Tuesday, June 21, 2011


Sometimes it takes awhile for my own word machinery to catch up with the image stream I receive, and by that I mean often an image is slightly precognitive in unpredictable ways. Recently, I saw, or had the idea to paint an elaborate stage scene, a scene painted from the view of the audience, and one in which the actors were made to look small amid the machinery of the theatre architecture. Moreover, the image was from a very specific angle, far left, so that the jut of the stage out beyond the proscenium would be part of the subject.

But it is the relation of prose to proscenium to process that yokes my attention this morning, and the fact that there is a deep message or revealing that occurs when considering the notion of framing as a structural 'set-up'
that falls into the back-ground, and must fall into the background if the supposed action is to occur. The proscenium is a silent set of presuppositions which the spectator is forced to consume like a weird gangly apparatus, a dental apparat awkwardly erected in some uncomfortable section of the skull, and the action of any given event on stage, both the surgery and the anaesthesia, and that curious turn itself, the notion of

In the OED it gives 10 separate senses of an- the prefix, and many of them contain contradictory senses within the same sense conjoined by an abstraction focused on some version of formal directionality,
for instance in an-1, the OED gives against, towards, in return for

against aesthesis
towards aesthesis
in return for aesthesis

All of this begins to smack of a collapsing (clap-sing) into absolute semiosis, and therefore for any sensible action to be performed this machinery of framing must be present though its monumental provisionality is everywhere present. In monumentality (monomentality?) isn't there a presence of violence?

Is prose more violent than poesis? Is the framing out of the narrative proscenium different?
I would say not. There is no difference in prose and poesy in the sense that they both pose
as actors on a stage where the copula is the proscenium or framing mechanism.

An-3's sense is given as one, making death, or perhaps unconsciousness (unfeelingness) the ultimate paradigm for singularity.

Anaesthesis, One Aesthesis

On Is-Thesis

that Is-thesis being the syntaxial plane of Immanence

$ wave-particle duality

E=mc squared becoming paradoxically
the common arabic command to children


move on!
come here!

all contradictions reside within the continuum of syntaxial movement

Socrates and bound statues, Contrapposto and the I Ching

the still lotus, an infinite changing

The jellybean
like a brain composed of a hundred billion cobras
all readying to strike
and that strike
a single drop of milk

how thin to veil