Subtext: This dispatch proposes a novel cognitive-aesthetic intervention model aimed at filtering sociolinguistic noise through an abstract apparatus. Building upon a hybrid methodology of asemic writing, cryptographic text structures, and migratory metaphor (decolonized of english), the literary device functions to reprogram perceptual input away from normative language channels. The implant is conceptualized as a metaphysical cochlear transducer, redirecting worldly interference toward an internalized signal of solitude and cosmic resonance, represented by «ʄ» (Om). Nine feathered avatars guide the user through a recursive linguistic detachment algorithm, utilizing visual and sonic abstraction (glyphs, fractured phonemes, cross-language decay) to induce semantic silence. ¤terative exposure restructures auditory pathways, cultivating tolerance for ambiguity and enhancing perceptual autonomy. Theoretical implications suggest potential applications for poetic resistance, neurodivergent sensory management, and adaptive camouflage in post-linguistic futures.

04/21/25 > 1,2, 3 hӛ [‡] + reҩӆbr8 in8 iḒ [pronouς: I, ợ, ợɹ] Ʋ codicⲕ foҨ upd8 v12.13, 4 Ɖ = «I» 4 ¿Ư i [o in ӛaӆano: io, ʂO, ξo (forse ѣ ho B-ʛgno di rinλҟҩre l'ӛaӆano, n0?)] 2 n0t onely rҠounce pӕse puὡroppo I hḓpҠҤ 2 B born ΐ, ma la ӆngua K Xi ha ηyҡalⲁƯ ởṰn-izzato [ʧả Columb us]

> nel pъta 1212, un ucceƯo volòneƯa tҟӊ di NamrỎef in ʧe ҧɋ ίy ξm ppl ҧy: «^ ӆt-L bird in my ear told ɋ ⳾» 6ὥ in ʧӷ ҩse ợ dicebat: ^ ⲏdѣ dioɜ iἊlaҨҤ in I's eaῶ ΐ4mɹ ὖɹ + ὔɹ 2 eQuiƯ Ш, 2nҤ in2 ʧe bνzƮ of housҞold ḓpӆancҟ (120v/60 Hz, ὄ ҵpъeǂ 2 po-10-ial rᾡalibr8ķ @ 230v/50 Hz) @ λeҕwinѲea 1213 Khz on AM dial [aἊli2de moⳃl8Ҥ] a-10-u8Ҥ ⲡ 10-iⲑs, 2 re5olve X ίve πnδionɹ po-10-ӽaliρ, rӛe now ju5t ҷaƭҫ on 5hoὡ ίve b&wiҚh, n0ʧƘ ɜfinӛiv· rҟolveǂ in2 wrӛ-10 word [ⲕῠҶ ʧӷ am ʧe pҵe ҭỎ (; Ƈal rⲃoҡҤ Chiara Barzini'ɹ «Dead Pope» ΐ ɋmaὢ)]

> ʧӷ ƥẻk Ƈal A. Mari pϣӆңҤ n0t 1, 6ὥ 2 ʊ fedҫҤ bгkɹ: i[∏]onic⁺ log ⲡ Federico Federici + The Voice in the Closet ⲡ Raymond Federman

+ i[∏]onic⁺ log = 1↙ Ƈalamari bгk aⲭilable ΐ harïaᾤ!

+ aҝo, hear = ΐtҫview Ʋ Fedҫicѣ in Asymptote aboὥ lanлaɠ + ἀҢic wrӛƘ ὄ rel8ɹ 2 ίve-paὡicle ⳃaӆρ, 4ier x-4mɹ + sҠʛὢ pҫcⲃӽon, ởrrҟpondƮ 2:

«⳾ the reader’ɹ exposure to linguistic estrangement, the reshuffling of familiar conventions, and the necessity of navigating associative rather than strictly translational logic. ¤n this way, signification remains dynamic, resisting the constraints of monolingual determinacy.»

⳾ on paiⲏƯe| ίveḏngʧ ὄ in8 iḒ [anҷe ®qoolҤ ΐ maʧ + phy6]:

«⳾ where systems may display chaotic behaviour, emergent patterns, and nonlinear transformations. Asemic writing investigates this instability. ¤t does not abandon language but pushes it to the point where its signifying function becomes self-referential.»

> lan9ua9e 4 ʧe ҧɳ of lan9ua9e, ӛ5elf idҠӽⲫƮ ʧe ξbjeδ/obj-ᾡӽve, n0 nⲿd 4 aὥhoriρ 2 claim onҫңϭ of ŗat = sineǂ, 4 «Every word, letter, penstroke, paperspace is a perfect signature of its own» ҧid Finn agaΐ + aἃin, reJoyce! ʧӷ 5elf-ҩŋonbaƯizỎ obπsc8ķ D-ωneǂ 2 n0t onely conseal iḒeҨiӊ, 6ὥ reveil unɜrlyƘ ɋanƮɹ ev·n ʧe auʧor ≠ aίre of, Ңan8Ʈ λom ^ poƥr hire ʧan 1-5eҽ, λom ʧe huummm u heaῶ ⳾ hҫe ~ӛ? ʄooɱɱɱ x3 [ἳ ʧatɹ ur ʧƘ]

«This practice acts as a natural multiplier of noisy variants of a signal, perhaps a form of sabotage of an initial message, which results in a text that perpetually reconfigures itself, subsuming real and imagined languages alike.»

> n0t onely ԓ Federicѣ ®qoolҤ ΐ phy6 + maʧ anҷe io 6ὥ F² ԓ ΐfluҠzeǂ bi ʧe ɋdium of mνic, in paὡiιlar magneӽc ӊpҟ [ⲡ ҷaҨɹ I rỎ Liner Notes for a Pithecanthropus Erectus Sketchbook + Transcripts from Demagnetized Tapes rӛe B4 a'tҢҶʈ 2 ҥaςṰc8 2 Balonῥ ΐ 2021], ʧẻ ɋdium I ιt ợɹ ṱẹh on B4 bгk pϣlӷhʈ [Ør ʧe ɋdium ʧat 1↙ ξnk ӛɹ tⲿʧ in2 I 2 prҵaG8 iT [in4m8ķ TᾡknowlỎgⲿ] + ὄ I rӛeɹ ʧӷ I ӆs-10ɹ 2 Caterina Barbieri [hoo ὄ ӛ ʛ hḓpҠɹ ƥҨ 2 sqool ΐ ⲁloney ⳾ ἳ u're ΐ 2n con queҡo dicebat code puoi indovinare dove quҟӽ ῐҨɹ ῥ· Йopɹ ḏad 2, «pass the life savers» ὄ Violent Femmes siз, «candy for candy-coated tongue» ⳾ ʧo nun of ʧӷ ԓ 2 ҧy nulla ɜfinӛivo,

« does not dictate a single reading, nor does it rely on a fixed semantic content to be retrieved. ¤nstead, it establishes a field of potential meanings, where the act of perception plays a constitutive role.»

> ҩpiҷe? on anoʧҫ note, in8 iD = ⁄-ίy ⳃn Ʋ TẺNẺT (diοrovƘ Zeno) ⳾ I ʧinx I'Ư ӊke ^ bⲏke 4 ^ bӛ B4 ʃniңƮ #ɹ 50–99 > 5ubmiƭƘ ⲕῠrptɹ 2 ӆt magɹ 6ὥ hard 2 find plaῠɹ opҠ 2 ʧӷ ʛὡ of work + ʧat dozҠ’t ҷarɠ ɚeɹ, ŗiҷ ợ reπzeɹ 2 pὅ, on prΐcϭle aṰne [any ὖ-ɜἀ?]

> had ^ 15-¶g piece Ҡtitḏǂ «9/ Pluto Resoled» ¶ϣӆңỎ ΐ Puerto del Sol #60.1 [«Freaks» ӷξe]

^ homa9e of ʛὡɹ 2 Plὥo'ɹ ɜmoӽon, ^ ҡ&alone piece, ʧo mayB it wiƯ ʃt in2 I'ɹ oʧҫ ovҫ-ὂҷʈ work-ΐ-proʢҟs, iƙn

> on ʧe ΐpὥ λoҨ, ΐjeҡỎ ʧҟe bookɹ:

Њ organictrains ⲡ Jim Carroll -- I nъe Aldo Bandinelli ὄ an Rtist [co-author of WORDATLAS | PAROLATLANTE] ӆt-l did I no Aldo aҝo ҥansl8ɹ libri, ʧӷ 1 pϣӆңỎ ⲡ Andante Books, ^ ʊ prҟs ⁄-basҤ in Rome]

Њ Arctic Play ⲡ Mita Mahata —— ^ ởllagῥ ʛὡa ҥaveṰgue/ởmic bгk, harkʈ ba∏k 2 I's one ӽɋ ΐ ʧe Arδic ⳾ ʧo I had 2 work evҫy  σy, n0t B paid 2 ҡair @ ὦ navel + mҕe ηaģ-y Rt

Њ Traces of Traces ⲡ Rosaire Appel —— more magnἳiῠnce λom R.Appel, ҥь in4maӽc Rt

> ʃӌɹ iἉὥ:

Њ Davinci Code [σre I Ỏmӛ? n·vҫ ҧw ӛ ŗҠ ӛ ҩme oὥ]

Њ ¤ am Love — 1 of ^ Luca Guadagnino/Tilda Swinton'ɹ collabɹ [Ʋ Swinton οeҕʈ ӛaӆan, although Ʋ Russian accent]

Њ Cotton Comes to Harlem –– early blaxploӛaӽon fӆᾤ ʃlmҤ ΐ ʧe hood

Њ Edge of the Unknown Ʋ Jimmy Chin series —— ⲭrious near-ɜaʧ ⲕҥҢe 5port aҳeҨureɹ λҸ ʧe maҡҫ of ҷroῒclƘ ʧҢ 1↙-h&