3f:null 40:["$","title",null,{"children":"for Prosthesis | John Cayley | Observable"}] 46:T6d7,# for *Prosthesis* John Cayley *This piece was created for and performed at the symposium ‘Prosthetic Lives,’ Brown University, Providence RI, November 5-6, 2021. The symposium celebrated the 25th anniversary of the publication of David Wills’ “landmark work in posthuman thought,”* Prosthesis, *which includes a new preface by Wills that is quoted from extensively here.* *‘for *Prosthesis*’ was and is intended to be experienced and read, primarily,* in aurality.* It has two main ‘voices.’ Original commentary, by the artist, is read by a text-to-speech synthesizer in an Apple-supplied ‘Australian’ male voice. Quotations (which are extensive, and also chosen chiefly to celebrate Wills’ literary virtuosity) are, for the most part, recorded in the artist’s voice. Certain quotations, however, are rendered by speech synthesis in order that they may be modulated by programmatically achievable effects.* *The complete ‘text’ of the piece is published in this notebook, its constituent fragments in separate ‘cells’ which are supplied with buttons which the reader should use to experience in aurality whatever has been recorded as typography. Thus, in a sense, “the text is not the text.” Rather, the artifactually composed voices are *the* or *a* text to which the artist, in this case, prefers that you give your readerly attention. The typographic text is residue, a literary, scholar-accessible gift.* *Numbers in square brackets are page numbers in the new edition of *Prosthesis*, although for all but the roman numerals referencing Wills’ new preface, these will also take you to the same citations in the original, 1995, edition.* ---47:T99c,${buttons[2]} Where pros- also has the sense of ‘for’, or ‘into’, or ‘standing for’. And here and now (literally evocalized, hearing it, now), where gram is ‘letter’ in an underlying sense of that which is always – insofar as it is also, ontologically, language – called into question – the question of being – since it is, precisely, that which, evocalized, demonstrates, by being so evocalized (out loud or inwardly) that the evocable cannot be identified with letter as such, with any graphic, or indeed, aural substance. Hence, I derive ‘evocable’ as a translation of, or for, or on behalf of ‘gram’ (derive, that is, from Garrett Stewart’s ‘evocalize’ while being momentarily tempted to collapse these coinages, following Agamben, to ‘sayable,’ as in, “A ‘gram’ is an evocable.” “A ‘gram’ is a sayable.”) The gram may be substantially distinguishable (even as bits, as 0s or 1s) from its context. But, as such, the gram – needing and desiring – calls for voice. And as such it is not voice. Therefore it is not voice. It must be readable. The close-read, readable gram stands in for something that is evocable. But the evocable gram is obviously also not that thing. And it is not – we’ve already said this – its own (graphic or aural) self. And is not even an organic member of the graphic or aural body of which it is, materially, a part. Prosthesis indeed. Now also as I, myself, see it, (David says as much) prothesis is an ontology of language. It is definitely, here and now, something standing in for, at the very least, a limb, a supportive artificial limb. I feel it now like an extended articulation of my current and developing thinking on the ontology of language, one that works and interfaces with the body of this thinking (such as it is) bearing it up in this regard while also, of course, rubbing and chafing against it. This body. ‘My’ or ‘our’ texts as a body, and now particularly also with respect to all our texts’ most organically, independently sayable constituent elements: the sentence. The sentence as a body, a little life (before a little death), a living animate thing, within which (and as also such) each gram, each and every evocable, all their prosodies and programs, all their sayables and all their paragrams within and beyond themself, whatever selves they may have, are the subject of this, prosthesis. ---48:T735,${buttons[3]} A long opening sentence separates the title, Prosthesis, from the words “the subject of this, prosthesis,” when human flesh is forced to reckon with steel. Ostensibly, what happens is a spasm occurring in my father's amputated leg but by the end of the sentence … “this, prosthesis” is a theory of the human animal in its relations to technology and a hypothesis … the animate in general will have always, from the get-go, been negotiating with the inanimate. The project of Prosthesis is more or less contemporary with the emergence of what its opening sentence calls the “informational magma” the parentheses [—] within which I was [we all are] progressively engulfed by that technological revolution [—] somehow closed the elaboration and performance of the concept of prosthesis: both thesis and theatre of prosthesis its sympathy resides in a close relation between language and self, in what it calls the writing of self as a limit to writing its own peculiar zigzag, its own particular exposure and its own idiosyncratic type of emancipation the turbulent ambling of an intellectual adventure [xiii–xvii] ---49:T10c2,${buttons[4]} Shifting from one to the other as though there could be some sort of even transfer or equal distribution, as though beyond it all there was perfect or at least functionally satisfactory balance between the two, and failing to find it, failing to find an end to the discomfort of one and the other position, the one too ready to give way under prolonged exertion, the other too rigidly secure in its own uprightness, and in the interstice no easy middle, no ground for rest or resolution, nothing but more of the same for so long now it seems it is some stubborn automation that keeps bringing things back to this sore and overloaded point where the question is asked as vivid and visceral as the sight of innumerable instruments, where the next fateful step is posed, where the ax is poised and readies for the fall, still, still suspended, waiting for a go or for any other imperceptible but indispensable iota of **the informational magma**, something to set it off, all of it here and now, to have done, to cross or cut or break the ice, go with whatever flow flows, progressively readied for a command that is an invitation that is a decision, a concentration of diverse modalities at the precise point of their crisis, this point that takes it all in and shunts it through, scoping out the entire field, looking for what it knows already to be the programmed outcome, presuming that there is time for looking, at will or at leisure, for if this were about reflection, rumination, and decision then that would be the tilt on it, rather than another, this one, the idea that anything to come is already in train and not a fact or event of will or design but a repetition, more like another notch or cog or twist through some silicon junction, some slight optic fibrous kink in a long straight line that connects two differences, an event whose precedents can't be seen when it happens from this vantage, the disadvantage at this point where it is about to, where there is shifting, waiting, laborious mechanical buildup, then stirring again, shifting, inclining this way then that, rocking unevenly from side to side under the control of a dislocated fulcrum, as if edging towards a critical terminus, an idiosyncratic master narrative creaking towards breaking, the expectation builds again but it will still manage to come from nowhere, there is no controlling it in spite of finally leaning way our against gravity with all the grace of pure dissent, the candor of a protracted liminal pause that provokes its own interruption, dancing on the fluid edges of an affirmative no return, shifting until it tips, scales and all, flips and suddenly falls, there is no cause or origin for it, it arrives with all the searing intensity of a wild-card ray and razes the field, crossing over with multiple warp atomic swiftness into otherness, cutting through the geometrical cardhouse as if there were nothing there, although the moment seems saturated beyond all logical possibility, so much passing so fast it makes no sense to grasp it, just **tap tap tap** away with a Pacman impulsive finger as rapid as the tendons allow in the hope of swallowing the odd flying fragment, for **the data dam is bursting** on this axial pinpoint such that nothing can be said to be present there within the bounds of a confinable space, nothing but phantoms of the present where all is shifting, crossings, functions of relay, except that perhaps, what else to say, across that ghost of a space there comes **the change**, where once there was only shifting there is suddenly a beast rampant in triumphant otherness, all fluid and gleaming the throes of a cataclysmic future convulsion in which metal fuses with flesh, the cyborg synthetic ecstasy that is the fiction of a science or the science of a fiction and the love of a machine past all fear of rejection, all the way across some still-retreating threshold or barrier – the pain, the language – beyond the familiar landmarks where this writhing takes place, first this way then that in a slow and irregular shuffle that goes nowhere, nowhere in particular and no further than the indifferent here and now, then and there, that is the subject of this, prosthesis. [1–2] ---4a:T799,${buttons[5]} At the time the book was first published, the potential of visceral intimacies between what was then and now conceived as human, and what then and now is still conceived as technology, was coming to be endowed and sanctified with the adjectival prosthetic, ‘cyber,’ gleaned from our historical misdirectors-in-chief, the post-war scientistic cabal who still hold sway and who still claim that everything is computable – with ‘mind’ and ‘language’ singled out in particular, and as if they were somehow distinct from ‘body.’ Everything is and should be subject to formulation in the symbolic, they tell us. This is scientism as science fiction and science fantasy, translated to a cultural imaginary which has waned in inverse proportion to the overwhelming proliferation of what we continue to perceive and consume as ‘informational magma’ while it develops and commands and closes around us as, rather, cultural and commercial architecture on a global scale. Back in the 1990s, Prosthesis swims out in this virtual, formulaic ocean of artifactual fluidity leaving the sandy beach again by jacking in to “Africa, 21st Century,” in particular, and giving us brilliant readings of genre novels by William Gibson, the writer who can be credited with discovering ‘cyberspace,’ and crystalizing a then latent, now waning, imaginary. But let’s also remember to call this no-space by one of its many other names, ‘the matrix.’ I would love to close-read this chapter’s reading, as it touches on so many of those things that formed and influenced my own, personal practice and thinking (here, now, is my brief parenthetical ‘shout out’ to the succinct deconstruction of hypertext as the future of – what? – literature? – in one of this chapter’s many mini-essay notes) but instead I want to signal two things: Firstly, in “Africa, 21st Century,” for David, ---4b:T9e9,${buttons[9]} We remember that it is the language that is doing whatever this is, some kind of return or reinstatement of the real, an embodied human real, a boy dancing on the beach at the edge of the ocean, through all the chapters of this book. Because, secondly, David’s own writing also achieves, in “Africa, 21st century,” a “culminating outburst” when a “virus” that “links two worlds” causes him, David, to address his dying friend as “you” and also as himself, the boy at the edge of the ocean, at the abyssal edge, where “human flesh is forced to reckon with …” water, software, cyberspace, steel, prosthesis. My second thing here is the long sentence. The culminating outburst is a very long instance. Quite apart from the initial sentence, signaled in David’s new preface, there are many other long sentences in Prosthesis, although I am not sure – yet or perhaps ever – whether or not they are, prosthesis. They are certainly, for this reader, bodies of language which deny – for as long as possible? – the prosthetic intervention of what literary practice considers to be the epitome of punctuation. The mark that brings a sentence to the limits of its constituency. As such, and this is all that I can say at the moment in this context where and when I very much prefer to return to David’s own writing – and a longish sentence at the last – especially since they also bring us back to writing after Derrida and to language as such. The sentence may be a holdout when it comes to prosthesis, “Let me, as a sentence, continue to live for my brief period here.” But language must also cut it off and thus allow it to be heard and read. Language only comes to be, as David makes clear – most particularly in “Geneva, 1978” – when whatever supports its body is articulated by punctuation. What, perhaps, is not so much addressed by this abyssal, prosthetic understanding of language is the significance and affect of voice, voice as something that can only ever be human body, and only ever be particularly located in and as other bodies. It must also be self-present in our own body, while in every instance otherwise, it is other and elsewhere. Language is, indeed, prosthesis, but voice locates its corporality, defining the liminal edges of its periods. (And, as a final throwaway from me, voice evokes a mockery of any text-fixated AI attempt to interface or prosthetize with us, other than as a crutch for commerce-writ-far-too-large.) ----4c:T7f0,${buttons[11]} A parenthesis, like an apostrophe, attaches itself to the body. In punctuating the text, it also particularizes a certain addressee (…) . Which brings me to the real reason for declining to or inclining not to provide all the necessary punctuation in this translation, and in this translation of a translation, …. Following what has been developed above, it might be plausible to add to his notion that every utterance is always already citation and always already translation, the idea that every utterance is also necessarily within the structure of a generalized punctuation. That is to say that the always possible recontextualization that defines citationality as a function of iterability necessarily allows for the operations of excision and insertion, removal and replacement that in the final analysis characterize so many punctuation marks. From my perspective, that structure of punctuation would need to be called prosthesis. …. Hence the overwhelmingly complicated economy of what and who is inside and outside of what text, and the parenthesis still hanging there, … A world of words that is all that is the fall. A fall into language then, and a fall into languages. In two languages. For once there occurs the originary division – that between completed communication and irretrievable dissemination – that structures every utterance, then there is no more a single language. Prosthesis says little else. … The point at which it all converges is this event of punctuation, figure for the paradox of every linguistic event, and of the case of translation that is every linguistic event. Like an opening parenthesis, a sign moves from one language to another, it appears to bear the same mark after transfer, it can translate literally if you like; yet at the same time it doesn’t, it threatens to go awry, to effect a transference that is heavily overdetermined, so much so that it stumbles and falls. [296-8] ----4d:T495,${buttons[12]} … I read, that he war. … Be confused. So whether “babble” or “confusion” is the literal or figurative sense of “Babel,” the primary or the secondary, will never be clear. What the story does is uncover a difficult problem at the beginning, at least at the figurative beginning, of language, the problem of there being no beginning – in the sense of a single event – for language; a zero-degree first meaning untouched by difference, a literal or onomatopoeic meaning. … saying “Babel” to them, this is the name I call myself by and I impose my name of the father, a name that you will confusedly understand as “Confusion,” try, I beg you, try to translate but I really hope that you can’t ... [298-9] ----4e:T73f,${buttons[14]} My punctuation
thus finds me on the beach again and in the familiar company of a man with one leg walking with a crutch and a cane after he takes off his prosthesis in the bathing shed, hobbling with his son down to the water’s edge where there are shells and half-shells washed up, tracing a line that the next wave will wash away, like a line in the order of things, at the end of a book familiar to us all, if this is where man ends poised on the brink of a cyborg future, there the father pauses to try the temperature of the water and to gaze out, perhaps across whole oceans, at least to the point where sky meets sea, the smoke from ship mingling with a disintegrating vapor trail, he looks out across an ocean of separation and death while his son stands waiting at his side, waiting for the signal to take his prostheses and let him go, he watches the waves pounding in as if hesitating to summon the courage, although he has probably already decided he wants to swim or he wouldn’t have come this far, and it is hardly the temperature of the water that will restrain him now, but in any case before he can launch himself into the water he has to walk in up to a certain depth, to about the level of his amputation, that is midthigh, up to that point he still needs his crutch and walking stick, and still needs his son to accompany him, but of course midthigh for the father is about chest height for the son so that any judgments made concerning the point of no return are made on behalf of the child as well, who must also cling to a crutch or an arm as they wade in slowly together until my father is ready to let them go, he gives me the instruments of his sole physical support and dives free into the water. [305–6] 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I like to ask people to read nllf.net, some of which is driven by notebooks made here.","following":false}],"members":[{"type":"individual","id":"5c3cbd6193f712f7","login":"shadoof","name":"John Cayley","avatar_url":"https://avatars-next.observableusercontent.com/d4a045c1060f722297a6047ffa90d6cd33806f54fcaa444ac3f1882c0fd4ee4f","tier":null,"role":"editor"}],"comments":[],"custom_thumbnail":false,"trashed":false,"lapsed":null,"subscribed":null,"forks":0,"collection":null,"type":"notebook","body":{"titling":"auto","title":"for Prosthesis","cells":[{"id":0,"value":"$46","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"intro","database":"$undefined"},{"id":19,"value":"$${buttons[0]}\n\n***Prosthesis.***\n\nThe addition of a letter or syllable to the beginning of a word.\n\nThe replacement of defective or absent parts of the body by artificial substitutes.\n\nAn artificial replacement for a part of the body.\n\n---","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts0","database":"$undefined"},{"id":39,"value":"$${buttons[1]}\n\nPros : (in)to / thesis : placing. Prosthesis.
\nPros : (in)to / ody : song. Prosody.
\nPara : beside / en : in / thesis : placing. Parenthesis.
\nPara : beside / gram : evocable. Paragram.
\nPro : (in)to / gram : evocable. Program.
\n\n----","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum1","database":"$undefined"},{"id":28,"value":"$47","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts2","database":"$undefined"},{"id":49,"value":"$48","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum3","database":"$undefined"},{"id":89,"value":"$49","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts4","database":"$undefined"},{"id":95,"value":"$4a","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts5","database":"$undefined"},{"id":99,"value":"$${buttons[6]}\n\n… the experience of the matrix … is especially characterized by what I described as nightflights or dreamscapes, although there is a narrative progression towards constructs that could be described as hyperrealist\n\n[70]\n\n----","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum6","database":"$undefined"},{"id":103,"value":"$${buttons[7]}\n\nThese ‘nightflights’ are the graphic abstracted neon of a computable mind-world, a “transparent 3D chessboard extending to infinity,” or to the focal entertainment conflicts of his novel’s matrixes, or to total, apocalyptic wargame. David shows us that Gibson tends to progress the representations of the world into which we follow his characters until it “changes” and collapses “back” into “hyperrealism.” Or is it naturalism? Cinematic naturalism, at least, surely, always already expressed in the published language of Gibson’s fiction, in writing.\n\n----","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts7","database":"$undefined"},{"id":108,"value":"$${buttons[8]}\n\nwhat has in fact occurred is an abyssal enfolding of the variety of forms of visual representation that cyberspace allows or exploits\n\nThis enfolding or abyssal effect would therefore be the prosthetic deconstruction of difference … According to its logic there never was any idea of the human constituted without reference to prosthetic articulations, relations to supposed external othernesses; what seem to be the possibilities of subsequent prosthetic attachments – principles of nonintegrality, detachability, and replacement – are in fact the constituting principles of the human mechanism.\n\n[70–1]\n\n----","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum8","database":"$undefined"},{"id":113,"value":"$4b","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts9","database":"$undefined"},{"id":118,"value":"$${buttons[10]}\n\nIt is that whole effect
\nthat we can, after Derrida, call writing, a name for the irruption of otherness within the homogeneity of a medium, for a disjunctive difference within or across [visuality, aurality, any medium, any perceptible] … space, for the inscription of the lifelessness represented by the mechanical or technological. …
\n[by that prosthesis of the symbolic
\nthat can be formulated]\n \n[200]\n\n----","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum10","database":"$undefined"},{"id":128,"value":"$4c","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum11","database":"$undefined"},{"id":132,"value":"$4d","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts12","database":"$undefined"},{"id":143,"value":"$${buttons[13]}\n\nLanguage inaugurates a structure of the prosthetic when the first word projects itself from the body into materiality, …
\nconstituting itself as otherness, articulation of the othernesses that constitute it, language is a prosthesis.\n\n[300]\n\n----","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum13","database":"$undefined"},{"id":148,"value":"$4e","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"hum14","database":"$undefined"},{"id":6,"value":"$${buttons[15]}\n\nOverseas “you,” have “their” postcard in your hands:\n\nturning the four corners slowly\n\nperhaps it doesn’t make a single sentence \n\nbut it’s my life.\n \n[318]\n\n----\n\n----","pinned":false,"hidden":false,"mode":"md","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"tts15","database":"$undefined"},{"id":58,"value":"
CSS and Code
\n","pinned":false,"hidden":false,"mode":"html","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"","database":"$undefined"},{"id":568,"value":"au = [\n await FileAttachment(\"tts0.mp3\").url(), // 0\n await FileAttachment(\"hum0.mp3\").url(),\n await FileAttachment(\"tts1.mp3\").url(), // 2\n await FileAttachment(\"hum1@1.mp3\").url(),\n await FileAttachment(\"tts2.mp3\").url(), // 4\n await FileAttachment(\"tts3.mp3\").url(), // 5\n await FileAttachment(\"hum2.mp3\").url(),\n await FileAttachment(\"tts4.mp3\").url(), // 7\n await FileAttachment(\"hum3.mp3\").url(),\n await FileAttachment(\"tts5.mp3\").url(), // 9\n await FileAttachment(\"hum4.mp3\").url(),\n await FileAttachment(\"hum5@1.mp3\").url(),\n await FileAttachment(\"tts6.mp3\").url(), // 12\n await FileAttachment(\"hum6.mp3\").url(),\n await FileAttachment(\"hum7.mp3\").url(),\n await FileAttachment(\"tts7.mp3\").url() // 15\n]","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":571,"value":"auElems = {\n let a = [];\n for (const [i, url] of au.entries()) {\n let elem = document.createElement(\"audio\");\n elem.id = \"au\" + i;\n elem.src = url;\n // elem.state = \"play\";\n a.push(elem);\n // a.push(new Player(u));\n }\n return a;\n}","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":264,"value":"buttons = {\n let a = [];\n for (const [i, auElem] of auElems.entries()) {\n a.push(\n Inputs.button(\"▶️ \" + (i + 1).toString(), {\n reduce: () => auClick(auElem)\n })\n );\n }\n return a;\n}","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":599,"value":"auClick = (auElem) => {\n // Update auElem.state\n let pause = auElem.state === \"pause\";\n auElem.state = pause ? \"play\" : \"pause\";\n\n // Update the audio\n let method = pause ? \"pause\" : \"play\";\n if (!pause) auElem.currentTime = 0;\n auElem[method]();\n\n // Prevent default action\n return false;\n}","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"},{"id":251,"value":"unusedSnippets = {\n}\n// Player = class {\n// constructor(recording) {\n// this.auElem = document.createElement(\"audio\");\n// this.auElem.src = recording;\n// }\n// play() {\n// this.auElem.play();\n// }\n// pause() {\n// this.auElem.pause();\n// }\n// }","pinned":false,"hidden":false,"mode":"ojs","author":"$undefined","summary":"$undefined","tool":"$undefined","providerMetadata":"$undefined","attachments":"$undefined","output":"$undefined","database":"$undefined"}],"files":"$W4f","stdlib":"1"}} 45:"$44:body"