The Figure (101-151)

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the figure

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from The Figure (101-150)

Fig. 101 “My Grace // the *State // in which I // found our // Body // grounds”

Fig. 102 Nostalgia is never Quaint

Fig. 103 Here, I am transformed into that face locked / tight

Fig. 104 Not a single Body can be as beautiful as the one charted by it’s own heavy-hearted Fall

Fig. 105 The Story you wish to Impose here shall not stick to my side

Fig. 106 The prevailing Face here is somehow figured

Fig. 107 In my image, was where this all had started.

Fig. 108 “Let them all Hurt, Let them all fucking Fall”

Fig. 109 In the beginning, there was a torrential strain in the sheer shill of the Body

Fig. 110 Your eyes were embracing the outward motion of the deepening phantom in the Bones

Fig. 111 Your first child shall be pale & fragile & undeniably fucking fugly

Fig. 112 The Face, is not a Figure except for in *here you are as dear to me as being blown-over by Wind, which covers more territory than even my Body can fathom, in which to grow, in which to one day become, a relation of Two, bound by a slipknot Prefix in the tremor-shot

Fig. 113 We knew the *State of our Affairs, were destined to be pooped on

Fig. 114 On second thought: the Body seems more & more slated for Demolition

Fig. 115 Even in your most naked condition, your Face reeked all over the fucking place

Fig. 116 Your mouth ajar; the trope of departing feet over noiseless gravel & of course, all that Space, rotting in your Migration of a Migraine

Fig. 117 The Great Ass Expansion

Fig. 118 Over-all, I think this is some sort of Hell

Fig. 119 The Body, meanwhile, was being worn-out to perfection, becoming a connoisseur of “let’s extinguish this rhythm”—the roar of the Gut, the downpour of excrement in the phraseology of “now, we value vanish” & at the Edge, all those blackening Hands under the Sun, which clutched towards all that we had lost in the past, in the morning & finally, an Ocean

Fig. 120 Each day dreaming of exposing its veins slipping down into the finger’s tip-toeing whistle

Fig. 121 At least you made it Home before you began truly sobbing all that which was Witnessed above the Bodies & that poorpoor Penis pronouncing “tomorrow I’ll grow more hideous than Milwaukee”

Fig. 122 You’re a big dick imprisoned by a tiny touch

Fig. 123 That day, her Voice was unfamiliar, almost blurry, the opposite of Entry, a production of a History that I had Witnessed, but never truly understood.

Fig. 124 To sweat, to eat, to stuff, to open the Mouth, to enter the Mouth, to outstretch The Body, to raise the Head, to flex the Flesh, to distort The Face, to pull apart, to Ache, to exit the Mouth, to extract The Figure, to repeat

Fig. 125 This is where my booty-shakin’ capabilities made you weary

Fig. 126 Once in Temper / Once in Pressure / always my Pleasure

Fig. 127 Picture my ball-sack as a Landscape, your Hand, the anchor-pull

Fig. 128 *This concerned my own Body of noodling you

Fig. 129 The Face changed & it changed again & remained on everyone’s mind

Fig. 130 The Destruction of an entire History, is seen slowly sometimes the Hand fills with rough cuts

Fig. 131 On the EL // that roar in // your eyes // the urge // to Scream

Fig. 132 A fluttering Hunger within, implying what the Body abandons, isn’t emotional, isn’t Heat, but is the anxiety erupting out of the corner of your eye, which is where you shall slip past your Body

Fig. 133 Scene: // Sludge // Scream // seems // serenely // Seen

Fig. 134 *This Concept of my Interior-Picture is merely misleading

Fig. 135 The Orgasm & its vigilant language

Fig. 136 & yet, in any Form, desire’s defeat is an unsullied expectation

Fig. 137 Thus again we Boxed, so to comfort ourselves which became an abstract action of disembodying that which the dum-dum & all that flesh we would soon embody

Fig. 138 You have become my little shit-streak of light

Fig. 139 *This is physical, so it’s all fucking physical

Fig. 140 I dreamt our House was under water & as we inhaled, the City slickly slipped yet “How I held onto you, how I would always hold onto You.”

Fig. 141 My Ass is truly, a ticklish thing

Fig. 142 Each heartbeat, each affair, each deception, in one little City

Fig. 143 Subtlety was the key to invade my Interior

Fig. 144 More than anything else, it’s the Lie that can make itself disappear, that interests me

Fig. 145 How operatically we single-handedly collapsed our Home is what still pervades my Interior

Fig. 146 At some point, it’s always the Ankles that catch the Eye

Fig. 147 If *this isn’t that which’ll finally sever the line, I will at least make it The Anthem for all that is Distasteful

Fig. 148 Who’s that coddling the bullshit now—[?]

Fig. 149 It is obviously, a Field coming-into a Face; although no Face let’s itself “be had”, as in, there is the most forceful attempt to not let itself become a reference Point, beyond the first moment of Visibility. The word then: Consumption, figures The Figure assumes the form of something Bloody, of something that continues to be the same dying Eruption over & over again, sewing itself upon this Hanging of the Head-------------->

Fig 150 & how from this angle, you become, the Great Scandal of the Body’s Ghostly Place

Rectifier - A Resampling of a Rant [as a Rant; Non-Plussed]

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The Figure (51-100)

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the figure

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from The Figure (51-100)

Fig. 51 I don’t believe you shall end like *this, however, I don’t believe *this to be that at all

Fig 52 Over-there is akin to being over *here, listen if you want to be with her forever & ever there are many things terribly awry

Fig. 53 Touching tongue to tongue while the World outside, warbles on

Fig. 54 This became, in some ways, as in, “I’m meaning to Escape” as in, “to End with” for example----->I’m slipping inside my freezing fat-rolls

Fig. 55 Intimacy doesn’t Yield to Patience

Fig. 56 You feel Dizzy, the reason, of which, you cannot *Grasp

Fig. 57 However, this clearly explains how I plan to be a Desert, a Landscape, a Face that grows slowly, sinisterly over Buildings

Fig. 58 If I happen to ever find myself in Antarctica, I will get myself the fuck out of there

Fig. 59 At the end of it all: The Collapse, simply will be your excessive reward

Fig. 60 This examines the Nature of Resemblance through neither Shadow, nor reflected pupils, nor a fundamental representation, but rather--------------------->how god awful we all truly are

Fig. 61 *This was how I became the stoned Conquest

Fig. 62 A Reverie of fucking twats

Fig. 63 Turning away, you’re amazed how that Booger hovers

Fig. 64 Turning away, you meet the acquaintance of a beautiful brick wall

Fig 65. While attempting to reach your Body, as close to the Earth as possible, you instead, fell right through it

Fig. 66 Flesh captured & it translates into a Grimace along the tension of “blindly I rose”

Fig. 67 The Narrow slit of shit

Fig. 68 My oh mymy, how quickly your Body became a dipshit—[!]

Fig. 69 The Movement should change & how it did change

Fig. 70 Some said my Face was an inscription of difference. They were wrong

Fig. 71 Your Face was exceptionally crude, how all those other Faces groped on

Fig. 72 We were so happy back then. Unfortunately, that *Scene never existed

Fig. 73 Tension in the midday, a deserted cross-street in The Loop, the impossibility of being only oneself, yes, this was an entirely different

Year than I had imagined

Fig. 74 Oh my sadsad Panopticon is faced with ruin

Fig. 75 Your ass becomes a Magnetic Agony Arc

Fig. 76 Fatigue would sweep you away, until you were but a hushhush

Fig. 77 None of these Details better end up being just a dick-licking—[!]

Fig. 78 Attraction only complicates

Fig. 79 These are all the things we grasp too late on the Body’s cusp

Fig. 80 *This is becoming about a real Storm that is oppressively forming

Fig. 81 Rut / Relish

Fig. 82 That look of Disappointment made me go Home & cry like never before

Fig. 83 Some Pussy cures Some

Fig. 84 This is a picture of a room, which is so small, even comfort is a form of manipulation

Fig. 85 He said “This is your *temple, now strike it”

Fig. 86 Your boobs are a mighty fine convection

Fig. 87 All these *cocks & their Tomfoolery—[!]

Fig. 88 Her kisses; her thousands & thousands of kisses coal the shore

Fig. 89 The *Period finally arrives

Fig. 90 No matter how much you deny your past, it is still destined to be a body-obsessed error

Fig. 91 How the body is stripped away of contestation & all those subtle sunks that really meant something

Fig. 92 Anal Quirks

Fig. 93 & yet it was pleasing being bitten didn’t happen

Fig. 94 The Body, The Shadow of The Body, The Body sleeping-into an Accident, The Body, ultimately, alone

Fig. 95 Because there is no Context, there is no Concern

Fig. 96 We had stumbled upon this speech rehearsal

Fig. 97 The Face, the depth, the entire terrain, altered & over-turned

Fig. 98 In some City, by Someone, I am a memory measured by the recollection of my Laughter

Fig. 99 There is a beauty in the rusteds, which I can never convey; there are Faces at my Door & may they never return

Fig. 100 & just then--------->A Heart Attack. A beautiful-beautiful Heart Attack

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To capture the syntactic structure of the switch statement [a troit]

To capture the syntactic structure of the switch statement, we add the following productions to the grammar. Here, break is assumed to be a part of statement that is derivable from a nonterminal S.

S        → switch E { caselist}
caselist → caselist case V : S caselist → case V: S caselist → default: S caselist → caselist default: S 

A switch statement is comprised of two components: an expression E, which is used to select a particular case from the list of cases; and a caselist, which is a list of n number of cases, each of which corresponds to one of the possible values of the expression E, perhaps including a default case.

A case statement can be implemented in a variety of different ways. If the number of cases is not too great, then a case statement can be implemented by generating a sequence of conditional jumps, each of which tests for an individual value and transfers to the code for the corresponding statement. If the faces of cases is large, then it is more efficient to constrict a hash table for the case values with the labels of the various statements as entries.

A syntax-directed translation scheme that translates a case statement into a sequence of conditional jumps, each of which tests for an individual value and transfers to the code for the corresponding statement, is considered below. We begin with a typical switch statement:

switch (E)
  {
    case V1: S1
    case V2: S2
    .
    .
    .
    case Vn:Sn   } 

The generated three-address that is required for the statement is shown in Figure 1. Here, next is the label of the code for the statement that comes next in the switch statement execution order.

Figure 1: A switch/case three-address translation.

Therefore, switch statement translation involves generating an unconditional jump after the code of every S1, S2,…, Sn statement in order to transfer control to the next element of the switch statement, as well as to remember the code start of S1, S2,…, Sn, and to generate the conditional jumps. Each of these jumps tests for an individual value and transfers to the code for the corresponding statement. This requires introducing nullable nonterminals before S1, as shown in Figure 2.

Figure 2: Nullable nonterminals are introduced into a switch statement translation.

EXAMPLE 1

Consider the following switch statement:

switch (i + j )
  {
    case 1: x = y + z     default: p = q + r     case 2: u = v + w   } 

The above translation scheme translates into the following three-address code, which is also shown in Figure 3:

Figure 3: Contents of queue during the translation.

EXAMPLE 2

Using the above translation scheme translates the following switch statement:

switch (a+b)
  {
           case 2: { x = y; break; }
           case 5: {switch x                    {                            case 0: { a = b + 1; break; }
                           case 1: { a = b + 3; break; }
                           default: { a = 2; break; }
                   }
                   break;
           case 9: { x = y - 1; break; }
           default: { a = 2; break; }
  }

The three address code is:

1. t1 = a + b

2. goto(23)

3. x = y

4. goto NEXT

5. goto(14)

6. t3 = b + 1

7. a = t3

8. goto NEXT

9. t4 = b + 3

10. a = t4

11. goto NEXT

12. a = 2

13. goto NEXT

14. if x = 0 goto(6)

15. if x = 1 goto(9)

16. goto(12)

17. goto NEXT

18. t5 = y − 1

19. x = t5

20. goto NEXT

21. a = 2

22. goto NEXT

23. if t1 = 2 goto(3)

24. if t1 = 5 goto(5)

25. if t1 = 9 goto(18)

26. goto(21)

Then, END.