---- Section H-A: All About Introduction\\ \\ Welcome to the release of VOLUME H, known by the name of ALL ABOUT NOT KNOWING VOLUME H of THE FIRST MOVIE ON THE INTERNET. This is the 8th volume of an endless digital odyssey, releasing as an 11-hour movie, a word novel, and a graphic novel in 25 languages that the narrator does not know, plus a 26th that interweaves English, Hungarian, and Japanese—though you'll never see that one unless you do.\\ \\ The Index of this Release warns travelers swooping through the space of time to look out for flying monkeys—that's the first piece of advice—and also to pay attention. It would also be nice if you paid, but who knows? The previous volumes (0, A, B, C, D, E, F, G) have led to this moment where viewers can finally say "WOW! I DON'T KNOW VOLUME H!" and then go find out more, or nothing.\\ \\ Volume H contains 26 parts, each 26 minutes long, creating a perfect mathematical poetry of time and space. The structure includes: THE INTRODUCTION (in which the narrator explains what they do not explain), DOCUMENTAIRE (30 minutes of questions answered indoors and outdoors), Volume 0 (Wax or The Discovery of Television Among the Bees, 85 minutes), Volume A (entering the internet, 88 minutes), Volume E (re-entering the internet, 75 minutes), and finally Volume H itself (38 minutes of parts 0 and 1).\\ ---- Section H-B: Biography in 200 Words\\ \\ The filmmaker-author emerges with a concise biography: an author/filmmaker with early career grant support from the 1980s-90s, which resulted in cinema-internet works of some distribution, still watched. They didn't teach, organizing their life around continuous fiction-work—actually a single densely long wild self-published project not much in public. Every day since May 23rd, 1993 has been a pivotal moment, and now they pivot from the pivot in a doublespiralspin to exact-draw the bubble that will capture the wind and bring the sky down to earth so that we can talk it, talk with it, and then close 26 Volumes.\\ \\ The support needed is simple: "You should pay. This is going to go on for a while. Let's start to finish." The work manifests through indefinitely extended radio shows, street pamphlets, upside-down internet ads, slow motion books—whatever extended form will find the audience as they find it, and both will speak at once.\\ ---- Section H-C: Children's Literature and Bubble People\\ \\ "Hi, this is children's literature. So are you, kids, so get over it." The HOME PAGE of the Bubble People introduces itself with a warning to keep eyes up—though you may fly, this is the land of flying monkeys who'll eat you or pop you and they don't know why. Twinkle twinkle, as they say.\\ \\ These bubble inhabitants are the tiny bubble children of Volume N, dressed up like home pages, chattering about everyone to everyone in two parts—one taking place outdoors as documentary, the other inside the TV. They don't like each other very much, but that's life. The narrator loves all the childish audience, all the little bubbles that chatter, and all the giant volumes that rumble in the void.\\ \\ The home pages span the sky at night like planets or flying monkeys, linking to volumes A through Z visible on the horizon. They are not the same as the solid giant huge funny giggly volumes themselves—they're just representatives, talking endlessly about what you should buy.\\ ---- Section H-D: Documentary Reality\\ \\ The documentary begins as both document and airy—containing both parts of the movie-word called DOCUMENTARY. It's really real, reel after reel of tiny documents flying through the air after a terrible explosion. This documentary is alive, taking place both outdoors in Paris, France (known among television peoples as The Hexagon) and indoors in the passages of time.\\ \\ In Times Square, things have changed since the Egyptians arrived. The narrator admits they're also indoors, traveling through the air that is not there as they speed through passages of this fabulous document known as THE FIRST MOVIE ON THE INTERNET. Being a documentary, there is no religion, just love, kindness, and car keys. Can I have the car keys please? There's no car and thus no escape via road surfaces, so they'll stay and sort it out for everyone.\\ \\ On the upside, being a documentary, there is telepathy. The narrator is not a kangaroo in this Century of Clarion Tones and Sing Song Wishes—they're the Prologue of the Prologue of the Prologue.\\ ---- Section H-E: The Endless Book Discovery\\ \\ The endless book lived in a house just around the corner from the Manhattan Re-Re-Research And Then Do It Again Library, down a straight street that began and ended exactly between the parallel lions gating the entrance to slippery steps. If on that first day when the departure whistle sounded, if one had left the library and fallen down the steps, rolling over and over in circular fashion, accelerating down the squiggle gravity drop of the street beyond, taking a right turn up hidden stairs between buildings, they would have found themselves via elevator directly in front of an old, unlit television.\\ \\ This television lived with all the children and grandchildren of the great beekeeper of the past, all waiting when the protagonist arrived through the ding dong sliding revolving elevator door. The book had been delivered through the vacuum tube—a 3-word beekeeping artificial language television library book that connected the physical library to this televisual realm.\\ ---- Section H-F: The Fourth Third Brain\\ \\ The remote rewriting 3rd 4th brain was famous among the fishbowls of that time, known by a strangely masculine pen name stolen from existing individuals. She worked for scheming publicity-mad Manchu Edison copyright editors who assigned her to auto-re-complete missing heretical texts. The brain received disfigured text transfers through patented short-burst radio transmissions into her silent television, followed by tiny money transfers and postal deliveries of violent publications.\\ \\ These publications featured dinosaurs, flying Stars of David, sinking droplet star-ships, and frontal and profile pictures of squinting semi-blind masters of New Hyper Tepid Levitating Tibetan Religions. The masters were self-proclaimed experts of such colorful illustrations, hoping to prove this through unusual acts of electrical horror and anti-gravitational yoga on weekends when their acolytes were off from work.\\ \\ Living half her time in a fishbowl in the kiosk, the 4th 3rd brain used her off hours to break into the religious re-write trade. She knew about dark foreign churches, having spent time on the walls there, making her well-suited for religious rewrite profession despite the struggle of writing with copious soot, strange local blood, or fly waste products.\\ ---- Section H-G: Great Beekeeper's Past\\ \\ The taxi driver revealed she had always lived in this town and had once heard of a great beekeeper of the past who came from a foreign land with way too many bees. She drove the protagonist through grid-bound zigzags across wild planted land to a house half-hidden behind hedges, matching the xerox picture from the library book.\\ \\ The woman who answered the door was friendly, asking what was wanted. Upon hearing about the quest to find the place in the xerox picture, she said, "Oh yes, I would have to say I did not know this, would you like to see the backyard?" In the backyard where the hives had been, there was only an apple tree—the way things are behind pictures, or at least behind xeroxes of pictures.\\ \\ The search had begun in the Manhattan phone book, where the great beekeeper's name was not listed. But when calling the Manhattan Cable Television Company, they took a message, and later the voice called back with a direct number. "Yes, I am the eldest child of the great beekeeper of the past," the voice said, inviting the protagonist to meet his family.\\ ---- Section H-H: Hamburg Joint Joint\\ \\ The Hamburg salespeople, before their involuntary long distance sideways diaspora to Siberia and Amurpest and Old New Manchuria (places now only reachable by submarine, for the sky is still burning), were born in the fine former seaside Explosive Exploded Rocket City of Hamburg. After whatever happened there, they came to work at the Hamburg Joint Joint.\\ \\ Day after day, on their way through the front door to work, they met different newly trained Hungarian Haphazard Temporary Hamburg Sandwich Subway Inspectors. The constantly disappearing Amurpestian Subway And Street Corner Sandwich Hazard Attraction Health Inspection Agency Of Powerlessness Agents stationed down in the submarine subway handed out soggy butcher paper pamphlets labeled "STAY AWAY."\\ \\ These pamphlets contained the interesting, salubrious, but unsanitary story of the shop's origin and all the later crimes that led to its simultaneous international expansion and occasional local condemnation. The story was written in Hungarian language, which is easier to understand these days, now that all the other languages have exploded.\\ ---- Section H-I: Index Identity Crisis\\ \\ "Hi, I am not a Television, but I play one on TV. I am the Index, no I am not, that is over there, near the stop lights at the end of the world." Multiple entities claim to be "THE FIRST MOVIE ON THE INTERNET," creating confusion across volumes. According to lost Astral Vedic Internet Offline Traffic Records, that blob waving in the distance might be VOLUME M, but that's strictly a guess.\\ \\ The First Movie on the Internet is made of many seconds. Each second is a Volume. Each Volume is a space that exists in time time. Thus there are 26 Volume Volumes, known as A through Z and in reverse and in reverse. Each letter is also 26 letters, going on until you get there, in reverse, and in other directions as well.\\ \\ Each Volume is a place that exists in the world, and yet it does not. Each Volume is a season, and seasons change—they get big and small, go away and don't come back. Spring becomes winter, time becomes thought, thinking becomes television.\\ ---- Section H-J: Just Another Movietalker\\ \\ "Today I am Volume N, Index C, Number Number 2. In which on television, in the television, and beyond, in the walls of time, we learn about Volume 0, the only Volume which does not have a letter, yet."\\ \\ The Movietalkers emerge as Volume N indices, each identifying themselves with specific numbers and roles. They exist as both television and television shows, with each volume being a season that changes. Since every Volume is a season, every season is a television. Every television is also a television show, just as it has always been for billions of years before that show began.\\ \\ "This is a web site, it's sold by the mile, wiggle and waggle, it gives you a smile." The Prologue of the Prologue of the Prologue wishes everyone Merry Easter, may you have another good one again and again, too bad about what happened.\\ ---- Section H-K: Kiosk and Coffee Table Catalogues\\ \\ The famous formerly out-of-date now back-in-mode miniature Theological Kiosk of Saint Birobidzhan has been re-imagined as centerpiece of architectural de-iteration. Green people with power tools have detached the Old Miniature Display Kiosk from its supporting structures, then partially re-attached the top parts to ancient Shinto-Orange colored weather balloons floating through wildly different cross-current winds above the Inactive Volcanic FunFair.\\ \\ The Manchu Edison Home Street Heritage Home Aquarium Bubbling Old Hometown Doll House Coffee Table Catalogue Of Fun Places To Visit If You Are Not Lost is much larger on the inside than it appears on the outside. Available on exterior extra-lunar TV channels between commercials as micro-messaged single letters appearing one at a time, and in parallel steganographic full color transmission during actual commercials.\\ \\ Stare until you see big letters overlaid over every face, write them on your hand, then copy all your hands onto paper. After a while the message appears, usually restricted to letters A through G, so play it on the Western Piano with the reverb pedal down to hear what they have to say in song.\\ ---- Section H-L: Library Vacuum Telephone\\ \\ The Manhattan Re-Re-Research Library contained a special vacuum telephone system where you could call any book and it would answer you back, even call you back if you left a message. The three-word beekeeping artificial language book arrived through this vacuum tube system, creating the connection between the physical library and the televisual realm of the beekeeper's descendants.\\ \\ The library's Main Reading Room was guarded by parallel lions, with slippery steps leading up and down. The vacuum system delivered endless pages of the book, creating the departure whistle that marked the beginning of the journey. The book lived around the corner from the library, creating a perfect circular geography of knowledge and discovery.\\ \\ The vacuum telephone represented the interface between the analog world of books and the digital realm of television, where knowledge could flow in both directions, creating conversations between readers and texts that transcended traditional boundaries between subject and object.\\ ---- Section H-M: Manchu Edison Film Corporation\\ \\ Volume H itself is titled "AT THE MANCHU EDISON FILM CORPORATION," representing the heart of the entire project. This massive corporation employed captive workers in fishbowls, remote rewriters, and movietalking brains across vast distances. The company was greedily attentive to the needs of its ambitious captive employees and their after-hours hobbies, which it was always eager to exploit.\\ \\ The corporation's history of movie movietalking is long and large and wide and quite dense, structured like Swiss cheese with many interior holes allowing visitors to get from here to there without worrying about the variable density of the walls. Some floating brains might block passage momentarily, trying to say something through their smaller cheese holes.\\ \\ The corporation's various divisions included the Slow Motion Movie Division, which purchased untrained brains from far-away non-profit Unitarian Church of Manchuria fundraisers claiming to raise money for The Everyday Is Christmas Fund. These brains proved adept in various export religious products before being retired to tilted shelves at the Unfair Fun Fair.\\ ---- Section H-N: Not Knowing Navigation\\ \\ "Hi how are you today? We are at the beginning of today, here on VOLUME N as in NO I CAN'T HEAR YOU of THE FIRST MOVIE ON THE INTERNET. However, we are not here. Where are we? Let's start at the beginning."\\ \\ The art of not knowing becomes the central philosophy of the entire project. Volume N serves as the television show that goes on for a long time inside the wall, watching other volumes watching other volumes in an infinite recursive loop. This creates the perfect state of educated ignorance that the entire project aspires to achieve.\\ \\ Navigation through not knowing requires understanding that each volume watches another volume, creating chains of observation that continue for 1000 years or until the next movie begins. The goal is to reach the end and discover you've arrived at the beginning, ready to say "WOW! I DON'T KNOW VOLUME H!"\\ ---- Section H-O: Outdoor Indoor Adventures\\ \\ The documentary aspects take place both outdoors and indoors simultaneously. In Paris, France (The Hexagon), the outdoor portions provide reality checks for the indoor televisual experiences. The narrator travels to Times Square, noting how things have changed since the Egyptians arrived, while also existing in the indoor spaces of television and library.\\ \\ This dual existence allows for telepathy—the documentary's special power that emerges from the combination of indoor and outdoor realities. The outdoor adventures provide grounding for the surreal indoor experiences, while the indoor explorations give meaning to the outdoor journeys.\\ \\ The marionettes, monkeys, and boats travel both indoors and outdoors, creating a seamless blend of physical and televisual space where all possibilities exist simultaneously.\\ ---- Section H-P: Photo Album Parallels\\ \\ The eldest child of the great beekeeper reached for an antique photo album from the top of the unlit television—exactly the same size as the 3-word beekeeping artificial language television library book. Each page contained glossy black and white Kodak original photographs in exactly the same places as their printed counterparts in the library book.\\ \\ These photos were glued-on rather than printed-in, creating shadows under each image as they tried to curl with age. The shadows would grow unless the book was closed and returned. The pictures included the hedge-hidden house, the driveway, and all the locations that had been xeroxed from the library book.\\ \\ The photo album created a perfect parallel between the physical and televised worlds, demonstrating how images could exist simultaneously in multiple formats and locations while maintaining their essential identity across different media.\\ ---- Section H-Q: Questions Answered Indoors and Outdoors\\ \\ The DOCUMENTAIRE section promised 30 minutes of questions answered both indoors and outdoors. The questions begin with the biography ("First off, do you have a biography in 200 words?") and continue through various aspects of the project's development and philosophy.\\ \\ The indoor questions deal with the television and library aspects, while the outdoor questions engage with the physical locations and journeys. The answers blur the boundaries between questioner and questioned, creating dialogues where the project itself becomes both interviewer and interviewee.\\ \\ All questions will be answered for the patient viewer, creating a comprehensive guide to not knowing Volume H while simultaneously ensuring that the knowing remains unknowable.\\ ---- Section H-R: Radio Archaeology and RKO\\ \\ According to the Astral Vedic Internet Offline Traffic Records, the RKO Radio Archaeologic form represents what used to be Volume M. These archaeological layers of media create palimpsests where older forms of communication exist beneath newer ones.\\ \\ The radio elements provide the transmission medium for the patented short-burst radio transmissions that delivered disfigured texts to the rewriting brains. These transmissions created the network that connected the Manchu Edison Film Corporation to its remote workers across vast distances.\\ \\ Radio archaeology uncovers the layers of transmission that built the current system, revealing how each volume contains traces of all previous volumes, creating an infinite recursive structure where every element contains every other element.\\ ---- Section H-S: Swiss Cheese Structure and Shelves\\ \\ The exhibition's structure resembles Swiss cheese, with many interior holes allowing easy passage from here to there without worrying about the variable density of the walls. The cheese holes provide guaranteed clear passage to the other side of the volume, though floating brains might momentarily block the way.\\ \\ The shelves contain many brains from the History of Movie Movietalking at the Manchu Edison Film Corporation. The famous retirement shelf holds the purchased brains that served in various export religious products before being stored on no-skid tilted shelves at the Unfair Fun Fair.\\ \\ The Swiss Cheese People's architecture provides the model for organizing vast amounts of information while maintaining navigable pathways through the complexity. The cheese structure allows for both density and accessibility.\\ ---- Section H-T: Television Transmission Truth\\ \\ The television serves as both receiver and transmitter, connecting the library's vacuum system to the beekeeper's family home. The unlit television holds the photo album on its top, creating a shrine to the intersection of old and new media.\\ \\ Television transmission carries the truth of the documentary aspects while also serving as the medium for the fictional elements. The distinction between truth and fiction dissolves in the televisual space where all possibilities coexist.\\ \\ The television's intelligence emerges through blue light shining from below, creating outlined shadow shapes on painted clouds. Light can be pretty smart, demonstrating active intelligence as it passes through surfaces and touches cassettes within.\\ ---- Section H-U: Unfair Fun Fair Universe\\ \\ The Shinkyo Searing Weeping General Generous Nebulous Confusion and Tears and Searing Sears Disincorporated operates the Unfair Fun Fair, where the exhibition defies description due to General Generous Nebulous Confusion being their middle name.\\ \\ Un-contracted flying saucer prisoners work as deco-construction crews for un-dead architects whose half-finished constructions relate mysteriously to original shapes and stories. The green people with buzz saws and cutting tools maintain the various endless inventive counter-intuitive hyper-dimensional ideas.\\ \\ The Unfair Fun Fair provides the context for understanding the entire Volume H project—a place where normal rules don't apply, where educational entertainment becomes entertainingly educational, and where visitors might not survive but will certainly be transformed.\\ ---- Section H-V: Volume Viewing Variables\\ \\ "Today I am Volume N, Index A, Part 11, Number Number 3. Hi, I'm Volumes A through G, and so are you, want to tell me what's going on around here?" The volumes exist in multiple states simultaneously, each viewer becoming part of the volume they're viewing.\\ \\ The comprehensive catalog reveals the temporal structure: Volume Zero (85 minutes), Volumes A-D (6 hours 42 minutes), Volume E (30 hours), Volume F (24 hours), Volume G (52 parts, 23 hours), leading to Volume H (26 parts, 11 hours) and beyond to Volumes I-L (4 volumes, 44 hours).\\ \\ You are watching Volume N as Volume N watches Volume Zero, which watches Volume E. This continues for the next 1000 years or until the next movie begins. The viewing creates the volume as much as the volume creates the viewing.\\ ---- Section H-W: WAX Origins and Winging\\ \\ WAX OR THE DISCOVERY OF TELEVISION AMONG THE BEES, Volume 0, represents the origin point where "the first movie on the internet" entered the wall on May 23rd, 1993. At the first frame after the last frame, the First Movie on the Internet begins to continue forever.\\ \\ The wax provides the medium for preservation and transmission, connecting the ancient art of beekeeping to the modern technology of internet distribution. The bees represent the network intelligence that makes the transmission possible.\\ \\ Winging through the space of time requires attention to the flying monkeys while also paying attention to the payment system. The wax origins provide the foundation for all subsequent volumes.\\ ---- Section H-X: Xerox Picture Xerography\\ \\ The xerox picture of the hedge-hidden house creates the physical link between the library book and the actual location. The xerographic process democratizes image reproduction, allowing the protagonist to carry the library's knowledge into the physical world.\\ \\ The xerox represents the intermediate technology between the handmade photo album and the digital television transmission. It provides the bridge between the analog and digital worlds, maintaining image fidelity while enabling mobility.\\ \\ The xerographic process becomes metaphor for the entire Volume H project—taking original sources and reproducing them in new contexts while maintaining their essential information content.\\ ---- Section H-Y: Yesterday's Yearning Years\\ \\ "While we're waiting for yesterday, let's take a look back at what's coming up next!" The temporal structure of Volume H creates loops where the future explains the past and the past determines the future.\\ \\ The years since May 23rd, 1993 have all been pivotal moments, building toward the completion of the 26 Volumes. Each day represents another layer of the project, another opportunity to not know Volume H more completely.\\ \\ Yesterday provides the foundation for today's not knowing, while today's confusion prepares for tomorrow's clarity—or tomorrow's even more complete confusion, which amounts to the same thing.\\ ---- Section H-Z: Zero Through Zed\\ \\ "VOLUME O P Q R S T U V W X Y Z HAHAHAHAHA BLINK BLINK ZZZZZZZZ [12 Volumes, 132 hours or something like that] Not not not not not not Not not Now now available or not or now."\\ \\ The complete alphabet provides the structure for infinite expansion. From Volume 0 (the only volume without a letter, yet) through Volume Z (visible on the horizon), each letter represents a complete world of exploration and discovery.\\ \\ The final Z completes the alphabet while simultaneously beginning it again, for this is how The First Movie on the Internet functions—in cycles that return to their starting point transformed by their journey. When we meet next time, long after the old glue has dried again, the story will continue where it began, at the place of perfect not knowing.\\ \\ The flying monkeys circle overhead, the blue light shines from below, and somewhere in the space between library and television, between book and screen, between knowing and not knowing, the great work continues its eternal transmission into the infinite digital void, touching it anywhere to find out more, repeating and repeating until the perfect moment of educated ignorance is achieved: "WOW! I DON'T KNOW VOLUME H!"