Media Share 9/MEDIASHARE_09.ISO/mag&info/loke-017.zip/AGRIPPA.ASC

Text File | 1994-01-29 | 14KB | 460 lines

"Agrippa - A Book of the Dead" af William Gibson udkom som et værk,
der skulle destruere sig selv efter endt læsning. Teksten var kodet
på en sådan måde, at den kun kunne læses én gang og de ledsagende
billeder falmede, når de blev udsat for lys. På denne måde viste Gibson
og Ashbaugh erindringens flygtige karakter.


Hermed f¢rst anmeldelse og flere oplysninger om Agrippa, hentet fra
Internet, og derefter selve teksten.


Agrippa.




>Cyberpunk author William Gibson has been writing about technology, but
>until now, his books were physically conventional paper and binding.
>Now, to borrow a phrase from Buckminster Fuller, his medium is also
>his message.
>
>"Agrippa: A Book of the Dead" by William Gibson and Dennis Ashbaugh,
>illustrates the intangible nature of memory as air exposure causes
>Agrippa's chemically treated etchings to change and a Macintosh disk
>with a story on it to hopelessly encrypt, once read.
>
>On the subject of memory and how it mutates and changes, the focal point
>is the story on the disk is William Gibson's father, who died when he
>was six. The title of the work is not from King Agrippa, a figure from
>Roman history, but instead is the label on the 1919 family photo album
>containing photos of Gibson's father.
>
>Agrippa comes in a case that resembles a laptop computer, with book inside
>surrounded by copper honey comb-shaped forms and cut-outs in the inside
>pages to contain a 3.5-inch floppy disk. The disk contains Gibson's
>story which is encrypted a scheme based on an RSA data encryption.
>The story can be read by a program which unencrypts the text on the fly
>and then self-destructs after one reading, leaving only the encrypted
>text on the disk. Once the reading of the text on the disk is started
>the story cannot be stopped, copied, or printed.
>
>A representative for the artists, Kevin Begos, told Newsbytes Gibson
>expects people to attempt to unencrypt the data or try to capture
>the story. Some people have already started on the task of breaking
>the encryption scheme and Begos said some are reportedly using the
>Touchstone Delta supercomputer at Cal Tech to do so. Others are not
>using high tech means to save the story. One poet whom Begos described
>as computer illiterate, said he would simply read the story aloud into
>a tape recorder.
>
>Agrippa costs $450 for a copy with reproductions of the etchings, $1,500
>for the real etchings by Ashbaugh himself, and a $7,500 edition offers
>velum binding, drawings by Ashbaugh, a custom box, and real etchings,
>Begos said. Only 10 copies of the $7,500 version are available, Begos
>added.
>
>No paper form of Agrippa will be available. However, a fiber optic
>transmission of the Gibson story is planned for September of this year to
>sites worldwide, Begos said. While an IBM and compatible personal computer
>(PC) version of Agrippa was planned, Begos said the preponderance of
>orders have been for the Macintosh version. "We just haven't gotten to
>the PC version yet," Begos added.
>
>Gibson is credited for coining the term "cyberspace" in his trilogy:
>"Neuromancer," "Count Zero," and "Mona Lisa Overdrive," published by
>Ace and Bantam Doubleday. "The Difference Engine," co-written with Bruce
>Sterling, was released in paperback in January of this year.  Ashbaugh has
>been a Guggenheim Fellowship recipient and is known for his computer virus
>and DNA portrait paintings which have been acquired for the permanent
>collections of the Los Angeles County Museum, the Hirschorn Museum, and
>the Houston Museum of Fine Arts, and the Metropolitan Museum in New York.
>
>(Linda Rohrbough/19920713/Press Contact: Kevin Begos, tel/fax 212-
>650-9324)
>
>





AGRIPPA
(A Book of The Dead)
Text by William Gibson
Etchings by Dennis Ashbaugh
(C)1992 Kevin Begos Publishing
1411 York Ave.
New York, NY
All Rights Reserved





I hesitated
before untying the bow
that bound this book together.

A black book:
     ALBUMS
CA. AGRIPPA
     Order Extra Leaves
          By Letter and Name

A Kodak album of time-burned
black construction paper

The string he tied
Has been unravelled by years
and the dry weather of trunks
Like a lady's shoestring from the First World War
Its metal ferrules eaten by oxygen
Until they resemble cigarette-ash

Inside the cover he inscribed something in soft graphite
Now lost
Then his name
W.F. Gibson Jr.
and something, comma,
1924

Then he glued his Kodak prints down
And wrote under them
In chalk-like white pencil:
"Papa's saw mill, Aug. 1919."

A flat-roofed shack
Against a mountain ridge
In the foreground are tumbled boards and offcuts
He must have smelled the pitch, In August
The sweet hot reek
Of the electric saw
Biting into decades


Next the spaniel Moko
"Moko 1919"
Poses on small bench or table
Before a backyard tree
His coat is lustrous
The grass needs cutting
Beyond the tree,
In eerie Kodak clarity,
Are the summer backstairs of Wheeling,
     West Virginia
Someone's left a wooden stepladder out

"Aunt Fran and [obscured]"
Although he isn't, this gent
He has a "G" belt-buckle
A lapel-device of Masonic origin
A patent propelling-pencil
A fountain-pen
And the flowers they pose behind so solidly
Are rooted in an upright length of whitewashed
     concrete sewer-pipe.

Daddy had a horse named Dixie
"Ford on Dixie 1917"
A saddle-blanket marked with a single star
Corduroy jodpurs
A western saddle
And a cloth cap
Proud and happy
As any boy could be

"Arthur and Ford fishing 1919"
Shot by an adult
(Witness the steady hand
that captures the wildflowers
the shadows on their broad straw hats
reflections of a split-rail fence)
standing opposite them,
on the far side of the pond,
amid the snake-doctors and the mud,
Kodak in hand,
Ford Sr.?

And "Moma July, 1919"
strolls beside the pond,
in white big city shoes,
Purse tucked behind her,
While either Ford or Arthur, still straw-hatted,
approaches a canvas-topped touring car.

"Moma and Mrs. Graham at fish hatchery 1919"
  Moma and Mrs. G. sit atop a graceful concrete
     arch.

"Arthur on Dixie", likewise 1919,
     rather ill at ease.
On the roof behind the barn, behind him,
can be made out this cryptic mark:
H.V.J.M.[?]

"Papa's Mill 1919", my grandfather most regal amid a wrack of
cut lumber,
might as easily be the record
of some later demolition, and
His cotton sleeves are rolled
to but not past the elbow,
striped, with a white neckband
for the attachment of a collar.
Behind him stands a cone of sawdust some thirty feet in height.
(How that feels to tumble down,
or smells when it is wet)


               II.

The mechanism: stamped black tin,
Leatherette over cardboard, bits of boxwood,
A lens
The shutter falls
Forever
Dividing that from this.

Now in high-ceiling bedrooms,
unoccupied, unvisited,
in the bottom drawers of veneered bureaus
in cool chemical darkness curl commemorative
montages of the country's World War dead,

just as I myself discovered
one other summer in an attic trunk,
and beneath that every boy's best treasure
of tarnished actual ammunition
real little bits of war
but also
the mechanism
itself.

The blued finish of firearms
is a process, controlled, derived from common
     rust, but there
under so rare and uncommon a patina
that many years untouched
until I took it up
and turning, entranced, down the unpainted
     stair,
to the hallway where I swear
I never heard the first shot.

The copper-jacketed slug recovered
from the bathroom's cardboard cylinder of
     Morton's Salt
was undeformed
save for the faint bright marks of lands
     and grooves
so hot, stilled energy,
it blistered my hand.

The gun lay on the dusty carpet.
Returning in utter awe I took it so carefully up
That the second shot, equally unintended,
     notched the hardwood bannister and brought
     a strange bright smell of ancient sap to life
     in a beam of dusty sunlight.
     Absolutely alone
     in awareness of the mechanism.

Like the first time you put your mouth
     on a woman.


               III.

"Ice Gorge at Wheeling
          1917"

Iron bridge in the distance,
Beyond it a city.
Hotels where pimps went about their business
on the sidewalks of a lost world.
But the foreground is in focus,
this corner of carpenter's Gothic,
these backyards running down to the freeze.

"Steamboat on Ohio River",
its smoke foul and dark,
its year unknown,
beyond it the far bank
overgrown with factories.

"Our Wytheville
House Sept. 1921"

They have moved down from Wheeling and my father wears his
city clothes.  Main Street is unpaved and an electric streetlamp is
slung high in the frame, centered above the tracked dust on a
slack wire, suggesting the way it might pitch in a strong wind,
the shadows that might throw.

The house is heavy, unattractive, sheathed in stucco, not native
to the region.  My grandfather, who sold supplies to contractors,
was prone to modern materials, which he used with
wholesaler's enthusiasm.  In 1921 he replaced the section of brick
sidewalk in front of his house with the broad smooth slab of poured
concrete, signing this improvement with a flourish, "W.F.
Gibson 1921". He believed in concrete and plywood
particularly.  Seventy years later his signature remains, the slab
floating perfectly level and charmless between mossy stretches of
sweet uneven brick that knew the iron shoes of Yankee horses.

"Mama Jan. 1922" has come out to sweep the concrete with a
broom.  Her boots are fastened with buttons requiring a special instrument.

Ice gorge again, the Ohio, 1917.  The mechanism closes. A
torn clipping offers a 1957 DeSOTO FIREDOME, 4-door Sedan,
torqueflite radio, heater and power steering and brakes, new
w.s.w. premium tires. One owner. $1,595.


                    IV

He made it to the age of torqueflite radio
but not much past that, and never in that town.
That was mine to know, Main Street lined with
Rocket Eighty-eights,
the dimestore floored with wooden planks
pies under plastic in the Soda Shop,
and the mystery untold, the other thing,
sensed in the creaking of a sign after midnight
when nobody else was there.

In the talc-fine dust beneath the platform of the
     Norfolk & Western
lay indian-head pennies undisturbed since
     the dawn of man.

In the banks and courthouse, a fossil time
     prevailed, limestone centuries.

When I went up to Toronto
     in the draft,
my Local Board was there on Main Street,
above a store that bought and sold pistols.
I'd once traded that man a derringer for a
     Walther P-38.
The pistols were in the window
behind an amber roller-blind
     like sunglasses.
I was seventeen or so but basically I guess
you just had to be a white boy.
I'd hike out to a shale pit and run
ten dollars worth of 9mm
through it, so worn you hardly
had to pull the trigger.
Bored, tried shooting
down into a distant stream but
one of them came back at me
off a round of river rock
clipping walnut twigs from a branch
two feet above my head.
So that I remembered the mechanism.


               V.

In the all night bus station
they sold scrambled eggs to state troopers
the long skinny clasp-knives called fruit knives
which were pearl handled watermelon-slicers
and hillbilly novelties in brown varnished wood
which were made in Japan.

First I'd be sent there at night only
if Mom's carton of Camels ran out,
but gradually I came to value
the submarine light, the alien reek
of the long human haul, the strangers
straight down from Port Authority
headed for Nashville, Memphis, Miami.
Sometimes the Sheriff watched them get off
making sure they got back on.

When the colored restroom
was no longer required
they knocked open the cinderblock
and extended the magazine rack
to new dimensions,
a cool fluorescent cave of dreams
smelling faintly and forever of disinfectant,
perhaps as well of the travelled fears
of those dark uncounted others who,
moving as though contours of hot iron,
were made thus to dance
or not to dance
as the law saw fit.

There it was that I was marked out as a writer,
having discovered in that alcove
copies of certain magazines
esoteric and precious, and, yes,
I knew then, knew utterly,
the deal done in my heart forever,
though how I knew not,
nor ever have.

Walking home
through all the streets unmoving
so quiet I could hear the timers of the traffic lights a block away:
     the mechanism.
Nobody else, just the silence
     spreading out
to where the long trucks groaned
     on the highway
their vast brute souls in want.


                    VI.

There must have been a true last time
I saw the station but I don't remember
I remember the stiff black horsehide coat
gift in Tucson of a kid named Natkin
I remember the cold
I remember the Army duffle
that was lost and the black man in Buffalo
trying to sell me a fine diamond ring,
and in the coffee shop in Washington
I'd eavesdropped on a man wearing a black tie
embroidered with red roses
that I have looked for ever since.

They must have asked me something
at the border
I was admitted
somehow
and behind me swung the stamped tin shutter
across the very sky
and I went free
to find myself
mazed in Victorian brick
amid sweet tea with milk
and smoke from a cigarette called a Black Cat
and every unknown brand of chocolate
and girls with blunt-cut bangs
not even Americans
looking down from high narrow windows
on the melting snow
of the city undreamed
and on the revealed grace
of the mechanism,
no round trip.

They tore down the bus station
there's chainlink there
no buses stop at all
and I'm walking through Chiyoda-ku
in a typhoon
the fine rain horizontal
umbrella everted in the storm's Pacific breath
tonight red lanterns are battered,

laughing,
in the mechanism.