Effecting voice of god illusion

Possible Concurrent Direction of Chaplin House – a.k.a. "Annan" – Scripted Event (CHSE) (Current) (Acquisition Event 201108/05) and 88 Fox Street Scripted Event (88FSSE) (Tendered) (Acquisition Event 201108/10). 88FSSE smaller than CHSE therefore Intelligent Plastic Machines 2.0 (IPM2.0) Project gains minimal and Profit Margins reduced. 'Sticking it to the lawyers' possible Pleasure Gain from 88FSSE and 88FSSE proximity to CHSE positive for Concurrent Direction from current site. Victory House Event not required. Victory House 'ripe for the picking for other developers' and Profit Gains not Primary Objective. Own Plastic Machine not equal to 'Mr fucking Trump' or other Property Cunt. Brain Presentation of Scripted Events 'in money terms'. Halt Brain Presentation. Remind brain Profit Gains not Primary Objective. Correctly assume Profit Gains relevant – 'a man's gotta live generously ha ha!' – but data True Objective, 'the real fucking gem.' Abandon 88FSSE not yet required because 'every bit counts.'

Concurrent Occurrence of previous Brain Presentation free flow through brain and becoming aware of unknown staring Plastic Machine. Assume correctly unknown staring Plastic Machine equals Own Plastic Machine reflection in window but Sudden Surprise Realisation of reflection causes incorrect assumption that reflected Plastic Machine is unknown. Incorrectly assumed unknown reflected Plastic Machine’s intensity of stare equal to boring right through eyes and into brain to infer content of brain. Unscripted Free Form Mental Discourse (UFFMD): ‘Good fucking luck with that pal! If you find anything in there that makes sense let me know. You've got my number. In the meantime why don't we concentrate on the job at hand?' Any action ineffective to prevent brain from Independent Brain Presentation Sequence (IBPS) while staring at reflected Plastic Machine. Recurrent Occurrence: IBPS and you passive bystander: you 'tag along' on IBPS.

IBPS: Combination of reflected Plastic Machine in window and image of watch gears. Initial state of watch gears image not equal to merger with reflected Plastic Machine but 'floating in front of.' Progression of IBPS: gradual merger of reflected Plastic Machine and watch gears image 'morphing like a perfect PhotoShop job.’ First metamorphosis: eye replaced by small silver gear. Subsequent metamorphoses and connections of additional gears: small silver gear grinding into a slightly bigger rusted copper gear (1) embedded above eye on same side as small silver gear; rusted copper gear (1) grinding into a bigger rusted copper gear (2) embedded in forehead right above rusted copper gear (1); rusted copper gear (2) grinding into another rusted copper gear (3) [(exact replica of rusted copper gear (2)] embedded on opposite side of forehead. Rusted copper gear (2) and rusted copper gear (3) gyrate 'cranking your skull open like some Monty Python animation' exposing brain. Revealed brain composed of springs pressure gauges pulleys cables metal arms relief valves network representing own conceptualisation of a Possible Machine Brain. You concur: a primitive Possible Machine Brain but 'such a beautifully crafted piece of equipment.'

Observing Possible Machine Brain effect astonishment at complexity of 'finely integrated network' of gears springs pressure gauges pulleys cables metal arms relief valves. Conjectured lines created by movement of interlinked components seduce eyes, pull eyes into Possible Machine Brain. Independent Eye Movement through Possible Machine Brain: square wave movement between grinding gears; jerking backward and forward on needles in pressure gauges; flung upward by momentum of cables over pulleys; etcetera. Gradual structure of Independent Eye Movement after initial random free flow. Observe components of Possible Machine Brain form Independent Units, observe Independent Units perform structured repetitive movements. Attempt inference of probable Plastic Machine Functions connected to specific Independent Units., e.g. Memory? Lust? Love? Hate? Fear? Isolation of certain Independent Units problematic because too small and fine for proper analysis. Other Independent Unit isolation less problematic, e.g. mouth open-close function: pure mechanical operation therefore unsatisfactory isolation. Want to uncover less primitive functions, unique Intelligent Plastic Machine functions.

Following failure of Independent Unit isolation of higher Intelligent Plastic Machine functions, attempt Audio Brain Presentation of Possible Machine Brain. Sudden Surprise Realisation of open mouth and ‘whirrrr whirrr’ sound escaping from own and staring Plastic Machine mouths. Reflex smile at self and reflected Plastic Machine. UFFMD: ‘What the fuck is that all about? Oi!’ but brain discovered unknown connection and commence new IBPS. Observe Inactive Independent Unit of Possible Machine Brain ‘grind into action’ gradually feeding Historical Brain Presentation of motion picture projector wheel feeding 24fps onto blank canvas: Jodie Foster 12-year-old prostitute ‘with her big white hat and short hot pants’ portrayal into brain.

Scripted Free Form Action (SFFA): push back wooden chair, position Own Plastic Machine sideways in front of window. Intersect arms across chest and give reflected Plastic Machine aggressive De Niro Taxi Driver motion picture look. Scripted Formal Verbal Discourse (SFVD): ‘You talkin’ to me? You talkin' to me?’ Scan perimeter of apartment, direct finger at chest and direct ‘same sneering' De Niro Taxi Driver motion picture look at reflected Plastic Machine. SFVD: ‘You talkin' to me?’ Attempt same ‘De Niro fuck you' attitude by upper lip lift. SFVD: ‘Then who the hell else are you talkin' to? You talkin' to me? Well I'm the only one here. Who the fuck do you think you're talking to?’

UFFMD: ‘Enough, fuck.’ Instruct brain to prevent Independent Brain Presentation Sequences while Event is active Confirm Independent Brain Presentation Sequences too frequent in recent history. UFFMD: ‘What's the time? Fuck! Quarter past six already! They're gonna leave in the next five minutes or so. You've got to keep your brain in check; you've almost missed the cue.’

Assemble ‘cans’ and binoculars, direct gaze at Target Office on opposite side of the road and verify Target Subject 1 (Male) [(TS1)(M)] and Target Subject 2 (Female) [(TS2)(F)] still present. UFFMD: ‘Yip, like clockwork.’ Confirm Plastic Machines predictable. UFFMD: ‘Especially these two. But if you wanna catch some off-stage nookie your timing has to be spot on.’

Unscripted Free Form Verbal Discourse (UFFVD) transmitted through ‘cans’: 'Thom? Thom?'

Verify UFFVD transmitted through ‘cans’ is Stage Manager. Establish ‘cans’ on head concurrent with continued surveillance of Target Subjects.

UFFVD: 'Yeah I'm here. And don't call me Thom. I've told you that before.'

UFFVD: 'You serious? You want me to call you Director?'

UFFVD: 'Damn straight'

UFFVD: 'Christ, this is ridiculous.'

UFFVD: 'This is no game, Stage Manager. We're running an event here for which clients pay big money. We have to stay professional at all times.'

UFFVD: 'Whatever, DIRECTOR. Are the targets still in the office? What is their ETA?'

Disregard insubordination for reason: lexeme ‘target’ improvement on lexeme ‘protagonist’. Pleasure Gain from lexeme ‘target’: military quality and Audio Brain Presentation 'more cloak and dagger.’ UFFVD: 'Yeah, they're still there.' Closer focus on Target Subjects. UFFVD: 'She's just fixing her hair and he's rolling his suit. He seems to believe that his wife will actually know the difference between strawberry blond and light brown.' UFFMD: 'Fucking people; we need more Pavlovs in this world.' Quick inspection of wall clock then continued surveillance of Target Subjects. UFFVD: 'ETA 1.5 minutes. Are all civilians struck from the promenade?'

Stage Manager reply not immediate. Hypothesis: probable irritation. Stage Manager dislike technical lexemes. Confirm rationalisation of technical lexemes: ‘Business is business.’ UFFMD: 'You might be acquainted outside the office – which means fuck all anyway. There needs to be a professional distance at all times. Even away from the office if you had your way...'

Concurrent Occurrence of 'cans' vibrating against ears and Stage Manager UFFVD: ‘Yes, herr Director, all civilians are cleared from the sidewalk.’

Hypothesis verified: Stage Manager irritated.

UFFVD: ‘And the supers are all in place?’

UFFVD:  ‘Christ... Yes, the actors are standing by. On your mark.’

UFFVD: ‘It’s called a cue Stage Manager. But yes, on my cue.’

UFFVD: ‘Let’s just get on with it. I have to be home by eight.’

UFFMD: 'Fuck he’s easy to play. No wonder he’s got four kids, even though he hates the ‘little pricks’ as he calls them. His wife just bats her lids and go Honey, can’t we have just one more? Little Henry or whatever the fuck his name is needs a little brother. And baby does the dirty and voila! another brat to feed.'

Observe Target Subjects preparation to exit office. TS1(M) Probable Action Hypothesis: exit office prior to TS2(F), 'nonchalant' appearance, scan visible building parameter to confirm empty office. Then  strike door as signal to TS2(F).

Concurrent UFFMD with Target Subjects' conclusion of office exit preparations: 'Wanda Catherine Van Buuren, PA and Wayne Conrad McInnes, Bcom, MBA, FIA; Mr Fucking Money. They’re perfect. He’ll probably scream like a little girl and tell Street Bandit No. 1 please don’t kill us just take the money and go like he’s seen so many times on his favourite cop shows. And Street Bandit No. 1 will go get on your knees bitch toss me the wallet and take off down the closest alley and leave them unscathed.' TS1(M) possible Brain Presentation hypothesis: 'Because that's how it goes in real life.’ UFFMD: ‘Mr. Fucking Money can thank his lucky stars you're in the Upper Circle directing his life.' Confirm TS1(M) hero status: Not Ed Lane or Sam Braddock. UFFMD: 'That's for fucking sure.'

UFFVD: ‘They’re in the lift. ETA plus minus 20 seconds. Cue Mugger No. 1 corner Harrison and Commissioner.’

UFFVD: ‘Show time.’

***

Move Own Plastic Machine around conference table 'in slow, measured steps' and suspend movement behind every 2nd then 3rd chair. Rationalisation of movement method: all Employed Plastic Machines targeted. Exception to current movement method: when multiples of 5 chairs present. Amendment to movement method when multiples of 5 chairs present: suspend movement behind every 1st then 2nd chairs or suspend movement behind every 2nd then 4th chair. Amendment to movement method preference: suspend movement behind every 1st then 2nd chair. Rationalisation of movement method preference: shorter intervals. Movement method appears 'random and natural' even though carefully planned. Suspension of movement behind every 1st chair unacceptable: 'way too dramatic and stylised, even for you.'

Position Own Plastic Machine behind Stage Manager chair. Position left hand on back rest of Stage Manager chair and right hand containing 445mm telescopic pointer on Stage Manager shoulder, 'making sure it sticks out far enough so he can see it boring into his field of vision.' You concur 445mm telescopic pointer Intimidation Value not equal to  baseball bat Intimidation Value; 445mm telescopic pointer Intimidation Value acceptable for professional environment. Confirm own intention not equal to 'taking a swing at his head in true Capone style – although fuck knows you should', but 445mm telescopic pointer Intimidation Value initiate blood surge to Stage Manager brain causing concurrent movement of Stage Manager head and heart. UFFMD: 'Fucker. This could have gone wrong so easily. He’s lucky.'

Confirm own head position directly above Stage Manager head effecting Voice of God illusion with Semi-scripted Formal Verbal Discourse (SSFVD): ‘It is the Stage Manager’s responsibility to not only ensure that everything happens in accordance with the shooting script, but to oversee and coordinate all technical aspects of, in this instance, the promenade. This encompasses aspects known and unforeseen, the predictable and the random.’

Pause SSFVD. UFFMD: 'Let him squirm a bit. But not too long. You don’t give a rat’s ass if he has to be home by eight or fucking doomsday, but you’re tired and you want to screw your wife; your one and fucking only.'

Commence circular Own Plastic Machine movement around conference table to focus on Stage Manager face.

SSFVD: ‘Correct, Stage Manager?’

UFFVD: ‘...’

Interrupt Stage Manager UFFVD: ‘You almost jeopardised the whole fucking event! If that guy had a gun Mugger No. 1 would have been blown to fucking kingdom come! Do you understand the gravity of the situation?’

Panning gaze around table for partial accusation of every employed Plastic Machine for CHSE complication. Complete silence. Employed Plastic Machines speech impaired from distress caused by ‘an outburst like that.’ Continue circular Own Plastic Machine movement around conference table concurrent with random 445mm telescopic pointer tapping ‘on the gleaming wooden surface.’

SSFVD: ‘I’m not interested in excuses. I want to know why it happened and how you intend to prevent it from happening again.’ UFFMD: ‘Not that you really give a fuck what he has to say. He’s cheap and easy to fuck over and he needs this job. He’s got four pie holes to plug as they say, so he’ll do whatever he has to keep his job.’

UFFVD: ‘Excuse me Director, but that guy came out of nowhere. Who could have known...?’

Confirm Stage Manager insubordination by providing excuse. Concede insubordination provide opportunity to observe and record Employed Plastic Machines’ reactions for later analysis, therefore insubordination rendered negligible. Observation not an exact science but can ‘prove enlightening’ when compared to questionnaire data gathered from Employed Plastic Machines.

Brain Presentation Sequence concurrent with Stage Manager soliloquy: Majority of Employed Plastic Machines active in current phase of CHSE recently acquired. Recent acquisition exception: Street Bandit No. 1 and Intoxicated Tramp No. 5. Supplementary Plastic Machines disregarded because of intermittent activity in Scripted Events. Supplementary Plastic Machines data display peaks when active in Scripted Events, but serves no statistical purpose. Supplementary Plastic Machines useful as control group, but statistical constancy questionable. E.g. the present moment: ‘None of them seems to be really fazed by the situation.’ Acoustic attention to present situation probably approaching zero, but cannot infer ‘Flatliner’ status from calm state of individual Supplementary Plastic Machines. Negligible emotional investment in current situation or corporate IPM: ‘They come to work, walk down the promenade or sweep the street and on to the next job. And that’s it.’

Further progression of Brain Presentation Sequence: Only employ Plastic Machines that can provide continuity of data, e.g. Street Bandit No. 1 and Stage Manager. Confirm Intoxicated Tramp No. 5 Flatliner status, therefore no more data to extract. Confirm current function of Intoxicated Tramp No. 5: booster, ‘seducing the others with his coolness.’ Current composed demeanour confirm Flatliner status of Intoxicated Tramp No. 5. Does not exhibit standard fight-or-flight Plastic Machine responses: diluted pupils, shaking, fidgeting, paling of the skin. In current situation continues ‘chewing that toothpick of his like some fucking Mike Hammer or something. Mr fucking Macho. All he needs is a hat and rolling Brooklyn accent and wham! Another hard-assed Mickey Spillane dick. A true Flatliner.’

Sudden Surprise Realisation of eyes directed at promenade below through window. Brain Presentation Sequence rendered brain ‘zoned out.’ Sudden Surprise Realisation of Employed Plastic Machines staring at Own Plastic Machine, anticipate reply to ‘whatever excuse the Stage Manager has cooked up.’ UFFMD: ‘Let them wait; you’re the bread giver, the supplier of pies ha ha! This is your show. Without you there are no events, no street bandit, no intoxicated tramp, no pedestrian, no fucking street sweeper. If you felt like it you could do the whole Taxi Driver scene in slow-motion right now and there’s not a goddamn thing they can do about it. They might think you’re a bit weird and call you Herr Director behind your back. But so fucking what? Only rabid dogs bite the hand that feeds it.’

SSFFVD at staring audience with eyes still directed at promenade: ‘You have to be in control of what's happening down there. I have to be able to trust you, especially now with me at the conference through the day. And I'm not only talking to the Stage Manager. All of you, even the supers, have to work together as a team if this is to be a success.' Rotate Own Plastic Machine and direct eyes at audience, consign hands to pockets, lean head against window frame. SSFFVD: 'You can't expect me to always be here in the Upper Circle fixing everything. I'm counting on you, especially those of you who have been with IPM for a while. I know I can be hard sometimes, but if anything goes wrong we're all screwed. This is not like any other job. We might be professionals, but the civilians involved are not. C'mon you guys. We've had a good run up 'till now and if everyone pulls their weight we'll have many more to come.'

Place inauthentic smile on mouth. UFFMD: ‘That's the way to seduce them; first thrash them to the ground then hold out your hand to pick them up. The same hand that sticks the pie in your mouth is also the one that sticks the knife in your back.’

SSFFVD: 'It's getting late. When you're finished with the questionnaires you're free to go. Tomorrow's gonna be another long day.'

Rotate Own Plastic Machine, direct eyes at promenade, hands still consigned to pockets, close eyes, strain ears… After time lapse ±90 seconds Intoxicated Tramp sounds become audible. ‘Right on cue.’ Stop breathing to discern content of Intoxicated Tramp sounds. Initial Intoxicated Tramp sounds ‘random yelling and cursing’, then forms standard language structure… UFFVD: ‘Shut up you fuckin’ bastard!’ and UFFVD: ‘Don’t fuck around with a drunken master!’ and UFFVD: ‘Jou vuil fokken hond!’ Possible equation of UFFVD to musical language structure, but cannot confirm. Possible equation of UFFVD to musical language structure is irrelevant; relevance of Intoxicated Tramp UFFVD: improvisation. UFFMD: ‘That’s good; it means they’re getting into the roles. At least there is progress toward verisimilitude...’

Plastic Machine audience at conference table also conscious of UFFVD of Intoxicated Tramp, confirmed by suppressed Pleasure Gain sounds. UFFMD: ‘They’re starting to get the hang of it now. They must have realised that it’s tramps working for IPM.’ Confirm probable insubordination of Plastic Machine audience, but decide against reprimand. UFFMD: ‘Idiosyncrasy is what it’s all about. Asymmetry.’ Direct practiced Joker smile at reflected Plastic Machine in window. UFFMD: ‘Nothing forced about that smile, Bob. Yeah, nothing forced about that.’

Scan questionnaires into computer after Employed Plastic Machines exit from apartment-office. Admiration for simplicity and ease of data capture and interpretation with contemporary technology. Confirm absence of dated capture methods and manual calculation of scores: UFFMD: ‘No sirree! A few years ago this would have been a couple of hours’ work, but now it’s wham bam thank you ma’am! And you’re done. And there’s even enough left of the evening to screw your one and fucking only.’

Concede own indifference to Scripted God Worship or Soul Worship: ‘never gave a shit for’, but confirm own Soul Presentation in ‘the sublime, or what some of these postmodern fuck nuts have called the Totally Other.’ Own Brain Presentation of Scripted God Worship or Soul Worship would contain core: ‘living for brief moments of sublimity.’ UFFMD: ‘Given, it does have something of the satorical to it, but even in Buddhism that doesn’t equate to religion. Whatever.’

Sudden Surprise Realisation of necessity of music for enhancement of data interpretation experience and Sudden Surprise Realisation that data interpretation experience can only equate to approximate sublimity. UFFMD: ‘Like a fucking monk chanting a prayer in a monastery.’

Brain Presentation of possibility of Graphic Data Presentations of intangible Affective Sets of Plastic Machines always equate to ‘truly magical.’ UFFVD: ‘How utterly fucking mind blowing! With the wizardry of stats and graphs emotions become as ordinary as the price of bread!’ Confirm Graphic Data Presentations effect Affective Sets predictable and manipulatable because of visualisation, UFFMD: ‘All just because now you can see the emotions, its ebbs and flows and peaks... how it changes over the years... the relationship between symbols and emotions and how the tyranny of the symbol can create Rational Man, the logical conclusion to our evolution...’

UFFMD: ‘Nachtmahr, that’ll do the trick. Maybe even Mahler or Haezer, but definitely nothing mushy like Mr fucking Frédéric or dandelion Wolfie.’ UFFVD: ‘The nature of the sublime has changed, Mr Wolfgang. It does not reach to the skies anymore, it reaches deep deep down to the stomach and the fucking anus! God is dead, long live the ass hole ha ha!’

Fixed gaze on Graphic Data Presentations concurrent with data influx. UFFVD: ‘Here it comes! The progress of figures. The march of the numbers. Poor sods. They think it's normal corporate procedure, something required by law to make sure they're all happy clappy souls in the big bad industrial machine. But I've got some bad news for you sunshines!’

Confirm approximate subliminal – currently represented by incline and decline of bar and line presentations – enhance Plastic Machine Experience significantly. UFFMD: ‘And with such elegance! ‘

Bar presentations descend and line presentations ascend concurrent with Personal Machine data interpretation of each Employed Plastic Machine. Position finger on screen and trace Brain Presentation of probable path. Line presentations pursue finger without deviation, equate to natural growth protruding from finger. Line presentations imitate movement of Slithering Plastic Machines, render brain intoxicated. Permit finger removed from screen, allow slithering lines unrestricted movement.

Independent Brain Presentation Sequence: Crimson indigo violet gold emerald slithering lines perform weaving motion coiling trunks across screen, equate to animated Animal Plastic Machine portrayal from The Wall motion picture. Angle Own Plastic Machine against chair back rest, observe slithering lines screen exit. Subsequent to screen exit, slithering lines uncoil, perform steep ascend toward ceiling and 2… 4… 8… 16…etcetera individual divisions, ‘filling the space around you like an unending map of neurons.’ Rapid acceleration of slithering line divisions affect Historical Brain Presentation of ‘fireworks display’. Gaze directed at spectacle across ceiling equate to gaze directed at celestial bodies.

UFFMD: ‘Such beauty!’ Permit fingers of right hand upward movement, make contact with flashing mass. Contact with flashing mass equate to Jacques Mayol finger contact with improbable aqueous mass in The Big Blue motion picture. Slithering lines embrace fingers, coil around and descend upper arm, arteries substituted by slithering lines. Observe slithering lines’ descent down torso… abdomen… enter trousers… caress penis… caress equate to TS2(F) fingers… Shut eyes… experience erect and moist penis concurrent with TS2(f) fingers up and down stroke…

UFFMD: ‘Whoa!’ Open eyes and retrieve fingers from trousers. UFFMD: ‘You have to leave something for your one and fucking only.’ Collect questionnaires and deposit into ‘Stuart’ briefcase. Prior to Personal Machine shutdown, trace fingers across screen. UFFVD: ‘Tomorrow is another day; time to go now.’ Quick inspection of big wall clock: 20:39. Eyes follow seconds dial, tick tick Auditory Brain Presentation: 17... 16... 15... 14... 13... Bang bang bang! Three successive handgun discharges on promenade. Press lips tight signifying irritation. UFFMD: ‘Fuckers.’ Street Bandits neglect watch synchronisation. Brain Presentation Inscription: advise Street Bandits to amend neglect. Success of Scripted Events dependent on accurate script adherence. Deposit Personal Machine into ‘Stuart’ and extinguish lamp. Prior to exit apartment-office, observe Plastic Machine phantom in window and SFVD: ‘Good night, sweet prince.’ Acoustic Brain Presentation of applause echo through dark city.