What is objective in being formless?
Without form.
Continuous distortions taking place in channels, currents, circuits, surface systems of chaos.

Cut to a power cut,
Curb information flows,
An opportunity for breaking the un/centra
network structures
(...based on the myth of infrastructure, our objectives are...)
Radio waves were the first decentralized network
(...spurred intelligence for surveillance)
What about all of our DIY radio operators?
(... a practice forbidden during nation-state attempts for world expansion)
Who’s to say we can or can not transmit?
Here’s my attempt.

The ontological present as we know it:
After the ocean, a network of wet matter.
That this present is hydra sensing, moving, imagining, working from, within our technological means,
The ocean subsides into the administrator or “mother” metaphor
In which the ontological complies.
I suppose because it’s vast, or everywhere, and disseminated.

Crashing into us.
Crashing into us.
Making known chaos as a doctrine of being,

A being of Force
of violence /
of rupture made anew,
over abroad.
A circulation,
and with that data/information follows material.¹

Or bodies.

We all share disdain and contempt
A trenchant frost towards [or for]
for the ontological present,
spiraling into some [absolute] (bottomless) figment
that is unknown and multiplied
is “un” – not there
a myth is not there.
a myth is not there.

Will an un-ness of flowing legacy, of residual,
renderings, remnants, quantum hauntology,
or chaotic otherwise,
ever/never be a myth?

A grasp that annihilates –
and when wet,
the matter itself might!
Abolition of this vestigial present, all,
a crashing resistance.
Into an un-, into multiple.
Utter abyss...

Look at hyper/hydra media
as storage
Or reconfigurations of Force.²
Spiraling from one procured root.

Here, in consonant fugues:
The letter “C”.
The shells of the “sea”.
Don’t you “see”?

Where the ornate and small
spirals coalesce and surface
Exerting hard to interpret data
assembled by mollusks – no two shells are identical.
Spirals that form as a gradual progression,
pattern marking each event that occurs, that happens to them.

A growing edge,
Static symbols of compression³,
And also of Force.

Mollusks, for example, are housed within this un-.
How many?
It goes without saying...
How many ciphers? Unknown.

“born where the water is at its purest
and upon rocks beneath the sea
and on what is called sunken reefs.
Its name is Nerites,”⁴

Nerites was an underwater nymph,
and for wanting to stay submerged in the ocean was punished by the enamored Aphrodite⁵,
She transformed Nerites
induced by her rage
into a tiny chamber for tiny creatures...
"a spiral shell, small in size but of surpassing beauty,” Aelian tells us.
And without Nerites, Aphrodite joined the gods of Olympus
and since he has remained that jilted hidden figure.

Missing from the Birth of Venus [Aphrodite’s Roman counterpart]⁶.

Her ascent from water onto land.
She stands on her half-shell,
from water onto land,
assisted by the wind,
from water onto land.

Nerites on the other hand
Has come to epitomize the un-,
His metamorphosis hardly broached by an epic poet,
His ambivalence is never named throughout antiquity.
He exists as an utterance, an aural rapport.
Only remnants of this un- Nerites’ roll up on shorelines,
after mollusks grow away from their chamber, to find anew.
Nerities’s wrathful consequence.

There is no ground to stand on in the Ocean.⁷
Marked by the topographical un-
The standpoint that is already un- done.
There is no ground to stand on in the Ocean.
An easing encircling movement transferred into the spiral pattern of a shell.

I assume Nerites is content, some sort of rapturous joy for his
“unfortunate gift”⁸
being where he belongs,
submerged in,
deep within,
another type of Oceanic feeling –
Involuntary yet his resistance, and to his defense,
he refrained from and became the intricate
constant bestowal of splendor
on the water’s edge.
For the sky to witness,
The land to come across,
and the wind to blow over,
and create a hallowed melody...
A recital of crashing waves, moving wet.

A song captured over organismic chambers
Overheard by those who come in close proximity,
and only above the water's surface.

Music later translated into waves,
above the surface,
otherwise, it’s distorted by water.
So what follows in our ontological presence
are the material visualizations
which imitates its source.

That’s how we form a mental picture of it...
the technological transmission of sounds:
Waves are picked up by radio transmitters.
Noise, sound.
Waves.
The ontological present, as it perseveres, became fixated with arranging to categorize the messages.
Intricate
Then
a metaphor…
or overwrought,
as myth?
Or is it material?

What makes it material?
What material makes it?
Is it of material make?
The material makes it, is.
The material makes, is it?

There is, in fact, nothing chaotic about it, this material.
with its objective risk
To anticipate an ontological presence into data,
stimulate natural into pithy phenomena...
Numbered that is in fact infinite,
that is a misnomer: then metaphor…
absolute myth, material, and metaphor.⁹

Maybe because I'm not un- from the ontological present
as in the doctrine of being made up of
Myth, material, and metaphor.

What is imparted, at least, in the ontological presence is that it is wet
Or that an Oceanic feeling is vast, it’s a psychoanalytic mouthful,¹⁰
With aphoristic power!
In fact, is it’s all just chaos.

The spiral makes the obvious progressions of chaos.¹¹

In shells, we noticed the biological architectures,
later used for currency.
Gaining new currency: algorithmically incarnated, or so to speak.
calculated into, tallied into.
However, the sequenced totals followed,
A culmination of attempts to chart this very living phenomenon,
the calcified material network,
A rapport of oblique lines and relief-like patterns
For what it’s worth
All of that forms the seashell,
to force movement over the Atlantic ocean.

But first came the currency¹²,
a metaphor for value.
A natural phenomenon is used as a material object of value.
aesthetic elaborations, encoded in calcium CO².

And when I think of chaos as Force
I do mean violence,
the violence of commodifying extracted parts offered over
from the ocean.

There is no moment of absolute, totality, only drama in the unraveling of this chaos.
I wonder...

Over there,
over a trans-Atlantic passage.
I wonder, settlers speculated when they arrived at Ometepe, this island of spirals?
The data has been wiped, which is evident to assist, comprehend, grasp the island’s peril and significance.¹³

Either way, any ethno-study of spirals, is never about relations and always about violent totality.
Overtaking. Overtaking, making wet.
The wager of making wet.
While the ontological present,
Subsides like some spiral affect
And spirals back into some cohesion.
Making wet.^1<4/sup>

THIS IS NOT A COMPOSITION!
This is not a composition, I’m not interested in being
but rather what happens as a result of being,
and in
for the purpose of this
the myth and materiality of being
submerged into wetness.

As in wet matter – That is, hyper/hydra and beyond.
that conglomerates a current with channels,
Rendered gene pools, as data streams siphoned through submerged cables.
Wet as in to touch on,
the substance of a matter that has been soaked,
drenched, changed, & made wet. Wet.

But the ocean is not wet, which would suggest stagnancy.
It's forced by a push and pull, and by the chaos of infinite matter/material.

How seashells have shaped the extractive nature of resources,
materials that can be traced to routes of Force.

OCEANUS, OCEANUS, OCEANUS,
the son of Uranus (Heaven) and Gaia (Earth),
An embodiment of the expanding river that encircles the entire world.

Have mollusks modeled their spirals after their archetype?
To control this chaos?
To protect themselves from extraction or withdrawal?
Could Nerites ever sense that his
organismic arrangements
were to be obtained and grasped as currency?

Would Nerites like to hear that his legacy holds value?

There lies a legitimacy for myths,
as Structures for what purpose do things come into being,
not “biologically” but in our ontological present.
After all, concrete is solidified wet stone.¹⁵

How seashells have shaped the extractive nature of resources,
materials that can be traced to routes of Force.

The point of this construction of words is to work continuously,
shape itself like water, or sea
based on each Chaos that ensues.
It's relational with no mode manqué,
an un- specified.

[Hyper !!! Hyper !!! Hyper !!!]

Hyper, hyper, hyper, hyper, hyper.
A prevailing, a prevailing
beyond and within the reiterated ontological present
or after.
A means of moving through matter,
being what is and has been.

I, now spiral, spiral.
Forward/Backward. And told here...
How similar and different?

Here is how I can help you make sense of this:
A shell created by a mollusk
was once used as currency
and played a major role in the forced capture, trade, and genocide of populations.
Obtained, grasped.
Proliferation for the sake of progress, property, and expansion.
Suitable ornaments for such extravagant idiosyncrasies¹⁶
shaped our purview
of the ontological present.
Now that progress is mapped in data and networks, nothing almost remains un- seen.

The economies of shells
or spiraling turns a certain class of substance.
It is an economy of spirals, solid and rigid.
Erratically ensuing chaos, that is wettened.
And when water rushes, information gets carried away.
In waves or streams in circuit
and not enclosed,
it is a topography of wet hyper matter.
What lies on the Other/side?
Of these so-called Oceanic feelings?

A totally naive limitlessness.
Are Nerites just too young to leave?
Leave the Ocean that loved him?
The water that moved him.
What about drama?
As an abject hauntology?
Or spectacle?
What myth does this tell us about the sea?
Un- multiplicity?
Broadcasted, interconnected, a myth of horizontal and vertical lines.
Almost an ephemeral homophily,¹⁷
Obviously, who is subject to...
...or which chaotic outcome is it?

These tools, any technology,
perforates.
They bestow forced networks of
The near hyper/hydro output.

Yes, we’ve heard of “Code totality"¹⁸,
meaning some collective intention for expanding over one topography.
The salt of the earth versus the freshness of the atmosphere.
The
data
diagram as
obsolete of
part of
multiplicity, and nonlinear.
Wet, I.
Wet reflective, revealing technologies as a sea power.
Ocean depths, the limitless place for anew or chaos.

Whats abroad.
And based on or,
solidified as a spiral.

A sea that rises to the problem of being conquered,
and there we have an atmosphere, still
in process.
Ebb and flow.

Once Oceanus topography is understood,
not as flat but,
as spirals...

I will maintain this fervor for sensing
The attempt of the ocean site,
chaotic,
spacial,
infinite,
depth/
nonlinear,
curbed.
Affected,
wet,
continuous,
cyclical,
nonscalable,
in flux,
and flowing is the only absolute – an un- totality.

The constant going over and passing over,
dive in.
To those listening, as I speak,
Can you tell that the words are hard to come by?

This performance is a drama of Force
of expansion and not limited to objective representations
or "precise geometric arrangements”.

The words you hear do not outline things,
they are a transference of spirals
and since chaos ensues,
This is not a capture /
or grasp of air-like, earth-like, water-like
The matter that shapes the other sides, material/outcomes/chaos…

Each marking of here,
as hypermedia is consistent with its before state, ebbing once again.
Through this artificial presence made solid in a spiral.
Based on the total whole.
Point and process of departure.

(These words don’t come from me)
In this case, it’s sensing.

To clarify distinctions in expansion – not in the sense of accumulation or data storage and scale,
but as the formless outcome of a trade, rupture,
an un- sequence.
From the original pattern performing predictive object and abject.

Which might occur through absence or moving parts
mapping or displacement.
A gradual over, water-forced.

The same or equal to
All things connected
The same or equal to or the same as the incommensurable, transmission, a narrative flowing over, crashing into.

Am I a mirror?
Am I a mirror? Or wet? [don't ask, if you don’t want to know.]
Am I a mirror? Or wet?
Am I a mirror? Or wet?
[don't ask, if you don’t want to know.]

What matters is wet
A coastline is my extremity
always within I suppose that is what they'd like to hear from me...
A position, spatial point of exactitude.
"Let us" engage in such ”reductive transparency"¹⁹,
If there is something rotten.
(in the state of Denmark²⁰ or lineage, or otherwise)
It rots above Water, on lands,
The rot is wet but not submerged, it is you
“Being-in-the-world!"
w durational over bodies of water.
Has flow, blending, rapids, readily streams. Stored over.
Stored,
Over.
A wet matter that crashes into a damp water’s edge.

And THIS, right now.
Is a territorial way to listening,
listening in on
A listening by being, evidence of the immaterial.
A solidified form, in which we participate and move across.
Into cyclical generalization processes
of the various renditions of whatever happened to him,
to Nerites.

Any accumulation of tragic repertoire, stock, forced by myth.
Long before the making and capture of sound waves or our well-documented ontological presence.
The infrastructure, as capital power, comes from a spiraling myth of expansion.

The in the ocean’s water doesn't block sound transmissions
but absorbs noise, masking sound messages in transit
either they become lost, distorted, fractured, or wet.

The obsessed, preoccupation
with organizing
categorizing the messages of pressure
and compression,
otherwise waves.
To construct and grasp an ontological,
Like those data structures, that wrap around multiple
histories for the so-called one coded total –
numericals used in communicative reconfigurations.

Un- charting narrative, num-arrative.

A territorial way of listening,
listening in on,
a listening by being,
as evidence of the immaterial presence of wet.

At what instance materials wash ashore –
Neritesial ambivalence,
quantum chaos,
coveted transmissions,
revealing a painful event,
marking in whatever solidified form the mollusk creates.

over and under a wet surface.
over and under a wet surface. over and under a wet
surface
O
ver and under a wet surface.
under surface. over under surface. over
wet surface.
Over under wet.

A surface of whorl-systems.
A surface of whorl-systems.
This surface of whorl-systems.