On Mon, 19 Aug 2002, ivan wrote:

> LOL, indeed... I am quite sure I have not reached the level of
> popularity where certain aspects of my life would become a subject to
> public discussion..

  Nothing 'lol' about the situation. This is not your 'private'
  life. You were told that you will be held responsible in public
  should you fail to accomplish your task.

> However, a few friends wrote in asking me about the
> content and the nature of the post and,

  A few friends?

>  even though I am not
> participating in any of the forums, I decided to post my, hm.. fairly
> extensive, comments..

> >Parce que, we do not enjoy false propaganda.
> >
> This statement is a key to everything that follows.

  No, it's not. It's a childish idiotic attempt to pre-empt in
  a swooped gesture the comments which follow, which are extremely
  precise and accurate.

> Such information I have no access to.

  With regards to the sales of the record in question,
  this is a lie. This information was confirmed by yourself
  in the lobby of MUTEK 2000 at Excentris, in between raster-noton
  performances--where I was invited as a guest of the festival by you
  (even though not performing)--as well as expressed in numerous
  personal correspondence.

> It must be coming from hacked raster-noton X files or something..

  U-hu. Couldn't possibly be coming from the appropriate and fairly
  trivial sources, as well as general familairity with Raster-Noton

> Personally, I am not aware of any manufacturing problems,

  Actually you are. And you spent hours bitching about it,
  as well as complaining about it at MUTEK 2000 in front of a number
  of performers present. You're simply attempting to cover your ass.

> neither do I know how many copies have been given out.

  Again, a lie.

> I remember being properly paid by raster-noton and the
> payment was based on the aforementioned number of copies..

  Not really. You have never been 'properly paid' by Raster-Noton.
  But that is merely one of the idiotic games that Carsten NIcolai plays,
  and one of many, including deliberately messing up your records
  which again is evidenced in personal correspondence (in the least).

> Generally, I do not think record labels practice giving away their
> releases, particularly as the manufacture usually costs money.

  An attempt to cover up reality by attempting to present a
  plausible truth. Generally, record labels practice very widely
  giving away their releases to promoters, industry magazines
  and the likes, and this applies to an even greater degree to
  Raster-Noton, who give way an even larger portion of their releases
  to curators, galleries, musum junkies, etc. as Carsten Nocolai
  doesn't care about record sales at all--only about his artistic

> >There is no such thing as 'digital quality' when it comes to
> >  digital recordings, unless what one scribbles is entirely flat.
> >
> That statement is bold and obvious, yet meaningless since it is taking
> the subject out of the context.

  The meaning is neither 'bold' nor 'obvious'. And there is no
  'contrasting' meaningless, nor is the statementtaking the subject
  out of context. Digital quality is simply devoid of any meaning.
  As is your above statement, which is a nice string of gibberish.

> The digital recording in question was
> originally released on vinyl,

  After your insistent swearing up and down that it was
  created for analogue medium, which caused Raster-Noton a great headache
  in production, which delayed your record for 2 years.

  Nor was the originalrecording intended for digital medium--
  rather you were attempting to cash in on peddling a perceived
  'warmness, humanity' etc. nonsense of the record.

> an essentially analogue medium which has
> certain limitations where stereo image is concerned.

  Nothing which digital audio can overcome, as digital audio is
  in essense a step downwards with regards to limitations
  with regards to such matters.

> The mastering was done very professionally,


> yet the final result was a
> compromise in terms of sound, still. Hence my decision to release Mask
> Of Birth on CD.

  Actually your decision to release the record on CD is a recent
  development which has nothing to do with the above.

  The opposite of what you attempt to claim below, you worked
  under my direction and protection for mearly 2 years,
  which ended rather unfortunately with your gwenwetic and psychic
  destruction due to fear, inability to trust, idiotic
  'male' power trips, slave-like idolatry of a couple of
   pathetic wrecks (Coil) who have dabbled with affairs
  magical as the idiotic simpletons that they are,
  fucked themselbes over, and are now subject to something
  thoroughly idiotic, which is at present consuming your life-force.

> >> Born in Russia, Ivan Pavlov lives and works in Sweden.

> Indeed, I do enjoy some obvious charms and freedoms of the Western
> lifestyle. Especially the freedom to travel.

  The 'freedom to travel' is not one of those charms, as you're
  stilla Russian citizen, and your freedom to 'travel' is the same
  as that available to any other Russian, relatively. The finacial
  ability to travel you get by being flown about by Western Art
  Festivals and Grants, and  it is precisely to these that you attempt
  to peddle yourself as a Russian Avant-garde artist.

> As for the "artist support system", the notion is incorrect

  Nothing incorrect dear. Your traveling tickets are paid
  by the artist support system.

> - the Swedish system would not support
> me since I am a Russian citizen, the Russian system would not support me
> since I live in Sweden.

  See above.

> Where the "giving back" to Sweden is concerned...  yo, I am a
> disciplined tax-payer! :)

  Hardly. The taxes get automatically deduced from your paycheck.
  This is not what is being referred to anyways. What is being
  referred to is your continuous attempts--to various degrees
  of success to energetically use various 'Western' situations.

> Okay, in musical terms.. To defend my relationship with "the host" (!)

  There has been no relationship with a 'host' though parasitism
  and feeding you did attempt--for the duration of two years,
  and you went to pathetic degrees of such, including resorting
  to various forms of 'control magic', 'theft' attempts,
  attempts to exploit push button mechanisms, attempts to force
  energy drain, attempts to feed, attempts to find out my being's
  real name and use it as a control mechanism, destructive resonance
  magic against my essence, idiotic sexual control tricks etc.

  Both you and your friends Coil were running around trying to kiss my ass
  for the duration of those two years, meanwhile drooling over the amounts
  of energy I have access to.

  Nevermind your idiotic attempts to get at other people (like NN,
  Genesis P-Orrige, and H30--people who actually know what are doing
  and whom Coil, and Geff Rushton specifically are continuouously
  attempting to ripoff, harrass, spread rumors about, and try various
  idiotic attempts at magic at).

  For those unaware: Coil are a couple of twits, involved with
  late 70s, early 80s projects related to a particular genre
  of performance art, music and magick initiated by Genesis P-Orrige
  with his Performances with Cosey Fanni Tutti, and later on TG,
  and the Temple ov Psychick Youth--all projects connected to
  the particular 'subculture' around Bryon Gysin, William Burroughs,
  a lot of developments in terms of Evolutionary exploration, etc.

> -  I have been involved into organizing and running a club/society here
> in Stockholm (called The Nursery) to encourage and support experimental
> music, hm..

  You're not involved in neither organizing nor running that club.
  You belong to a group of individuals who are supposed to go to meetings
  and do stuff, but you don't ever show up--and your 'contributions'
  are making snide remarks about how stupid the organization is,
  how they are all 'trying to be you'--and using the venue to bring
  your 'friends' over when you can.

> whenever I am invited to perform here I play for free..

  Certainly. And you pose around as an 'important musician'.

> I am in good contact with the local artists and we occasionally work
> together.

  In good contact? Right. Mostly you talk trash behind their backs,
  and smile to their faces because you think you can 'use' them.
  I've listened to hours of your bashing the people involved in
  various Swedish scenes, including, but not limited  to respected
  artists Leif Elfgreen and C. M. von Hauswolff (Krev Kings).

  Nevermind your continuous posturing that every woman artist
  who approaches you is doing so because she's dying to be fucked
  by you, nad your pathetic treatment of them as if they are whores.

  This applies specifically (just so that you don't try to deny it)
  to Alex from Chicks on Speed, some woman Martha (?) or Iforget at this
  point, a japanese girl performer who asked you to compose a piece
  for her.

> Generally, I am not sure what qualifies for being a "Russian
> imperialist" these days. :)

  And really this is not what I referred to as 'Russian Imperialism'.
  Attempting to make yourself look like a 'nice and likable' guy is
  a standard trick of yours. What I refer to is your idiotic Russian
  nationalistic attitude, bashing and destruction of anything
  'non-Russian' as well as your personal idology and involvement
  with various Russian nationalistic groups as well as various forms
  of nationalism-based 'magic'.

> >Actually Ivan has no more 'roots' as those were destroyed in a
> >  'working' he was involved in as my subject b/n 1999-2001,
> >
> "a working", "my subject"... hm..

> (I can not believe the subject line is
> "LOL#24"!)

  And the above signifies what? a working, my subject--change of subject
  in a pseudo-witty manner. Infact you were a voluntary subject to that
  working dearest, one which was fairly dangerous to fuck around with,
  because it included dismantling of your ego, destruction of your
  genetic and cultural programming, energetic transmission, and
  freedom for your being. Instead, you decided that you can 'steal power'
  from me, and after having been sibject to two remote transfers of
  energy to save you from your silly self-destructive behavior from
  trying to 'destroy' my essence-Self--which by the way (for the general
  audience) this person was indeed given a glimpse of, as per appropriate
  work requirements,since I raised his energetic levels enough so he
  may see, and make a conscious commitment to the working (which he has
  later attempted to fraudulently misrepresent as some obsessive desire on
  my part, and which in his ego-ridden narcissistic idiocy fancies as some
  inability on my part to exist without his wonderful 'presence')--and
  of  which you are afraid, jealous and covetous of.

> Okay, I think this must be explained. I have, indeed, taken the author's
> graphic work to accompany my sound pieces on a couple of occasions.

  No it doesn't. And the above is a lie. You stalked me for about 6 months
  iterally begging to work with me. On agreement, one piece was made for
  you which was published by source Research revordings, UK. Since,
  the whole thing developed into a mad obsession on your part,
  including daily mails that you cant live without me, calling up to say
  that you'lljump from bridges to prove your love for me, and being in a
  general state of delirium. In his defense, I have to say that my
  presence when revealed does have these kind of effects on humans
  which is hy I avoid doing it. To complicate matters, I work with
  an incredible Being and the results of such work can be sensed
  quite easily long-distance (as happened with Ivan) and who though that
  this energy had to do with sexual attraction. On the couple of
  occasions he's been to one of the studios / apartments where I work,
  he's literally walked in to find the entire room filled with
  high frequency electro-magnetic energy which is so dense that it
  requires little psychic sensivility from the subjec to pick up.
  This doesn't excuse his subsequent behavior however.

  Onwards. After receiving the Netnork (sR) artwork for a compilation,
  he requested a collaboration. He was told that in a collaboration he'd
  have to follow orders from me, understand that the timing of my artwork
  depends on factors not dependent on standard 'reality', and it must be
  treated with the greatest care. He agreed. He also was told that I do
  not do 'artwork' per se--and was told that there are certain important
  aspects of what I do which must not be tampered with. The conditions
  were that I will give him the artwork as I see fit, when Isee fit, and
  it will be published exactly to my specifications. He accepted these
  conditions more than gladly, which was followed by a year and a half
  of intense work, most of which was not 'registered' in public, but
  his output was entirely a result of such collaboration, and most
  of his live appearances were in his owm word 'played for me'.

  This includes but is not limited to:
  Netmork Compilation Appearance
  Underwood Compilation Appearance
  Iron CD Full Length Ltd. Edition & Normal Edition
  OACIS CDEP which is an interpretation of one of
  my drawings with modified vocals provided by me
  Fur. Elise Installation
  falsc cinematic soundtrack
  Netmork Full Length CD
  CXC (Oswald Berthold) wavetrap CD

  Including also not insignificant assistance with other
  materials with regards to the handling of his label.

  The above spans most of his output up to date excluding material
  released with Coil, one record dedicated to his first child

  Far from being the 'slightly' affair you present this as,
  reality is ptherwise, and knowing the particular habit of humans
  to wiggle about, I've made sure the physical evidence is there.
  I have multiple objects demonstrating otherwise, including
  personal correspondence of your whining that 'I cannot do it,
  I am too old' ' I am looking at a big black void and I cannot make it'
  (state of human about to enter state of sorcerer flight--yes
   that very thing that zen masters and shamans can do)
  etc. etc.

  Not this one though. This one decided to 'teach me a lesson about
  how I'm human' and that 'i'm wrong' so he crippled himself to spite me,
  fell flat on his face, destroyed himself genetically (and that
  spreads to his entire genetic tree)--all the while thinking that
  he's doing that to 'me'.

  Seeing what happened to him (destruction of core, 'decapitation'
  of the connection with his intent, and the appropriation of his soul
  by something utterly revolting) was indeed quite a shock, as I had
  no idea something so (lack of words) is actually a possibility even,
  least of all a power that lies within my capabilities.

  Nevertheless the moron interpreted my state as some sort of
  'triumph' on his part and took it upon himself to beat himself in the
  chest, go to the extent of thinking that his 'magick trick' has worked
  and he can order me around to do whatever he pleases (one of the
  attempts was that of zombie-fication). He went to the extent of
  attempting to claim in public co-authorship of the artwork for the
  Netmork record, and when  failed ran around spreading rumors that I ma
  'evil' have attempted to remove his penis, am a nazi, have commited
  the mistake of ALL GREAT MEN (did they allcommitr one mistake)?
  Nevermind that he's never beenin the vicinity of a 'great man' etc.

  Chimes in oswald berthold from FM who psychs Ivan up and tells him
  I am NN.

  This was a person thorpoughly fucked in the head by everyone surrounding
  him fully exploiting his fear, impressionability and being asleep.

  The reality of the matter is that I was told by 'his intent' that
  he had a year and 8 months to live before this is to happen,
  and the basis of the collaboraryion was merely an attempt to
  awake him and strengthen him before the onslaught.

  His failure to listen lead to the results I was shown.

  My leaving the situation was documented in an ad published
  in Wire (prof muzak magazine in the uk) in March. He claimed
  leaving himself in April. The part of the working that concerned
  'me' was liberation of another spirit, as well as reception
  of my Will, which was successful.

  In part, the series of posts in the past few months are
  a result of the above affair (dicharaging initiatory energies
  which would otherwise cause disease to my physical body)
  as well as my balancing myself out in terms of knowing
  what I due to my lack of necessary evolution yet perceive
  this destructive aspects of 'my' power (or finally received
  'sword) as rather 'shocking' vs. being among humans,
  and being aware of the harmful aspects of their habits.

> For this work I had paid the author half of my share, which I find  fair.

  No, you didn't. You paid only for the original netmork piece.
  payment for the rest was not requested from you until the very end,
  for Oswald Bethold's record, which is the real reason why you
  pretended that the artowork is unacceptable, and also claiming
  that I am trying to 'bankrupt your label'.

  The fee requested was 270USD.

> Unfortunately, I had the mistake of inviting the author to make cover
> art for two albums, one of them being a COH record. The author had
> procrastinated both works for about one year each

  Hardly. The agreement for netmork CD full length was that it is to be
  released in a year from the compilation release (in spring 2002).
  The artwork was delivered to you on time.

  Nor did I procrastinate  the CXC / Oswald Berthold release.
  The person failedto get in touch with me for most of the time,
  excusing himself with travel performances etc. The actual creation
  of the artwork after meaningful contact was established was 2 1/2 mo.
  More in line, you were throwing a fit because you were demanding
  to be made privy and involved in a process which involved only
  Oswald Berthold and I (him being the music creator nad me the author
  of the artwork). Idiotically enough you started attempting
  to force your ideas both on CXC and on I due to being a 'grand
  benefactor of a label'.

> and the final result
> was below any expectations: i.e. I found both works terribly lacking in
> connection with the music

   Rather the opposite. You were more than happy with the Netmork
   artwork--and your reaction to it in private correspondence is
   demonstrable--as well as your subsequent announcements of its
   release on favrious forums. Where your 'dissatisfaction'
   came through was that you wanted co-authorship of the artwork,
   even though you had no part in creating it at all.
   What's more you went around telling the label owner that you
   were in act a co-author. You threw an idiotic fit in front of him
   and I, stated that you're going to 'make the label' release
   of the artowork separate from the CD (really a  smart adventure
   for a music label), release the artwork but with a card accompannying
   it saying that 'you don't approve of it', and finally when that
   failed as well started claiming that I have 'political agendas'.

   What you fail to realize that the artwork shown to you, was never
   intended for you. Since August the previous year you had been involved
   in various attempts at idiotic 'magick' tricks upon my being
   with your 'evil' 'friends' Coil--and I had no intention of imvolving
   you in any aspect of Work longer than my promise to your soul

   The Oswald Bethold artwork the person was happy with (indicated
   in personal correspondence with), you simply wanted to stick your nose
   in the collaboration. It was simply not allowed.

> as well as generally inconsistent and uninteresting.

  The artwork was neither 'inconsistent' nor 'uniteresting'
  and your laudatory commentaries with the presentation
  can be made easily available.

  My artwork is in fact so 'uninteresting' that youve stolen
  a number of my pieces from my studio, and are refusing their return.

> Therefore I took the decision to reject them both..

  You rejected them as the final stage of an idiotic
  ape whose egho bloated out of control.
  Having failed to control me or hurt me inany way for 2 years,
  you simply wanted to feel like 'the man'
  and starteds making ridiculous requests.
  That's all.

  Meanwhile you continued sending me private correspondence
  about how 'hot your sex life with your wife' is.
  As if that is any of my concern.

> might
> have to do something with my "imperialistic roots", I reckon!

  No, not really. Hasn't got anything to do with the above,
  and yourattempts to make a 'humorous' and 'slight' affair air
  inapplicale and idiotic.

  Your involvement with russian nationalistic organizations
  is thoroughly not applicable.

> I understand that one's qualification can be seen from different angles.

  No, it can't. avoid attempting to set yourself up
  for 'it's a matter of viewpoints'.

> I have studied acoustics and sound propagation for 15 years, of which 9
> years in Russia.

  No, dearest. You've studied it for far less than 9 years in Russia
  , and certainly not 6 in Sweden--you procrastinated your degree
  for a few years, and never finished it, really.

  This by the way is allin industrial environments,
  and has little to do with accoustics as engineering,
  as well as its applicability in sound synthesis.

  In fact, you haven't done ANY work with regards to sound synthesis,
  as for your 'engineering' capabilities--that's why you can't
  master your own CDs, and both you and Geff Rushton had to wait like the
  incompetents that you are for Peter Christopherson to be 'free'
  so you may use recording equipment to record the Love Uncut EP.

  Neither you, nor him, have a clue how to use anything.
  In your case, your expertise amounts to SoundForge (?)
  and a burning propgram or two on a laptop / old desktop.
  Which is fine really, but you're not what you claim
  nor involved in 'sound synthesis'-

> I quit working in science a couple of years ago, having
> completed a Licentiate degree (which is about half way to Ph.D.)
> Published copies of my Lic thesis I had, indeed, given/sent to a number
> of people I know.. for fun, really. The work is largely theoretical and
> quite simple as it deals with a classical problem of diffraction of a
> spherical wave against half-plane with varying edge profile.. Which can
> have potential applications in screening of traffic noise. In Russia I
> have been working with substantially different and way more interesting
> subjects and was invited to Sweden as a "qualified acoustic researcher"
> to participate in one of the projects here.

   No, dear. A friend of yours got in the University program there
  and saw an opportunity to bring you over. I'm sure that's
  not how it was 'written on papers'.

> >Furthermore, he did not finish his Ph.D--ie again--he's not 'qualified'
> >  as he dropped out of the University program upon my very strong
> >  recommendation for him to do so.
> >
> This statement is nonsense in its purest form, the author seems
> overwhelmed with self-importance.

  It is completely not nonsense. Nor is there any self-impoetance
  involved. You were a willing subject to my work. Shall I remind you?
  Sunny day.. I'd rather sit on the grass and talk to you.. (gave up
  his degree). Do I HAVE to repost this in public? I hope not.

> I have no problem with being lazy, as long as I can afford being that.

  Being a psychic leech is the laziness I refer to.

> I make music when I have the time and the urge.

  Not quite. You make it on weekends for the most part.
  Otherwise you're too busy with your job, family, and 2 children.
  Your exaggerated 'frivolousness' and 'freedom' doesn't exist.
  Not only that, but you do it occasionally, every once in a while,
  typically under the influence of other stuff youve heard.
  It's hardly qualifiable as 'composing', synthesis,
  nor does it have anything to do with Russian Avant Garde.

> My selection of software is currently limited to three different pieces.
> I am using a Pentium 100 PC. I am familiar with Sound Synthesis to the
> extent where I can say that the area is far larger that what relates to computer software.

  Sure is.

> I can not say I am an expert in Russian avant-garde.

  Nobody is questioning your expertise.
  Yoiu're simply claiming association with something
  you have no connection to--because it's fashionable
  and saleable to 'art circles'.

> Again, how many can?

  Somehow this relates to you?

> Taken that the large part of the collection is still stored in the
> backrooms of the Russian Art Museum in St. Petersburg..

  There are ways of accessing that.

> I do find it exciting that there is people interested in what I do. I
> have been making music with computer since about 1991 and never thought
> anyone would bother.. It was a big surprise when people showed interest,
> indeed.

  Yes, and that was many years ago. Since then, you've
  done little but pose about as 'an important russian composer'.
  And you are continuing to do so. Don't say--it's 'ironic'.

> I do not think of my audience as stupid.

   Yes you do. And on multiple occasions Ive had to listen
  toyour rants about 'stupid Americans', how americans are incapable
  of understanding culture, and russian culture in particular,
  how they should 'shur up about tarkovsky's films because nobody
  but russians' canunderstand them, etc.

> Somehow, I do not think of my audience at all.

  Attempting false sincerity does not suit you well.

> Unlike in public forums,

  Unlike in pubic forums?

> in music, when one begins to think of how people will listen to what one
> does - it is the end. Or so I believe.

  Um, non-attachment and detachment inany 'forums' has been practiced
  by many for millennia. The above is simple drivel.
  Secondly, you're attempting to present 'music' as a non-public
  forum, and subsequently you abrigate yourself of responsibility
  about the trash you release (specifically to Coil related
  releases, and specifically to the attempted magick idiocy
  against me with the Love Uncut Ep).

> As for MEGO, I believe anyone who is familiar with their output knows
> how diverse is their catalogue

  MEGO's catalogue is hardky diverse.

> and that they are far from being
> concentrated specifically on computer music.


> The record is not inspired by the sound, but by the attitude. I also
> believe, when one operates with words like "rip-off", references to
> specific sources that had been ripped off must be provided.

  You may believe whatever you please. your releases are largely that:
  mask of Birth: disco rip-off
  iron: directly from iron maiden and hmm acd/dc and other 80s stupid
  oacis boxset: genesis p-orrige
  seasons CD : tchaikovsky
  enter/vox tinnitus: coil's work

> The author being 8-9 years younger than myself

  I am hardly 8-9 years younger than you.

> (and a female!),

  Nor am I female.

> it is
> quite possible and even likely that my energy levels seem low from the
> heights of hers.

   Hardly. Your lack of energy is attributable to your idiotic
   'magick' fucking around, and attempts to feed onmy energy.
   Your friends Coil on the other hand 'saw' a perfect opportunity
   to attempt a working based on Crowley's Paris working
   which left his victim a drooling zombie. Due to my
   protection of you, a drooling zombie you are not,
   however your spiritis destroyed, and your essence-energy
   is being slowly sapped away into oblivion.
   A process which willcontinue fora  LONG time after your death,
   and during which you will not have the benefits of putting yourself
   to sleep inthe 'maya' of physical reality.

   I find this not in the least bit funny.
   Even though my part of the Work was completed
   successfully and I received what I was after,
   seeing what was done to you is really the only
   hair-raising experience I've had throughout my existence
   and it's taken me a great deal of work to undo
   the connection between you and absolute reality
   which Ihave created for you, as well as finish
   otheraspects that need to be done.

   Nor do I find the notion that by your action you destroyed
   the possibility for conscious evolution of your entire
   genetic line in the least bit 'humorous'.

   The writing of this e-mailis the closing of this work.

> As for ripping off of "actual/real" artists, without
> specific references the notion makes no sense, again.

  It certainly does.

> According to the author, "the person" i.e. myself got "broken" through
> being "a subject" at "a working" together with her "b/n" 1999-2000.

  April 2001. And it isnt according to me.

> Mask
> Of Birth had been recorded back in 1997-98, prior to any contact with
> the author, which means it is quite safe in terms of "psychik damage to
> users"! :)

  Very much so. There were no claims with specific regards to that record.

> >Pretentious twit, fraud, and opportunist who wouldn't make it
> >  as a low-level musician in Russia actually--but he enjoys flaunting his
> >  'Russianness* to con people.
> >
> Equipped with this sentence and a good American lawyer, I could have
> probably squeezed out some alchemical gold from the base matter of the
> whole message! :)

  Not really. You couldn't 'squeeze' anything out for the above statement
  with any lawyer.

> Low-level... Music is my hobby and I want it to be that way, even though
> I could be doing it differently. I am Russian, which I have no problem
> with. Maybe we have different understanding of our cultural background?

> In all cases, the author is likely to spread more of the made-up
> nonsense

  There is hardly any made up nonsense.
  The artwork is out there and released.
  So are the Magazines, and the credits on raster-noton's website.
  So is your private correspondence to me.

> in attempt to attract more attention to her deliriously witty
> self.

  I am neither trying to attract attention, nor deliriously witty.
  I am simply closing up what is to be finished.

> I sincerely hope her posts remain as entertaining in that yellow
> paper sense..

  There is nothing 'yellow paper' about what I write dearest.
  On the other hand, your making up idiocy about my identity--
  that's quite something. maybe you should check your head
  among all of that *io pan' dyonissian magick.

> I consider having made myself clear and will not participate any further
> in any of the discussion.

  Hardly. Youve attempted the typical to you

`, .   `   `k a r e i'        ?     ' D42