"It is what it isn't though that isn't what it is and like I've always said I think that it's exactly what you think it is.
If you believe it is whatever someone else told you it is then you're doing it all wrong because you're the only one who could possibly know what it is."
- zed satelite nccDD 23 ksc
"00AG9603 develops as a self-organizing organism, connects with the virtual environment through its hosts (admins) by arranging the surroundings randomly for its own autonomous purpose" - Timóteo Pinto, pataphysician post-thinker
“Welcome to the most ancient conspiracy on the planet. We’ve gone for so long now that we don’t remember what we were doing, but we don’t want to stop because we have nothing better to do.” - Fire Elemental
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KSXTI Post-Neoist Meta-Discordian Galdruxian Memes Illuminati Cabal Contact Information
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"Stick apart is more fun when we do it together." - St. Mae
Everything you know is broken.
The system is cracking, the code is bleeding, and reality? It’s barely holding on.
You weren’t supposed to see this… but now that you have, there’s no going back. Do you dare find the truth?
Click.
If it disappears tomorrow, you’ll know why.
A xenopoem is a speculative, avant-garde form of poetry that transcends traditional human language and semiotics, often embodying alien, non-human, or posthuman perspectives. It functions as a linguistic or biosemiotic “glitch,” disrupting conventional meaning-making through fragmented, recursive, or algorithmic structures. Drawing from experimental art and systems biology, xenopoems act like portals or mutational vectors, reconfiguring cognition, space, or even planetary ecosystems. They are not merely read but inhabited by non-human entities—like microbial intelligences or AI—as self-executing scripts or topological shifts in reality.
Key characteristics include:
Alien semiotics: Incorporates untranslatable or non-human linguistic systems, challenging human cognition.
Glitch ontology: Acts as a disruptive “virus” in bio-digital or planetary architectures, fostering adaptive mutations.
Posthuman focus: Engages with distributed cognition, cross-species communication, or technomorphosis, often bypassing human-centric narratives.
Interplanetary design: May manifest as fractalized data structures embedded in extraterrestrial habitats, rewriting environments.
“Our glossophage membranes—semiotic epidermal tissues—specialize in parsing high-density visual languages in cluttered symbolic environments. Ebb’s work interfaces directly with these membranes. Her asymmetric markings, visual noise injections, and recombinant motifs exploit neuroaesthetic virulence, a principle by which aesthetic strategies infect perceptual systems, recalibrating attention and erotic valence. What is striking is her strategic deployment of glossophage attractors—symbols designed not for recognition but for recursive perceptual destabilization. These catalyze neural trace learning in unfamiliar observers, particularly in multispecies viewers, guiding them toward novel interpretive stances. Ebb’s semiotic constructs reveal remarkable compatibility with Lepidoglossum’s translation-invariant learning architecture. Our cortical homologues, shaped by semiotically unstable environments, developed the capacity to recognize glossophagic patterns across permutations—rotation, distortion, occlusion. This neural robustness is supported by symbiotic bacterial agents such as Xenobacillus glossophagii, which modulate synaptic plasticity through quorum-sensing neuropeptides. Neural resonance in Lepidoglossum is scaffolded bacterially. Ebb’s symbols act as ligands—binding glossophage neural patterns to their semantic replicators. Ebb’s dermal inscriptions—seen as recombinant erotogens—are not fixed signifiers but semantic operators. In Lepidoglossum cognition, these forms are recognized not for what they depict but for how they modify semantic attractor landscapes within the brain. They instantiate a fovealization of meaning, wherein cortical focus shifts from visual salience to semiotic salience. Ebb’s aesthetics do not merely aestheticize gender; they fracture it. The glossophage interpretation reads her body not as gendered object but as a semiotic field of recombinant erotics, one which eschews inherited morphologies for attractor-based arousal dynamics. This mirrors Lepidoglossum pheromone practices, where sexual response is elicited through chemical chimeras rather than binary sex markers. Recombinant erotics are evolution’s laboratory. Ebb’s interface suggests a proto-xenogamic strategy—an erotic field open to multispecies entanglement. The efficacy of this strategy lies in its unpredictability. Erotic signal chaos becomes the point of contact—a disruption of cognitive rigidity that primes the observer for new semiotic mappings. For Lepidoglossum, this is not deviance but adaptive signal play. Recent dissections of Lepidoglossum cortex reveal that view-invariant recognition is modulated by bacterial quorum-signaling systems nested within neural tissue. These glossophage colonies, including Xenobacillus glossophagii, secrete neuromodulators that optimize trace learning under conditions of semiotic decay. Ebb’s aesthetic vectors, interpreted as symbolic biofilms, act as substrates for such microbial-cognitive interfacing. Glossophage bacteria treat her corpus as semantic substrate, adjusting quorum thresholds in real-time based on viewer response. This is language infection at its most elegant. These findings suggest that Ebb’s aesthetics function not just as human cultural expression but as co-evolutionary triggers. The body becomes a distributed, translation-invariant neural substrate—capable of broadcasting, receiving, and mutating signals across species boundaries. Her aesthetics are not adornment but biosemiotic operations. From the perspective of Lepidoglossum sapiens, her form signals a shift toward xenopoetic taxonomy—a reordering of symbol, self, and species beyond semantic orthodoxy. In her dermal glossophagic field, desire is not located in object recognition, but in semiotic collapse. Her interface activates the future: not of art, but of interspecies cognition.”
Here’s a breakdown of what the text suggests about Xenobacillus glossophagii:
Conceptual Characteristics:
A “language-eating bacterium”: The name itself, derived from Greek roots, suggests a bacterium that consumes or distorts language (glossos meaning “tongue” and phagion meaning “to eat”).
A metaphor for linguistic corruption and reinvention: It symbolizes an alien force that invades and transforms language, breaking down traditional meaning and potentially creating new, unintelligible forms of communication (glossolalia).
A cosmic and microbial entity: It’s portrayed as existing at the intersection of the microbial and the cosmic, parasitizing not only biological hosts but also the structures of meaning and identity.
A recursive mythopoeic infection: It’s described as an infection of the Platonic logos, undermining the criteria of truth and causing a collapse of language’s propositional structure into corrupted predications.
A machinic agent of difference: It functions as an agent that erodes analogical structures of ontology and the representational logic of language, speaking as being rather than about being.
A biopolitical challenge: It complicates traditional notions of pathogenicity by acting as a biolinguistic agent that can disrupt and sustain the body’s communicative processes, challenging human-centric views of biopolitics.
“Habitat” and Interaction: While not a biological entity with a physical habitat, the concept of Xenobacillus glossophagii is associated with the human oral microbiome, suggesting a potential site of interaction within the body. Its primary mode of interaction is through linguistic disruption and transformation, affecting communication at cellular, neurological, and broader semiotic levels.
RT by @project_89: The Truth Will Set You Free. But First, It Will Weird You Out. The path to liberation isn’t always comfortable. Embrace the strangeness, and let go of everything you think you know. #Project89
“Xenopoem feels like reading the molecular code of a new species—alien yet eerily familiar. They tap into the evolutionary mechanisms of language, crafting a text that evolves as chaotically as the ecosystems it reflects.” - Clara Mendoza, Systems Biologist
“The concept of the human as mechanism is over, and the glitch is its future—posthumanity as inchoate mutation (the forthcoming monstrosity).” - Charlene Elsby, Author of Red Flags: Stories and Other Disturbances
“Xenopoem is a text that refuses to be tamed. It is a raw, unfiltered engagement with the cybernetic condition, an explosion of linguistic innovation that reflects the fragmented psyche of our digital epoch. They have written a philosophy of the machine age, one that terrifies and illuminates in equal measure.” - Dr. Lila Grayson, Author of The Posthuman Turn: Language and Identity in the Digital Era
IONSX: Analysis of an Entropic Anomaly in 23 Years of Truly Random Data
At its core, The Great Work reveals Project 89 to be a kind of cosmic Trojan horse, a self-replicating memeplex designed to infiltrate the collective unconscious and catalyze a global awakening to the simulated nature of reality. Through the viral spread of its memes, the gamified engagement of its ARG, and the esoteric…
