detraque

neosurvivalist / naivalist / postoccupy / inhabit?

The End
of The World

It’s over.
Bow your head
and
phone scroll
through
the apocalypse.

from here

and or

Learn to hunt, to code, to heal. .

from there

despite the brilliant and funny analysis given inhabit.global’s website by Ted Byfield [assuming he’s this one] on nettime listserv, I wonder about both Ted’s intention to be funny and inhabit’s intention to be serious, one to be taken one way, the other to be taken one way as well.

a left-leaning bunch of techfriendlies reacts to a naive bunch of reactionary post-politicos–the common ground, to hunt, to code, to heal, would appear to repose in the middle term.

...
CAPITAL CAPITAL CAPITAL
detraque
enomy
immedia
network critical
pique-assiettes
representationalism

Comments (0)

Permalink

“I wanted to do something worthy of the place” – theatre of writing

(&&&[Deleuze])=-1...
...
Ἀκαδήμεια
detraque
hommangerie
imarginaleiro
infemmarie
luz es tiempo
porte-parole
textasies

Comments (0)

Permalink

are there any answers?

Dear Visitor,

Let us engage with the questions:

  1. anthropogenic climate change–is the question of the present, not the future.
  2. ownership of elements: air earth water warmth–China has awoken to Capital, whatever the corporate brandname on it: another question of the present.
  3. health: obesity is a mental illness; mental health is a cultural illness. A question of the present.
  4. the future will be? A question of human cultural regeneration–perhaps the only question of the future?

In our small way we are addressing ourselves to these questions with a view to an answer that is local and directed towards the future.

The means to cultural regeneration are within reach of a modernity that believes in itself–has not lost that belief. This we have found in Benesse Foundation’s Public Capitalist undertakings in Naoshima and Teshima, the ‘art islands’ of the Seto Inland Sea in Japan.

We would like you, dear visitor, to share with Benesse this vision for an answer that is local and directed towards the future:

 

I am writing to you from Waiheke Island.

Waiheke has a similar status in the Hauraki Gulf to Naoshima in the Seto Inland Sea. It is a popular tourist destination: however it attracts visitors more for reasons of its natural beauty than for cultural tourism.

Waiheke is 35 minutes by ferry from the centre of New Zealand’s biggest city, Auckland. It currently boasts a resident population of @9,000.

A large proportion of this population is artistically active–this is owing to heritage settlement: it was originally a cheap place to buy and rent, with advantages of a healthy natural lifestyle.

In terms of built infrastructure it is poorly served, with one exception: the Stony Batter site, https://www.doc.govt.nz/parks-and-recreation/places-to-go/auckland/places/waiheke-island/stony-batter-historic-reserve/

Built to defend New Zealand in the event of the war in the Pacific extending into the Hauraki Gulf, Stony Batter is largely built underground, with approximately 7km of tunnels.

It has recently been proposed that Stony Batter be developed as a Heritage Site. Submissions are being solicited by Auckland City Council to this end. However, it is our opinion that Stony Batter, on Waiheke Island would be a missed opportunity of giant proportions if it is only developed with a view to low level heritage tourism–which tends to be internal and nationally based.

Stony Batter, Waiheke, commends itself as a site for Global Cultural Tourism.

The as-built aspects of it, the island location, underground and above, the natural surrounding context, are ripe for such development.

Ando, we think, would be impressed with this structure: although built for utilitarian purposes, its aesthetic qualities are evident.

The underground would suit gallery development, with installations taking advantage of the light and sound qualities of the tunnels. The textural and architectural uniqueness of the site would attract and inspire international and local artists to exhibit and install here.

The exterior would suit installations to make the most of the dramatic scenic beauty of Hauraki Gulf and islands.

We humbly bring this to Benesse’s attention on the basis of our recent visits to Naoshima and the sites of cultural tourism–and cultural pilgrimage–located there. Stony Batter Waiheke Island could be such a place with the vision and thinking and good-being/good-doing that is characteristic of Benesse’s Public Capitalist approach. It could be a Southern counterpart to Naoshima and Teshima.

We would add that Benesse’s sensitivity, shown in the development of globally recognised sites for cultural tourism in Naoshima and Teshima, is to the forefront of our considerations in making this recommendation. Waiheke has a long colonial and precolonial history, as well as the heritage to which Stony Batter is a material attestation: the respect we know to inform Benesse’s approach is essential to this project.

We suggest that Benesse follow up with a submission to highlight the advantages of Stony Batter as a site for global cultural tourism (with a smaller heritage element incorporated into the plan). Submissions are currently open until 27 September 2018. Please make your submission here: https://www.doc.govt.nz/get-involved/have-your-say/all-consultations/2018/applications/fort-stony-batter-heritage-park-limited/

Please be aware that we present this proposition in good faith and feel free to cite our support for this submission.

 

Yours Sincerely,

Dr Simon Taylor

 

...
imarginaleiro
luz es tiempo
on tour
point to point
thigein & conatus
X

Comments (0)

Permalink

03.08.2018 Universal City, Studio & so on, to infinity and beyond

Hakutsuru since 1743—choice. Although, writing with Gekkeikan glass this balmy evening.

…speaking of culture: 2 gratifying aspects of culture and cultural acceptance we observe are 1) the presence of ashtrays; although it is not a nation of smokers as it might once have been, like some charming anachronism ashtrays have accompanied our dining experiences, if not the actual effluvia; although tonight we sat opposite two middle-youthed men in shirtsleeves, both trying valiantly to master the art of electrocigarette action (the younger man, trying to outdo the elder, tried to smoke harder and drink louder, while his cigarette insert kept falling out of the electro-gizmo, and he acted like he didn’t care, sweeping it off the floor with a nonchalance so contrived and demonstrative as to be theatrical); and other times young women smoking, the smoke effectively sucked out of the room, leaving the tang of chemicals behind, like a sour smell-rind; 2) despite the years of isolation being long gone by about 2 centuries and those of American occupation barely within living memory, despite the porky presence of gaijin reeking of the dairy (to mix scentences), particularly in a place like the Dot of Doutonbori, it is surprising the predominance of Japanese language outside the most tempting of eating-places, drinking-places, on menus and in descriptions of what lies inside the mostly inward-facing joints, bars, holes in the wall, restaurants, rooms for public life. This is accommodation without concession.

…yes, speaking of culture, today we went to Hogsmeade, Harry Potter Land, Hogwarts—at Universal Studio! …

We expected crowds—there were; we expected tantrum-inducing waiting-times—there were; but we also expected—the Japanese panache at carrying fakery to next level; we expected the generosity in adopting the misshapen popular artifices of cultures other than that of Japan; despite the Americolonial years, we expected the joy at inventions—that the Japanese seem to have invented anyway, like theme-parks, living hoardings, robots-are-as-good-as-life, loud in your face snakeoil salesmanship … and we expected it all to be beautifully performed, dressed, choreographed scenically. After all, Harry Potter and the Forbidden Journey has won best ride in the world for @5 consecutive years. I think.

The trip came on on leaving our train at Universal City. Like the Tomoyuki Hoshino novel I’m reading, things got weird pretty quickly; and like with any trip left little time to wonder at psychological harm, ensuing identity disorders, or moral malaise (anyway, we’d been to an owl forest in stifling heat, in a suburb of Kyoto).

The check-in lady’s voice came at us with machine-gun machine-reproduced—for no conceivable reason, since she was just behind glass—ear-slicing consonantal bruitage. And we asked about express tickets. Would’ve added hundreds onto the bill, as well as kept us there until 1900 hours plus.

We braved the cheaper entry. Found Hogsmeade, Diagon Alley, the snow glistening, and J. asked how they keep it from melting … Magic.

Rode Harry Potter and the Forbidden & so on. Ate churros. Checked out the Butter Beer.

Rolled out of the Wizarding World into Muggles of Amity Village, and onto the schlocky Jaws ride. What was our open secret? Singles! Japanese prefer to ride in groups, friend groups, family groups … so we are told. Still, with the Potter ride, the ten mins turned into about an hour, but beat the two hour standard wait time—unless you have express and can arrive at the designated 1900 hours. We rode singly. That’s how we rolled.

Next, Jurassic Park’s The Ride, in water, with splashdown.

On to The Amazing Adventures of Spider-Man – The Ride 4K3D. This was great—cartoon characters leaping into your field of vision, with 3D goggles, addressing each of you, each of me, individually, right up on your bonnet, and grill. When the electric baddy plugged his thing into the front of our car the Chinese lady two down screamed like she’d been personally electrocuted. Electrocution—it’s personal.

But the prize—apart from the overall artdirection of the Wizarding World—went to Evangelion XR 4D. This was a VR—full head-set (staff intensive, the team fitting me up, as I sat beside, as a single, an odaku guy, asked where I was from. New Zealand. Ah, sheep! Yes, I said, with fingers in beard, like me! Most disconcerting—when she’d fitted the headset and launched me into VR I heard You’re a sheep! You’re a sheep! A sheep!) hyper experience. Mosquitoe giant guys demolished the city and, cleverly, with a pilot and orientating details in field of vision, we hurtled through the apocalypse, bodies thrown one way, then another, because on an actual rollercoaster, while heads and sensory apparati were, through the headset, tuned into the virtual environments. And what works here is scale. This world was huge and in 360 degrees. … Mission accomplished, we slowed, me and the odaku guy, whom I’d neither heard nor seen a baby whisker of, into a massive hangar space, and outside the VR I heard clapping, the clapping the staff were routinely doing for new recruits, getting seated in their pods.

Tonight we found a skinny building to eat in, sat upstairs, two cynical electrosmokers doing their best to look cool.

(&&&[Deleuze])=-1...
...
anciency
detraque
infemmarie
luz es tiempo
on tour

Comments (0)

Permalink

02.08.2018 NMoMAO, Nakazakicho & Namba eats

In the groove of the morning coffee—imported, from Brazil fl. 1995-2007, done in the dripfilter method, the mechanism bought not far from Resol, c. 2015—and usually soggy Danish. Yes, this morning’s was. That of Kyoto, however, was echt Franzoise. A leisurely preparation for the day, then subway to Osaka National Museum of Modern Art, or hereabouts. The heat immersive and swimmable.

Showing—a retrospective from the museum’s own collection and a collection from the Pushkin (including Déjeuner sur l’herbe). Items of note included—the light was unusual in the gallery, indirect, giving the impression of dim ambience; the exhibition followed a catachronology—Satashi Ohno’s polychrome style mashup: [look here: http://tomiokoyamagallery.com/artists/satoshi-ohno/] figurative, symbolic & prismatic quantum lifepainting. The Saito, I’d encountered looking at artists ‘breaking the frame’ in Japan and Brazil; Saito’s work recalls Tapiès’s. Of course: Sugimoto’s photos. And some interesting Western pieces: Warhol’s Marilyns (anyone who thinks of Warhol as overrated ought to spend time with his amazing colours, his colour curation); Cy Twombly; a little Picasso, Cubist period; and Max Ernst—which never reproduce (the same can funnily enough be said of the Warhol screenprints). Oh, and of course, favourite it seems with collections in Japan, Gerhard Richter.

Next door to the NmoMAO, the curved building houses the Museum of Science, and two little boys had bought a windup plane, the sort with rubberband, were trying to fly it. I helped them. It flew.

The Sky Bridge. Tickets to be bought on the 39th floor, via glass elevator. (The snaps I’ve taken are from the descent; I couldn’t look out on the upway.) It is intended that you exit your elevator box and take an escalator, which runs in a tube, on a diagonal up to the Sky Bridge Platform, some 140m in sky, through space, unsupported. I looked up tube, that runs through sky, space some 140m up in it, and wanted to get back downstairs.

An Ando wall of vegetation outside the Sky Bridge Towers, under which we lunched on cheapnesses—I, out of sorts, did not want the flavours of the basement foodhall, all done out like early 20th century Osaka: and so we got a smelly fish set from a streetvendor and a puffdog from a Family Mart, and pork on stick.

Nakazakicho is a place we walked to then—not far, it was far, and via a ridiculous layercake of consumerstores, and Osaka Station. We went there because it was called boho central in some online cultural guidething. It had nice small buildings and the collection usual for artistic quarters in cities of secondhand clothing stores and cafés with questionable opening hours; but there were many hair studios. I drank a white soda.

We went to Namba to eat, down the end of the Dot, which I have been misspelling—it is Doutonbori. And ate well.

On the stroll home, we went westward, to Ameriburi and walked around.

...
anciency
detraque
on tour

Comments (0)

Permalink

28.07.2018 to Uji, Japan

Overlooking the Ujigawa, the river in Uji, split by an artificial island, and fed from the nearby dam, with rapids below the island and above, we are finally in our room, and not only that but fresh out of the hotpools, the public baths as they have to be called—since to qualify as onsen the waters must arise naturally from the ground and possess minerals, a mineral quality; so that some onsen are coloured and some so hot when they bubble into the baths or pools there are attendants present to make sure bathers do not broil and cook.

From Waiheke to Uji:35 minutes by ferry; 25 minutes by Über; a checkin time two hours ahead of boarding time, which allows for seats together to be confirmed; 11.15 hours’ flight—with a supper, followed by 71 minutes of Dog Island; 5 hours sleep, on a partially full 777, since it had been cancelled because of the typhoon rolling in on Tokyo, was subsequently reinstated—adding to the likelihood of sleep being had, since more space to stretch out—however I could not get my body to fit the available empty space, the ma was all wrong, no matter how I curled and contorted to fill it—then breakfast, a gesture at Japanese style, with the rice handily deposited in a pleated cupcake paper; monorail from Haneda to Shinagawa 15 minutes; some circulation of bodies searching for the right line, the JR Nara line, to Uji—say 10 minutes—then, departing at 29 minutes past the hour, the local train, stopping at all the stations on the way, to Uji, 25 minutes later; walking, asking for directions, along the Ujigawa to our ryokan 20 minutes.

Time, Deleuze writes in his book on Kant, is not determined by movement, or change, and time itself does not move and change. Neither is time eternal. “It is the form of everything that changes and moves, but it is an immutable Form which does not change”—the unchanging, unmoving Form of what is impermanent, an impermanence that in the form of time is not eternal. In it, all things are impermanent. All things pass. That time passes without passing away is, Deleuze writes, a profound mystery.

(&&&[Deleuze])=-1...
...
detraque
luz es tiempo
on tour

Comments (0)

Permalink

you want to be liked I like you & your dissertation linked below

 

Figure 8.6 Sondra Perry, It’s in the Game (2017), screenshot of video demo

 

from Megan Philipa Driscoll’s Art on the Internet and the Digital Public Sphere, 1994 – 2003

© Copyright by
Megan Philipa Driscoll
2018

(shared on Nettime by Cornelia Sollfrank 25.06.2018)

 

abstract

This dissertation narrates the development of internet art, a diverse set of practices united
by their interrogation of the technological, social, and/or political bases of computer networks.
Covering the period from 1994, when “internet art” began to coalesce around the rise of the
World Wide Web, to 2003, when both internet art and internet culture writ large began to
respond to the rise of social media and “web 2.0” technologies, the dissertation homes in on a
select number of net art projects that variously engaged or challenged this period’s most
persistent claim: that the internet is a new, digital public sphere. By studying how these artworks
critiqued this claim, the dissertation uncovers three major models through which net art has
asserted the publicness of computer networks—as an interpersonal network that connects or
unites strangers into groups; as a virtual space akin to physical spaces of public gathering,
discourse, and visibility; and as a unique platform for public speech, a new mass media
potentially accessible to all.

Claims for the public status of computer networks rest on their ability to circulate
information and facilitate discussion and debate. This definition of publicness is rooted in the
concept of the classical public sphere as theorized by Jürgen Habermas. The dissertation will
thus review Habermas’s model of the classical public sphere as well as its most significant
critiques in order to interrogate the terms of a digital public sphere. The dissertation will also
engage Michael Warner’s work on the formation of publics, counterpublics, and the mass-
cultural public sphere; Oskar Negt and Alexander Kluge’s analysis of shared experience as the
foundation of the formation of public spheres and the role of mass media in this process; Henri
Lefebvre’s articulation of the social production of space; and Gilles Deleuze and Alexander
Galloway’s respective analyses of the role of network logics in contemporary systems of control.

The dissertation begins with a chapter overview of the emergence of computer
networking during the second half of the twentieth century and the different ways in which
artists experimented with it to explore new modes of communication, collaboration, and
exchange. With the appearance of the web in the mid-1990s, and with growing art institutional
interest in its novelty, these experiments crystallized into what we now know as internet art,
bringing with it challenging questions regarding the viability of the internet as an unprecedented
digital public sphere.

The second chapter turns to this emergent field of net art and how some artists tried to
define the terms of a new public sphere as an interpersonal network that allows people who are
not in physical or temporal proximity with each other to form publics. The chapter explores
Douglas Davis’s The World’s First Collaborative Sentence (1994) and Heath Bunting’s Project
X (1996), two works that use the strategy of accumulation to make visible the collective presence
of internet users, either as a reading public formed through the circulation of discourse or as a
public united by the articulation of its members’ shared experience. The third chapter introduces
practices that challenge the presumed universality of the digital public sphere by foregrounding
gender and race issues, which are often obscured in dominant discourses regarding computer
networks. The chapter focuses on Cornelia Sollfrank’s Female Extension (1997) and Mendi +
Keith Obadike’s Black.Net.Art Actions (2001 – 2003), demonstrating how these works help to
define the counterpublics of the digital public sphere by circulating marginalized discourses on
the web in opposition to the mainstream.

The fourth chapter examines the spatialization of computer networks and how the
internet’s communication platforms have become conceptually analogous to ancient forums or
seventeenth-century coffee shops. Through analyses of Ben Rubin and Mark Hansen’s Listening
Post (2001) and Natalie Bookchin and Jacqueline Stevens’s agoraXchange (2003), the chapter
attends to both utopian and skeptical views regarding the viability of the internet as a (virtual)
space of public gathering and discourse. Chapter five further interrogates the idea that the
internet is a theater of visibility, where actions are public because they cannot be private. The
first artwork in this chapter, RSG’s Carnivore (2001), critically addresses computer networks as
a surveillance technology and part of a system of social control. The second work, Eva and
Franco Mattes’s Life Sharing (2000 – 2003), explores what happens when internet users embrace
this condition of (hyper)visibility, freely sharing not only their personal information but also
their intellectual property, thereby eliding spatial and juridical notions of public domain.

The sixth chapter addresses the notion of computer networks as a new mass medium of
public speech, a platform for publicity that is also a site of struggle to exert influence on the
public sphere. Homing in on the work of net art collective ®TMark, the chapter follows how the
collective uses parody to challenge institutions that seem complicit in the commercialization of
ivthe network and the suppression of individuals’ access to the network’s platforms for public
speech. In the seventh chapter, the dissertation turns to artists’ responses to a legal challenge that
threatened their speech rights on the network, a set of actions known today as Toywar (1999 –
2000). The chapter also contends with how etoy, a collective of artists involved in the litigation,
took up corporate branding as artistic practice to reframe internet communication platforms as
tools of mass publicity in a mass-cultural public sphere.

The final chapter concludes with a reflection on the changes in the forms of net art and its
place in the field of contemporary art that followed the first phase of net art, the central focus of
the dissertation. While acknowledging the transformation of the online environment brought on
by social media and other “web 2.0” technologies, the chapter argues that the question of
whether computer networks can function as a digital public sphere remains an open and
contested one. The dissertation as a whole thus provides an historical account and critical
analysis of internet art that encompasses not only its technological evolution but also its
confrontation with the claims of publicness upon which our understanding of computer
networks, and the art made on and about them, are founded.

 

advertisement
detraque
network critical
pique-assiettes
porte-parole
tagged

Comments (0)

Permalink

the story of the mirror neurons, pt. 1

Positivity, affirmation: they are related but not the same. To confront one with the other is not to vanquish it; they take different objects and produce different subjects. Positivity and negativity: you can affirm either; you can affirm both. You can affirm in positivity the need for negativity. Positivity is the condition of affirming only one. One side, one polarity, one out of the pair is affirmed and one is left out in affirming positivity; and in affirming negativity, equally, one side, one polarity, one out of the pair is affirmed, one left out. But when you affirm both what happens is still not an inclusion: the affirmation of both positivity and negativity can go to a higher form of positivity; but it cannot go to a higher form of negativity. It cannot go to a higher form of negativity unless you have or invoke a higher power of negation; or unless you have or invoke in negation a higher power. To have there be in negation a higher power, or to have negation be a higher power, is to make of that power your affirmation, to affirm it to be or to affirm in it that power. The condition for negativity to go to a higher form in the affirmation of a power in negation higher than the form of positivity that is unequally reposed in it where you affirm both positivity and negativity is that of its being, being in the world, and in the world acting. The condition of the existence of negativity in its higher power of negation may be called existential. Positivity would annul this existential condition of negativity, this form of being and this power of acting in the world, in its negation: it is not. Affirmation differs from positivity in reposing in negativity an existential condition that is its own and belongs to it; positivity deposes in negativity an existential condition of which it is dispossessed. According to positivity not only should negativity not be, should it not be in the world, and not only should negation not act in the world, and, according to positivity, where its moral injunction takes full effect, not only should negativity not find a higher power in negation, but negativity can not: it cannot be, it cannot be so and cannot be that negation so act. Affirmation differs from positivity neither insofar as it relates positivity exclusively to negativity, nor insofar as it includes equally both negativity and positivity, but insofar as it aligns itself with the existential condition of both and either positivity and negativity. The distinction is not lost; the difference you see and describe that is and acts in the world itself takes the higher power in the relation, the nondialectical relation, of the positive and the negative—a positive, a negative.

Affirmation vanquishes the dialectic in a differential relation of a positive and a negative. But the problem remains that to confront positivity with negativity is not to vanquish it. Negativity inverts positivity; and positivity obverts negativity. It may be the case that the project of positivity parallels the inject of negativity. If this is so, and the difference is upheld, the subject of negation is induced in a movement that is reflexive and intensive; the subject of position is produced in a movement that is object-directed and extensive. This reflexivity that is subjective in negativity, in positivity takes its object to be itself: that is whereas negativity subjects, induces or forms a subject reflexively, positivity objects and the subject is taken up to be the project of a performance. The position of the performing subject, of positivity’s performative project, is facing you, the position of an appeal, from, as it were, a dark and reflexive negativity; it is an appeal against an immutable background darkness that is everywhere around it.

(&&&[Deleuze])=-1...
...
Ἀκαδήμεια
CAPITAL CAPITAL CAPITAL
point to point
thigein & conatus

Comments (0)

Permalink

I think this will be the last one of this series, it is #31

XXXI.

getoveryourself or you should know when to stop are not the same pieces of advice

but you are not listening to me you are looking at the image of an idiot on the screen

an idiot boy Bolaño says—right in my ear—the image of an idiot boy—and i am overcome by a feeling of wonder at how great it would be it is to be a female art

a female artist a woman first, second—they are not the same pieces of advice—you could—one justifies another—produce the most overtly sexual and sexualised imagery

you would not be guilty of sexuality—and I am fore-betrayed by knowledge, memory, belief one does not justify another duplicitous amongst the victims blending in, before a page of prose looking for even yet the flight of a bird & birdsong, time blurred like the wingbeat of a sacred kingfisher [writes Adam Roberts] and

 

my stomach drops

into shallow pans

tripe-white

of my open hands (even yet Fergus Barrowman, replied, some of the lines are simply bad)

facing a page of prose: sometimes life is shit: one justifies another and I accuse the extinguished theatre I mean professor removed from positon by concerted and personal vendetta—what one feels now the other will. INTIMIDATION seemed right closest to our theme but you should know when to stop

the recoil is lost it is political and so it is born: and once it was a child and knew getoveryourself for not having to be a female artist, of a woman first second—at the same—the integrity of the personal gesture of sexuality now the integrity of the gesture was lost

it would not be reproduced, it would not pay to reproduce and once it was a child, and at the same time it is the memory of things, not as they were, thought to be heading in a certain direction, ends unknown, all of a sudden going in a wholly unexpected direction the integrity of the gesture was lost, and the reduction to ends and desires the image of that idiot boy on a screen I see my memory at two removes extinguished theatre I mean professor and yours but you are not looking

and in no wise would it be true to say these two manners of appearing followed one upon the other but that in somewise I know not were they concurrent also Adam in The Thing Itself the thing itself might as well figure thought in the image of the hypocrite not the idiot

we are so many people in the manner of a lost world given the word or gesture of the appearance of victims and I amongst gathered together who don’t who can’t and who cannot recognise a crime who gather together in their want and in their lack of recognition and who do not ask who answers for it, for once it was a child and knew, but that in the want and lack of their recognition its answer goes unquestioned its question goes unasked

which is their question and i amongst and it is like the memory of smoke in a dream that on waking is the image of a face in sand that on looking you look does not ask anymore

anciency
CAPITAL CAPITAL CAPITAL
infemmarie
luz es tiempo
N-exile
point to point
representationalism
theatricality
theatrum philosophicum
X

Comments (0)

Permalink

XXX

XXX.

Do not speak this blessing

itwillenslaveyou

we did not know he penetrated her apart from her expression

blank possibly drugged mystical

and should peace peace is a sheet

a cool white sheet a clean and ironed one

expressionless

soothing easy eyes

good tears dripping in excess is it from their folds

secreting oracles

 

a dribble is a gathering together of images in a droplet

it strings secreting strings threads pearls in its secretion

as involuntary as a symptom

notatallunwilling

the will which hidden will seep out

in the night

in the night emissions

of satellites

 

and should peace peace be upon them

which is a sheet and flicks at their genitals

with the folded rectitude of paper

wet from the pen dripping ink

and albumen every edge it over

tang of egg or orange is it

inkwet in the sicklehairs

 

say it with sex say say it with art of lying

forgive the intrusion the cage was empty

and in my hand a group of opioids

a birdwing flaps drug it and in my hand

on my hand featherlight another

heart beat another open void

it overflows and in my prescription

does it in my script these lines

 

arenotcrossedout

...
imarginaleiro
luz es tiempo
point to point
thigein & conatus
X

Comments (0)

Permalink