A Short Note on this Conflation of Allegory and Conceptualism

I don't even know the title of the book, or the authors involved, but the poetry people seem to be talking about it out of politeness I suppose. I also don't care to recall the titles or particular authors from the 19th century who were able to draw a link between the grotesque and the real, or those that abolished the distinction. But it is Baudelaire who prepares us to understand allegory as a 'machine' capable of the indiscriminate generation of serene or mad effects. Baudelaire's idea of allegory runs counter to Rousseau's, while nonetheless building on Rouseau's work. These are all the particularities and peculiarities of literary history. I think Baudelaire more or less straightens everyone out by systematically destroying the boundary between the grotesque and the real, and by pointing out that allegory is simply a kind of instrument of affect, and that the affect is variable. Basically Baudelaire is a kind of crypto-semiotician. If you look at Baudelaire's history closely you find mention of his caricatural behaviors which were quite deliberate. That kind of thing isn't really that much different than say the art / life actions of Chris Burden. For me, Alfred Jarry is a perfect example of how lifestyle, bohemianism, and conceptualism can all be conflated into a single expression. What it sort of comes down to though is that all thought is an allegory of chemistry, and vice versa. The complexity of Earth and the human animal are more or less irreducible. Stupidity, Intelligence, and Complexity all simply labels for the same madly and serenely generative event-process involving various semiotic agencies, or in chemical terms "agents".. Human stupidity is no less complicated than human intelligence, therefore what is the difference when the coding mechanism of the species continues to function. What it does is destroy man's own self-created distinction from the rest of the animal and plant kingdoms. Since her own self-generated categories are more or less aporific distractions within the continuum of actual praxis, the machine of allegory or culture display becomes a kind of hybrid gender, a flux gender whose copulatic residues house our bodies in its ornamentalia which might be connected to something like "the violence of the archive" or the

violins of the arc hive.

Paganini extended his technique
through the use of his own diseased flesh.

The Jellybean Weirdo has spoken.

"O Weird One.."