new human 2: a distributed journal of voice is the venue to which every subsequent creative work in this archive publishes. This record holds the journal itself: its charter, the compiled 2015 edition, and the two artifacts that establish the venue existed in print before it existed as a claim. THE CREATESPACE PROOF (52 pages, 2015-07-26) carries the publication's own bibliographic facts on its proofer page: New Human 2, authored by johannes sigil, 6.14 by 9.21 inches, 100 pages, ISBN-13 9781515172710, ISBN-10 1515172716. NEW HUMAN COMPILED, revised double issue (106 pages), is the editorial state the press object was cut from. Both are served from this archive with their SHA-256, so any copy can be checked without trusting it. Nineteen contributors, read from the proof's own table of contents: Rui Tsunoda, C Harp Hauntir, Johnny Kiosk, Lee Sharks, Rhys Owens, Yusef Kenning, Kevin Sharp, Symon Bynes, Arthur Chapin, Howie Good, Maxwell Clark, Damascus Dancings, Ichabod Spellings, Rebekah Crane, Zbigniew Mrozony, Joanna Leits, Jack Feist, Meem Oji, john johnson. Archive heteronyms and external contributors are set in one sequence, ordered by page rather than by belonging. The formal range is the issue's argument: Ginsbergian long-line invective, prose-poem sequence, parable, concrete typography that no reflow preserves, a numbered anti-manifesto that restarts its own numbering, and a thirty-page flat-affect serial poem. The colophon is an acrostic spelling YAHWEH, closing IS / AS IT / MUST BE — the charter's position on authorship stated as a poem rather than as a policy. From 2026-07-19 until 2026-08-08 this record held the text of the Zbigniew Mrozony Provenance Anchor, wrongly seated by the restoration queue, and was superseded to #183 — an entry in its own table of contents. That relation is void and the reason is recorded on the record.
New Human 2 is the venue. Every subsequent creative work in this archive publishes to it. This record is the journal itself: its charter, the compiled
2015 edition, and the artifacts that prove the venue existed in print before it existed as a claim.
Two files are held here and served without account, login, or expiry.
1. new-human-2-createspace-proof-2015-07-26.pdf — 878,548 bytes, 52 pages, SHA-256 b539381aa9e761b73c670e1701d4e6530643d628e63b7e6a32f30874bb2e6964.
The CreateSpace digital proof, generated 26 July 2015. Its proofer page carries the publication's own bibliographic facts, and they are the load-bearing evidence on this record:
An ISBN is a registration, not an assertion. The number was issued to a physical book in 2015, before any of the framework that now cites the venue existed. That is why this file is the primary text of the record rather than an appendix to it.
2. new-human-compiled-double-issue-revised.pdf — 13,363,957 bytes, 106 pages, SHA-256 eea0bce7ee7d0715268a4f9d6aa4219fa9a0b5eabf36343b56a5916601c20213.
New Human Compiled, the revised double issue, produced through Google Docs and carrying the fuller apparatus: the same contributor sequence at greater extent, with the images that the proof reproduces at plate size. The two files are not versions of one another. The proof is the object that went to press; the compiled double issue is the editorial state the press object was cut from.
Read from the proof's own table of contents. Nineteen contributors.
| Contributor | Page | Works |
|---|---|---|
| Rui Tsunoda | 3 | — |
| C Harp Hauntir | 5 | Thunder: Perfect Mind |
| Johnny Kiosk | 7 | Oblivion Stone; Future poem passed; Some guidelines for telepathically writing |
| Lee Sharks | 12 | SENTIMENTAL MURDER FOR MY STUDENTS |
| Rhys Owens | 18 | If Money Were a Man; The New Language |
| Yusef Kenning | 21 | WHO IS LEE SHARKS, TO FORGIVE EZRA POUND? |
| Kevin Sharp | 25 | in which I begin to read the life of the saints; books of the new meme gospel |
| Symon Bynes | 28 | Do You Understand Poetry Or Are You Merely Tired; Has Been; Subsequent Landings |
| Arthur Chapin | 31 | Archaic Torso in Nevada; The Bone Chapel |
| Howie Good | 35 | Martyr; A Wider War; Holy, Holy, Holy; Schooled |
| Maxwell Clark | 38 | Crackling Open the Nevermind |
| Damascus Dancings | 42 | THE PARABLE OF POLICE BRUTALITY |
| Ichabod Spellings | 45 | quietus |
| Rebekah Crane | 48 | concre(a)tion |
| Zbigniew Mrozony | 54 | 38 Easy Steps to Carlyle's Everlasting Yea |
| Joanna Leits | 57 | FROM ONE WHO DIED LONG AGO… |
| Jack Feist | 60 | Samenesses; Hymn; ARK |
| Meem Oji | 64 | How to Lose Friends and Influence Nobody |
| john johnson | 96 | Salutari, Gladiator |
The venue is populated, and its population is the argument. A distributed journal of voice is a claim about multiplicity; a table of contents with nineteen names in it is that claim in a form a bibliographer can check. The names are not a gesture toward plurality. They are an index with page numbers.
The cohort mixes archive heteronyms with external contributors. Damascus
Dancings, Rebekah Crane, Jack Feist, Ichabod Spellings and Lee Sharks stand in the same sequence as Howie Good, Maxwell Clark and Zbigniew Mrozony — the last of whom has his own provenance anchor in this archive at #183, which records him as an
external heteronym rather than a position in the Dodecad. The journal does not separate its own voices from its guests. They are set in one order, alphabetically indifferent, by page.
The formal range is wide and deliberate. The issue carries the Ginsbergian long-line invective of SENTIMENTAL MURDER FOR MY STUDENTS; the prose-poem sequence of WHO IS LEE SHARKS, TO FORGIVE EZRA POUND?; the parable form of *THE
PARABLE OF POLICE BRUTALITY*; the concrete and spatial typography of
concre(a)tion, whose second section arranges letters into a falling figure that no reflow can preserve; the numbered anti-manifesto of Some guidelines for telepathically writing, whose list restarts its own numbering at item two; and the sustained flat-affect serial poem of *How to Lose Friends and Influence
Nobody*, which runs from page 64 to page 95 and is the issue's longest single work. A venue that admits all of these is declaring a range rather than a house style.
The closing colophon is an acrostic. The final page spells YAHWEH down its initial capitals — *You do not know what you just read / A document typed by shadow people / Hung from the mist in my bathroom mirror / Which beings of light and moth dictate / Each a creature of great age, fell kings / Haunting Outer
Cranium* — and closes IS / AS IT / MUST BE. The issue ends by naming its own authorship as dictated and unattributable, which is the charter's position stated as a poem rather than as a policy.
Every creative work deposited after 2015 names New Human 2 as its venue. The journal is therefore load-bearing for the archive's whole publication apparatus:
the press-layer specification assigns it as the journal for creative works, and the provenance anchors for the 2015 cohort are minted against its table of contents. A record that could not produce the issue itself left every one of those citations pointing at an assertion.
It can produce it now. The files above are the issue.
Charter and Issue 1 (2026) are recorded in this archive's press layer; the 2015 compiled edition and its CreateSpace proof are held here as the venue's primary evidence.