.focus();
|
||||
setTimeout(function(){ open.close(); }, 15000);
|
||||
return false;
|
||||
}
|
||||
|
||||
// -------------------------- POPUP RANDOM POSITION NO!TIMEOUT
|
||||
|
||||
function pppRNT(mylink, windowname, width, height) {
|
||||
if (! window.focus)return true;
|
||||
var href;
|
||||
if (typeof(mylink) == 'string') href=mylink;
|
||||
else href=mylink.href;
|
||||
var open = window.open(href, windowname, 'width=' + width + ',height='+ height + ',left=' + posX() + ',top=' + posY() + ', resizable=no, location=no, menubar=no');
|
||||
open.focus();
|
||||
//setTimeout(function(){ open.close(); }, 15000);
|
||||
return false;
|
||||
}
|
||||
|
||||
|
||||
|
||||
// -------------------------- REDIRECT OPENER (from popup)
|
||||
function next(mylink){
|
||||
var mhref = mylink +'.html';
|
||||
window.opener.location.href = mhref;
|
||||
}
|
||||
|
||||
@ -0,0 +1,60 @@
|
||||
body {
|
||||
background-color: black;
|
||||
color: chartreuse;
|
||||
font-family: "Lucida Console", Monaco, monospace;
|
||||
overflow: hidden;
|
||||
}
|
||||
|
||||
a { color: blue; text-decoration: none; }
|
||||
a:hover { color: red; }
|
||||
/*a:visited { color: blue; }*/
|
||||
|
||||
p{padding: 5px; }
|
||||
|
||||
span {color: black;}
|
||||
|
||||
.m{color: chartreuse;}
|
||||
|
||||
#f{
|
||||
color: chartreuse;
|
||||
position: absolute;
|
||||
}
|
||||
|
||||
#fn {
|
||||
width: 860px;
|
||||
left: 670px;
|
||||
position: absolute;
|
||||
top: 200px;
|
||||
color: white;
|
||||
font-size: 18px
|
||||
}
|
||||
|
||||
.fnc {
|
||||
font-weight: bold;
|
||||
color: white;
|
||||
}
|
||||
|
||||
.fnc2 {
|
||||
color: chartreuse;
|
||||
}
|
||||
|
||||
#tit {
|
||||
text-decoration: none;
|
||||
color: chartreuse;
|
||||
}
|
||||
|
||||
#dot {
|
||||
text-decoration: none;
|
||||
color: chartreuse;
|
||||
}
|
||||
|
||||
#dot:hover { color: red; }
|
||||
|
||||
#tit:hover{
|
||||
color: red;
|
||||
}
|
||||
|
||||
.VERSION {
|
||||
width: 830px;
|
||||
color: white;
|
||||
}
|
||||
Some files were not shown because too many files have changed in this diff Show More
Loading…
Reference in New Issue