Thursday, May 31, 2012

- After you have settled yourself in a place as favorable as possible to the concentration of your mind upon itself, have writing materials brought to you. Put yourself in as passive, or receptive, a state of mind as you can. Forget about your genius, your talents, and the talents of everyone else. Keep reminding yourself that literature is the saddest road that leads to Write quickly, without any preconceived subject, fast enough so that you will not remember what you’re writing and be tempted to reread what you have written. The first sentence will come spontaneously, so compelling is the truth that with every sad passing second there is a sentence unknown into our consciousness which is only crying out to be kindled.

Swell's Night Guide

indurant kibosh
for in allium all threads
do purvey (oi!)
the chemotype
found to contain
and limonene

indurant wynwyn
Bullock gets close by
and the homemade world
will opine the objective
Dictys above all ponder
and they wonder
wander forever
among the stalls
of the kalpasi

whose only will
is awakened
by wetness

the donkey trail
having wended its gall
through to the circumstice
of Indra, and thingly sang
its light stone

there the split
where the punisher
is punished

rill covert brake-
in asp-
is aspiration-

The Bibiena Canto

and after they had removed his image
                                 from the academy
and carried it along to its sanctuary
amidst the long necks of the salpinx
                                  there where no masks hung
heavy with figs the detail
                               for Bibiena was
in Parga
                      abyssody effigy ache
for fête théâtrale fantasmagorique

fly fortis
foo sphere

could those long silences seem more furious?

Barnaby your Abbess crow
and Earinus gone from Domitian (what sense is sense lost?)
                          to but hear the tumu
tumu of the golden fox
                                waiting in the chest
                                   of the clay cold bride,          that ship
                    with           which          you                             met the shallows
                                                              for a foo in long heart
                                                 for a question
of Art,             the maquettes tremble                        to the open air
                                            its plain face folly
                                       force aware
                                                 and touch the wet soil
                                        for its graven hand                (too close)

here the public pyre
                                             strange scatter
              Sulla bite the blood goblin


                                    long lost lex in the Phlegraean Fields
                                  (who searches the grain for the dis-remembered?)

      all-writing, all-thinking
the severed head                          still moving in the dream

                                            but the looking done
and the body                                                          now eating itself 

left Postuma only
                                        part of an odd leek flower (optime modice confusa)

a theriac 
to the entrance 
of the knot


Wednesday, May 30, 2012

A Rebuttal, A Contextualization, and a Path

Synthesize jive controls.... 
from _Who Dat?_ by 'Guinea' Lamb Brazenose

Today on John Latta's Isola di Rifiuti he leaves us a post called A Short History of the Fragment, which really isn't that, but even the title of his piece serves perfectly to preface my rebuttal.

Or is it a rebuttal? Let's alter that slightly, and give this as an instance of Rebu-tol, a Rebu(s) pastille (pill) as avatar of the pharmakon's contentious seeming, for when we read anything, we are either generous (prone to hermeneutic lubrication / process), or  unforgiving (as likely to truncate, make flat, look no further, flatter
the unflattered literal / littoral, looking for no omens of that general and benthic profundus available in the coagulus of self with other, ie, political filtering). To wit(h), Judgement rather than association.

JL chooses to start off his contextualisation of the modern valorization of the fragment with a fragment from Eliot, “fragments . . . shored against . . . ruins”.. and then proceeds to use a few of Kenner's examples
from his work The Pound Era including Swineburn's de-epigraphy of a Sapphic fragment. Well, for one thing, the valorization of ruins, which includes fragments, albeit in their unshored form, perhaps, is / was a product of The Romantics, not the Moderns, and Pound finds plenty of room for romantic notions, as well as romantic fragments. Or is it just that images can record other images. Now, I'm not really here to say that there is no difference in Modernism and Romanticism, but in terms of the valorization of fragments, even in classical times, much of what constitutes myth, ritual, and even word form, is born out of a matrix of constitutionalizing and fragmented elements, their memory-ruins / modulation / interpetation, and this is a fundamental problem-beneficence. In fact, what seems to be the upshot of JL's approach to A Short History is exactly that posed by another of Eliot's fragments, namely Datta. Dayadhvam. Damyata. (Give. Sympathize. Control.)

What he wants you to know is that Silliman's 'wash' contains no pithy or 'radiant gists':

No radiant gists in that wash—verbiage, broken and current, is all. A leveling occurs: “some far suburb’s mall lot” equals “to sweat is to know” equals “ink as blood or pus” equals “‘Outsource Bush.’” Not exactly “champion expansion”—but in a similar realm, hyper-attending to a pandemonium of bits makes its own dull rhapsody wherein naught shines.

So let's give John a little taste of "Champion Expansion" against his dull comparisoning..

Look at Silliman's line:

Words torn, unseen, unseemly, scene

Okay, let's DO THAT [my doing will be the bolded text]:

Words torn, unseen, unseemly, scene
some far suburb’s mall lot
Summer’s theme: this year’s humid
—to sweat is to know—
pen squeezed too tight yields
ink as blood or pus
so the phrase scraped, removed
offending thine eye: “Outsource Bush”
Against which, insource what? Who
will do it? Most terrible
predicate—high above mountains snow-capped
even in August in-flight motion
picture Eternal Sunshine of the
Spotless Mind infuriates many No
action, no funny, plot too
dense to follow, unless (unless!)
mind’s eye gives attention . . .

Now, just as a side note, let's contextualize both the critic and the poet in terms of a Euripidean fragment:

Which is a pretty bald statement about priest-craft, and how ζωὴ (Zoe) life is controlled by entrainment, how mass entrainment renders one a god. But we don't want to be that kind of god, or maybe we do..
I can't decide!

But just think about the parallels between Pound / Dionysos, or poet / critic, or reader / writer..

1. Pound is busted for Fascism. Dionysos is the quarry of the hunt and the sacrificial animal, both of which are eaten raw (ie, Pound as uninterpeted.)

2. Pound introduces decontextualized fragments, and incorrectly (creatively) translated ideograms into his poetry. Dionysos is also known as Omadios and Omestes (he who is fed with raw meat) to whom a sacrificial meal is offered, a mystery meal of the Cretans who once in each trieteris rent a living bull with their teeth.

Which would allow us to slip in our Silli-man(t)ic fragment's sense


gives // us

Cretins, as those uninitiated to the humo(u)r of choosing one competing cultus of Bull over another,
and the trouble it can get you into!

On that note perhaps Pound's own August Eternal Papyrus should read:

Spring . . . . . . .
Too long . . . . . .
[Gong]-- (u-laugh) . . . . . .

too long gone (to care..) sheesh. whatever [see flarf]..

There is also the fact that, well, Swineburne's name calls to mind roasting pig, and also that there is some
recent critical consideration, say in, Jerome J. McGann's _Swineburne: An Experiment in Criticism_ to the point that contrary to charges of diffuseness and imprecision, S, is in fact, accretive, and rings changes on motifs which are continually juxtaposed with one another to create matrices of meaning, something that still seems a little bland, namely in the pedestrian unqualified assertion of what meaning means.. But, you can see here an echo, or rather a rebuttal of sorts, some rebutol, on just what Silliman might be up to formally.

Now why JL moves from a discussion of HOW fragments are attended into a valorization of WHY coupled to an assertion that Silliman is even using fragments, which he patently isn't. It's obvious, that Silliman is using something much more akin to piling up chicherones (which he has every right to do), and which by the looks of things, he has been doing for awhile, ie instead of speaking of Silliman's Swineburnean 'chops', we might use a more appropriate term, namely jowls.. We're talking major pork matrix here! But hey, I've been there, I'm a fatty too! Fat Lit versus Skinny Schitzo? That's a hard one!

And as for Sean Bonney's "Now send me some fucking money." He certainly seems to have surpassed Eliot's crypto-imperative Datta. Dayadhvam. Damyata. But we can stuff a morsel of roast pig in his snout too:

Data. Dead Ham. Damn Yadda.

And then there's the term gist itself, which though commonly parsed to mean the substance or pith of the matter, actually only registers that sense beginning in 1823, after maybe a century of 'gistation' within the oeconomy of french-inspired enlightenment legalese, by William Cobbet, in Rural Rides, in the Romantic period, no less, but in the more common form of git, Giving us Radiant git! or maybe

Get radiant! [Baby..]

And then there's that other floppy flappy thing with the english G/J the gist jist

that to Give
is to Jive..

And then there is that curious hybrid echo, the monster in the manger of intertextuality, namely
Ron Bush, who mentions here an upcoming anniversary, and all that might mean, or seem to scene
as littoral to the gush of days:

June 5, beach bird's opinion


without Ndaw bpo, nothing solid
(no poor dawbs) [there is no poetry, only poetry]

without Muan bpo, no reality
(Mu and Po, reticence and gush) [there is no poetry, only poetry]

And the Ad Campaign slogan for all of it might read:

What's in your syntaxis today? or just

What gives?

(And thanks for all the fucking money!) [La. Mun. Mi.]

Top Image is of Jerry Lang (A.) from Poison Idea...

fate around a tangle

gleub yop tarly
at first the muscle comes
to its purple eye
then the rag is squeezed out

and waver green genies
and dance starch collars

humble foon
to this thin shrinking rivulet
a drinking cavern cunnings
to your throb base
in the o sane

that glub in sound emblem
as flanked by hurtling
the gnarled and rocketing scree
whose edges

but perhaps
the hardest yellows
the glossy fungus under a single chip
the way each grey ivem

that tarly parch
in purple cones
over rectanguloist wringles
inside to fever the ball

chopped spooks in a gypsy's
scryer the graiae florn by pyramidical
querela, fonsook, that its
theme were not the tender
rendering of names

clash the pi-lightning
to the pekoe teedy
lap runt its polar pondelay

themes which joined to life
in abundance
but thunder
would fast
its liquid
to fuse

twists go all out
in receiving the boom
and slag crunches
the husk in a hollow room

ecstatic beds
take now your turn
to suckle
in the cool random order

image by Stephen Cefalo

Tuesday, May 29, 2012

Thomas Lodge

Pirate Nozzle [KLANK]

__ _-____ /-flet culm foo (*ii**>>>_______
_____________taw forg coom mud brisket aomallloyd____
b)))ozo((ogo________to ronk in adon(*_____---__--______
the comfortless harumphrodite or red giant clutch all candor mooze
the oracle such hart's tongue of good cheere upon the lost meander
fete coo fulm____________ grad mut heti hulo--____ a hairy
Palermitan please its plough an S upon alpieu crab ____F to lay
meno____--mosso oss-ia-___________P molto che pie persa-
turn over widgeon with sandy cerebrospinal arachnid- duramatter
effect ental ____________godly gliomatosis and meek meninx:

                                                                     hi haom m*t        rjpup
                                                                  s&h            sn.     nr;
                                                              Sac                  ao   efcee.
                                                            ot                       n  qlhwsC
                                                                       rw             s    le
                                                          c            o            rteniimuao
                                                                                     u eht  nn
                                                                             u>        r
                                                        o                  na          t
                                                                      t   nf           c
                                                       t              e
                                                      D        - e    t   g           gia
                                                      n               e   u             e
                                                                 dg   .   o s     tu    h
                                                     d       w        i   f t   s  g    e
                                                               t    t d   si a oa  m   t
             t_(dtssgaj                                      aa t  hMridedwð t>n     pe
            A to_     uhiiad                         r             s ehgr
          mhl sg_      i   w ad_  s       _uros cuNd ne         i  oa         >        e
         ano  n )a      p c       oainIemh-        !                 d     ie     B
        _   cae  m    s s   a_s   rl      mp       _                  t  pecte aw
      ___ledoamo l  lft       h_  e  d     ct       i                 d Yepems  h     ~
        _ se   _oo io   s e s- _r    a  e   alaaaswms           o     o eaopu    eaeso
         _  ul _o    o negsau_                        d         t+o    ystsen
          n  mo_  ksmo         Fssne lAenuoasacsr fe           ue d    deiesaa
           mr                                                   Q     rshleedh
             al                                                         a,rwdm  odsne
               _(yert agd,u                                          io vbaine new  fn
                                 aedt Tadlsmhrhoniesmi o    M       nt      ae t      O
                                                                  ceg         _
                                                                uf A h t
                                                                 ereorwreb   g
                                                                  eovd  rlr  n_
                                                     n      a        o   .ats _i eo  a
                                                                     b   S a      o
                                                     t              ei   a        n    r
                                                     .              ws   o
                                                      n              a                n:
                                                      on             n    f        tillsma
                                                       w             e    e      nbd-   et
                                                        r                 e        ii e
                                                        m                             l
                                                         a                            i
                                                         it           m               c ws
                                                           hns        ei             i  cl
                                                     s i     alre                  xc  u ae
                                                   sat go       utb               ne   nher
                                                  t      e         odw       h_qed     aeond
                                                in        l            btd—u             ag
                                               r                                       nuhn
                                              r          se                             pne
                                             e      t d— h
                                            o     uo   wo                 aski           k
                                                e      ez               bg    _         ow
                                            e             i g          tlie   _e       tge
                                            f          vtob ole  c   aAe airgn u       heaDd swRrl
                                             t        ei      Dm urnes   ds.h _     ceea         erf
                                             t        a                   a sa_el er    sp         tt
                                              n               e     o  ,aitaud                       at
                                              ds            sw           d                            h
                                               es     e he   i          tS           ni ,              h
                                                e                          l         u  en             e
                                                 w         n-          A   k       e p  m              h
                                                 ex a      ii~  e  i   d   n   a     m  e
                                                     on e             R    g e_    w e n       T       i
                                                  s    e     of  l f hT        hA    i g      i        t
                                                   oe   f   at   m  neT         de arN       a        s
                                                    s       -h             sdn  ndsb an,n;  etp   ea  e
                                                     n  e                         m  msmtm i  .H beoy s
                                                      ,   e   ue                (uo  eonsr     ! aaewnk
                                                           d  l la f aR eo    _h*  aa ko e      ntgri
                                                        m        l e  A     eo  _dotb cfl;      g   ek
                                                         de        t  S        i_e      tt       emn
                                                           -_                 _t        eo
                                                             e n           e u         ib
                                                                 eo.sdHad ei          ocas
                                                                         dceu           ui

                                                                       m tlohg_e rr
                                                                    itw           sela
                                                                   ss                am
                                                                 tp          h         sn
                                   ; e  eo                     hoh      s  n a_          t
                                  s  aHmr-s                   mir  ieon  eeL a_m_s
                                uis  oFge=L      l           r_ roi               a   so   h
                               tr    orHe_r     nlen       u_                           n   o
                                     e Rm      b   bae  eewa_a_ el  rn     A        i       fi
                                         _ee ie d   dd       x mddnn            _  nz         v
                                          s   te    i      m  _  u         S              e   i
                                             rir    h     a      tles      H    -   a    .noq  a
                             _               s  o       n         hia d             rne
                                           a    d       t   _         r   s          t           n
                             w                mae,          _    a    d  r          d       un   f
                                             tn; e          _            e          l     toe     e
                             mo             olt lln                                 ku            ni
                              na                sti          k             s L     fe             tte
                                g            u             a_e             c       h                l
                                 do        e       i     cf                  o_u-Sai      er         e
                                  nCed         l    iaf i                   g       wr  enq          i
                                     reA       e a nsO  r           n     sn         eird i          u
                                       Si    tat   g n            eg     ca               b          i
                                          on         e          f   kfwne  e             die        el
                                           hse                _m            z           s  due
                                               t,          t_              ;s           wsu        m
                                                  se  rt  o                 u          F li,
                                                                                       Lias  d   o
                                                                           te     gra.nAesaehvllu
                                                                            b     edfisHieneotece
                                                                                   -sg;Mew    t
                                                                          rko        o        ee

                                                                   éio db.grohsn_m
                                                                ecr        ltait_ug
                                                              _al        p oi    tnas
                                                            Ps_ l           s    ahcuf
                               aejioqi                    relu   h  w        yn _e er hi,
                             ee                          no  s_leipnor airiuooiuts      f
                            rn                          et  of                 rhe nk ah
                           s               ukrc        sm  r                       oi v
                                     cn   ke o eptt; Deue wea  ider
                         bc          htH an e  is    ea  c  re cu
                         e               lg    bu     t   a av_
                        s                pds   l      l a b      siu                         t
                                      a d  a,           l     _ ksn             e             l
                        w             s!e  mi       f         r n              Na             s
                                          snt      v         na p             lasba
                        io               stoet                  e            fs C              i
                         r        ta     ni se            e                    n               s
                          ho                iU                               hm     n
                           re                n  n      tyn                   al(obtt
                                      uS       a     ri                      ei*               e
                              do_a   e  n  _e  b orce  a                      u                s
                                  h         s  o    f  n   f          e      зeinls            e
                                   nu      _a       -        tae    moeln    ea   ute          t
                                     wn     s               ct ,setee    ong rci   ei
                                       Hws                ff          sNg the                 s
                                         , _s          efd           ma              u        o
                                            hh fin eih a            ne o  tan               pe
                                                                    .    m  h               wou
                                                                    e                       lhhnaac
                                                                                 o          tilmulu
                                                                    mt  oio                ixy  dec
                                                                      w                   euva  fia
                                                                       mp    e            ppe   ues
                                                                         tLn            omeouenenrn
                                                                           tel         edndiqmasAop
                                                                              c ac  cpel          a

Brief Night Storm's Morn (White Dart High Up)

A foolish accumulush mush of days gone past;
mint and tarragon meant lickerish vast bone,
or terra's agon, the inner geometries terragonal,
as if the functional asymmetric of bold wart stall
arth, or wereworth, were anything but a mobius
rubberband stretched to the limits of believability
an old-style prosthetic hook-hand's gracile saving
clamp, light sees such graspables within the murk
all brilliantine in once and uncess, inkomparable,
that whole great bulge, the snake in the meantime
of the swallowed egg, mu, sun parable to whether,
or garden's synthful booty in night rains, the nocturnal
thrash yielding but good morning, and a few extra
dew fleets flanking the ratty headed bamboo bunchies,
for here comes the klank of the alleymen, our coral
saunter of stasis attended, and moreover the whole
of the dendritic map a tingling of diacritical bubbles,
orgone tidepull awash, and where the diagram invades,
escapes to ether ore, the golden empty returning, its
rebuttal, nonesuch over this pause, as aeroflot rummys
the sky, the planar reduce seducing, the leaves of languor
a regalia, all tensility the mirror of the vascular marble,
a gentle intensity pervades, the crane dancing lightly
through the tongue's portal'd compartments.

Friday, May 25, 2012

Breaking News

The gallery will then be closed for installation from the 27th of May through the 7th of June. We will re-open on Friday, June 8th at 7 pm for the Post Moral Neanderthal Retardist Pornography reception. Please visit the exhibition section of our website for more information.

And Old Pot Floating Outwards (stepping down) [and out]

here they go again
to judge me and my
star barf shoes and
aulfe body all

limping up doncy
with their human names
while i myself
am only the troll-phat toil
of grandmother matter
Citizen Laugherty of low laird,
Cute McSheyme;

shemmy punk in a pot boil,
but here they come (again),
glorifying the same ten fags (luckys!)
their eutrapelian times, acroamatic friends,
atwite oi writan as per scratchi, and /or elagauntii, etc..

and who blames them
i often call out to Saturn, the ansa,
and the balzama of Diana,
when a jaggery grasshopper
emerges carrying
a crystalline baby torch
from the corona
of my libidinal font

who blames them
for dragging their
penultimate knuckles

among the fires of data
its stupid wrath, beaux-esprits,

in death I dance
and with a pink umbrella
make my song, en Via Recta

for a slave of dust
is musical if nothing else!

images by Folkert de Jong

For the Nine Wells, Nine Columns

tamble tamble
on the tump town
Fred aware
but of nothing
the dirt road
his hand
on an ivory gal
once a tusk
and now
a tactile gibber

the town
wasn't much
2 cafe's
and some tractors
among low hills
the houses blurred out
and only the chain
linking dogs
by the pattern
of barking


tamble tamble
old tibet
the butter tea
a bat just awakening
in the cenote* at Bolonchen

Eric von Euw
Erik von Danikin

and Fred
pulling crayfish
from the craw
of the funk
and the loud
slap of dominoes

bones shifting
on twilight tables
crustacean follow


come, camera,
come to be wed
where the mathematician
and spider linger
where the netsuke'
holds its globular magnet
as a crown
bluesweet cuss its
hips, shoulders,
or elbows cop


let them all spend
etarnity togather

long verity

*its wit corrupted
into sign

Latin Lagoon

for what runes
in ruins' shadow spared
parsed the hammock's
chain in havoc's inch-
ing mirthful brow

the Mottled Emigrant now
knows all and pulls
from the mingle-mangle of
base adulation a code
not commonly comely

but only interstitial
to the pointing lines:


bulling it on
toward the shed
where Clay Fanfeet
tangle in the rustic
grain of the cranky

now feign

Zizyphus Lotus (Be Nature Dumb?)

Lake for mare
And light for Sheriff,
The twin mangled mullions
Leg along the wide plain
Cut by scrawled elms, and
The extra bodies,

Now anxiously dovetailed
Into softly sanctioned sands,
Seem as music rising
While the living sun
Must sink, as the search
Term, poison perahera,

And then the mare drinks.
Olga looks upon
The Map of Love,
But only where no tires
Roll, only where
Mohammed Sharif

And the Rippocks
Spur, and scry
Among the oval canyons,
And the good Sheriff
Of Nottingham muses
In irrational hypothesis
Around the lake, in robes
Made of screeds:

Let Prester John (of the wilderness)
Perform the spanking
Of the Mongolian women,
Having scruzed out of his
Carrion course, the
Lothfull life of letters.

[and there he rolled out the rhesis
and wielded its golden length.]

Tips for Applying for Poetry Fellowships

Poetry is considered a specialty industry within the world of writing. Poetry enthusiasts are known to be some of the most rabid devotees to art in the world. When poetry really speaks to them, it is often widely circulated and recognized. This devotion to poetry is often why you see many wealthy backers helping out poetry fellowships the world over. If you are interested in applying for poetry fellowships, then there are a few things that you should keep in mind during the process. These tips can help you stand out against the backdrop of your contemporaries and get accepted for a fellowship.

Distinguish Yourself

When applying, you need to stress what it is about you that makes your poetry so different from everyone else’s. This means that you should carefully select any poems that you include with your submission. Don't include poems about things that everyone could write about – such as poems about nature or religion. Find the one poem in your collection that is the most uniquely "you" and use that one. Also, you can distinguish yourself through studying writing at a college like one of the many colleges listed here.

Be Tenacious

You need to recognize that there are many people applying for these fellowships. To remain memorable, you need to be able to keep your name in the mind of the selection committee. This doesn't mean that you should be annoying or overly persistent. However, you should make sure your voice is heard and that the selection committee recognizes your diligence.

Putting It Together

In the end, the selection committees for poetry fellowships are very used to seeing writers that are in love with their own work. Show the committee of the fellowship you're submitting to that you are in love with the medium. Your lack of hubris will speak volumes about your work.

Thursday, May 24, 2012

Wednesday, May 23, 2012

A Note

And Perhaps to think of R's Willard Gibbs in terms of a Schlegelian joke, and the unwanted,
unsanctioned book, "a love child, an agapic collusion, a clever metaphor on basic romantico / ironic principles..

Schegel laid all this out, and performed the first chuckle, the palikir qabalik vocalik volcanik ballistic italic crab-like Balinese chuckle..

breat stur no, i rasberry, gimme, glimmer the knowledge that keeps rising up..

The Sirius Dignetty of Hyle (PLURV)















Resurrecting Kooks By Candlelight

"Prandy was the best menstruum for onions and sheese." 
-Tobias Smollett, The Adventures of Roderick Random.

What reason
to revenant those, these,
resonant (theose) chains?

Why read him?

A few leery green winged lemurs
carelessly circumumbulate
the fountain of pearls;
each pearl slicked with some
fragrant oil, no doubt, of
herpetological origins,
lavished in lavender
by luminous provender.

There is, of course, the
temptation to regulize
the meddle, to wan the
Herrenvolkish foil
its pruinose gannok
w/ keen and tuilyier tusks,

And so all reading
a resurrection, a reflexion,
and the reader, a final
miracle, but what
possible Hudibrass
could a kook's languor

Aye, world a butkin
in lithe gigantism,
for all over the tree,
strange arcs convey
the seedling's arch
translucent organs.

What indulgence?
His best rhyme
was Cathar to
Catarrh, which
flowed down
purely enough,
but figure, go.

Tuesday, May 22, 2012

Eric Satie Log Kok Ku

cat[b]a fair noco
l ina docom
Raw Sea Mouse Child

gansigt gasps piu
azioni azuri poviri
rempo docom longphuirt
zitterblase flowering lard

Curio do breitfh
ina eccrnais fein
sagaribobo hexenfuss
irogoto phantapus

 robudh chonach gan cheol stern
wuermer ketso o fukya
ed ad-c[h]ualamair-ne
black goose-high upwarp

frog on a hill (very sticky!)
may not tread on
seriously cool namako
spricht : Щ рШ! щ

cat-like purring
from inside the dried foetuses
all-doory and gold
in pickled black magic

science gossip hypopus
lynx-eyed acupuncture
to practice pale yellow
tactile hairs

ten protolithoterpsichoreans


The soul selects her own apostasy,
Then shuts the door;

On her divine majoration
Obtund no more.

Unmoved, she notes the character pausing
At her lewd agate;
Unmoved, an emperor is kvetching
About her material.

I've known her from an ample notion
Choose any;

Then close the valves of her contention
Held in the bondage of ten bald heads.


o how they stalk alone

the unparalleled void,

and with each step

sink deeper

into 樸.

This poem would I guess be a little joke, a joke about echoes, as the  character is sounded as pu, which
translated means uncut wood, a common metaphor in Taoism for wu wei and the concept of jian, but is often translated as 'uncarved block', which to my semantic ear sounds a paradox. A block signals an implicitly carved form, one conforming at least to some principle of a basic vernacular of geometry.

In the image above, Boccioni's Unique Forms of Continuity in Space, the figure's feet are resignedly block-like, and if we can get past the expediencies of the sculptural prop, ie, the plastic manipulation
and inhering of the concept of base, there is a curious entre' to an inverted symbolism of possibility.

There is also the curious relationality of the title to the figure. If Boccioni's Unique Forms is, in a sense, performing a figural singularity while implicitly signalling the plural, whether it be of populations, psychology,
actions, etc, then what we have is a complex symbolism questioning both the notion of singular and plural, and created and 'uncreated'..

In poetry, or in thinking of any kind then, this could be a recognition of something like suchness, ie, formlessness, or rather the relation of the informe qua form. Something carves both, or Carving somethings both.

In terms of the 'action' of the figure, it is purely formal, and enters into the long discourse of both sculpture, and the divine, namely in those specifically Greek notions of the divine which existed as conversations between the valorization of stillness and movement, and whose resolution might be said to exist in something like the Contrapposto poses, which allude to a moment of cessation, or the tension, or possibility of change within a form. But even more, than alluding to these debates, there is the possibility of an iconic reading of the figure much more in line with standard emblems of the Tao, the Taijitu.

Here's the wikipedia entry for pu:

Pu (simplified Chinese: 朴; traditional Chinese: 樸; pinyin: pǔ, pú; Wade–Giles: p'u; lit. "uncut wood") is translated "uncarved block", "unhewn log", or "simplicity". It is a metaphor for the state of wu wei (無爲) and the principle of jian (儉).[54] It represents a passive state of receptiveness. Pu is a symbol for a state of pure potential and perception without prejudice. In this state, Taoists believe everything is seen as it is, without preconceptions or illusion.[55] Pu is usually seen as keeping oneself in the primordial state of tao.[56] It is believed to be the true nature of the mind, unburdened by knowledge or experiences.[57] In the state of pu, there is no right or wrong, beautiful or ugly. There is only pure experience, or awareness, free from learned labels and definitions. It is this state of being that is the goal of following wu wei.

In my concept of syntaxis, I have aligned the concept of movement by discrete steps, with that of cognition through discrete concepts, or indiscreet concepts as the case may be, and I have over the years referenced things like Deleuze and Guattari's 'schitzo's stroll', ancient Indian poetry, etc.., but here is a chance to create a kind of neo-Contrapposto, and not only a valorization of computationalism, but a way of giving a determination of the marker 'mysticism' which would refer to the contextualization of the computational element within the infinite series, and even provide a way of providing a caveat for an infinite series to become a discrete computational element.

One can still speak in a specifically Taoist mannerism and achieve scientific relevance:

What happens in heaven is unknown, and what 
will become of Earth cannot be completely inferred,
but intention's direction may at least be given a name.

Non-linearity exists only as a lacunae in perception or expression, even when perception, or expression create the lacunae in advance.

So now, to draw together these few threads, I present this Cheap Conceptual Sculpture for yr edification:

Parsing a New Taothenon

Conflating templus and templum in meaning, the basic architectural form would be circular, telescopic, by extension, approached on all sides by stairs, and Boccioni's Unique Forms would be replicated as a series of columns around the periphery, the figures striding outward, and inward, by alternation. All the stairs and the columns would be black, and the roof would only be a raised planar ring covering these columns in the manner of a stoa, and also black. The inner region would be represent by a gigantic smooth white egg rising out of a toroidal mote whose surface is patterned by a tessellation of black and white meander patterns. The door to the egg is a black hole, on the other side
of a solid grey bridge.


Heaven and Earth are vast,
and every direction one travels
are wonders, and one reveals 
wonders and terrors.

Matter is innocent and perfect, and 
every achievement is created by small 
steps, but also every achievement is 
a small step in the realization that 
only in stepping, continuing, what-
ever the consequence, can the way 
come to be known.


Q: Phenomenological praxis as telos?

A: Irronic omen, Praxiteles (Gliccioni) [agency]...

be log. (laufen zeitentlang)

Adolf Cube Maw Interbellum Stitch-Myth-Girder

loose zaumplan
verses plan vibre
to the general acumen

tranya local
at night the flower infurls
with twin pearl vortextes
one at either end
of the zeppelin

using cold teeth for ice
in a heated head
that cups the leaves
of grass that cup a saw
blade massive pink
cylinders hide the entrance
to the particolored underworld
born in Brno

Tzara nourish the baby minotaurid
in the theater box of the Villa Müller

no fistula San Tropez
woodchuck woodtooth Apollo
Tristan assualt Gesualdo
with an impure ivory plated biuldung

aspire to carve lethal fractal domains
from circuses replete in diminished surgical

for all casual bondage
suffers surfer's humor

the bald yoni
in intelligentsia

zeppelin stardate Tzara
casually its spidery hands
take apart the model
revealing an unexpected
egg-like inner space

and Apollo
a small pink piece
of macaroni
filled with squirming
girl cheese

Monday, May 21, 2012

Its Unexplained Occurs.

Secession Hall.

The yard suddenly grown up,
but the heat, the new daily heat increasing,

a nature shorn.

Autonomy enthrall.

The language suddenly grown up,
outgrown by the physical heat, the sacrificial
victims, wearing their own unique costumes,
the camouflage toward a unique universal,

a nature shorn.

paradox totalizing.

Along the stoa, where strawberries humming in their red,
where whispers humming in their shells, in groups, for groups
as aggregate soil, as soil toward a unique camouglot.

The El facing dissolution thusly: | _

And thysly: A hand signalling halt, and a hand singalling lo,

this food, the universal paradoxical gift, beyond its past into which,
that birth, that only at birth, does community, as the universal unique

frozen piss magnet.
Igor. Kant. Klimt. Show.

Summer, her back turned to face us.
The old man, chilly on the beach,
his gigantic body, wholly


the largest sphere, sporting twin curving conical horns, the center of which (as an implicit circular circuit) lie along an equator, and whose tips lie above the same equator, and which clasp, by a similar method to the setting of gemstones, a smaller sphere, which replicates the largest sphere, but whose horns and subsequent sphere set lie along a perpendiculat axis or equator.

Geommunity confer.
Commutativity engenders narrative within the aggravated and universal unique
as the paradoxacal rewriting of modus ponendo ponens as

the 'modesty' of 'a poem overturned' is 'poems',

and further->                                   

pic res spur,
o curse...

Gull Brew, and Brighten Companion.

Do you have any ink-
ling how deep the pondering
well must travel, the heels tapped
down to release the slippers,
the rotation before the all seeing
moment when the desk's
great and severe eye,
its soft quiet, the land,
silent, when all in every aspect,
the morning, or before,
children interlinking flowers
beside the telescope, and,
and, and, diminutive effect?

Do you?

If grave targets coalesce.
If folds of cloth and arrangements of feathers.
If attitudes in every abode.
If particles surround by which.

Do you have any ink-
ling how far the mutation must travel,
the socks still warm
near the smoldering hearth,
and Peter

as if pi were sess
in seas of cessation
the frame alvolderline

picket the halo toward
if fallow

if fallow linking the
flowering children
Do you?

quill telescope
quill wheel
quill surround which

by abode coalesce.

Friday, May 18, 2012

Touloulou (Cheap Conceptual)

i love giveleap
think before
all godard social malkovich

malkovich malkovich
big ship explode

the little white girl
on the staircase with the donkey
her black ass in hebrew
i love giveleap the orchid drug

they steal the paintings
the captain goes down with the sh

godard written twice
i make it inside you
dirty pixel

P. Gonzalgo a toeshoe
smell it, marx foot
they steel the ships

i givelove leap
think outside
in colour malkovich

godard portuguese
not white girl or
ogre virus malkovich

her lips bigger
love hebrew dict
ate her malkovich

made off with more
godard caption
stubing captain

Isaac his son
so black so dark
vvork finished

the savage soul of Pascal
my own private
rotten tomato

her malkovich

is Beowulf afterwards

changeling gardens
of the night

Long goodbye:
Cintra, Almeida,
and Silveira

triple Malkovich



noof noof narfen
cunfoofa kinfafa

flir fon funf
abfon fonfi foll

unfh arnfh

pfeti filip

fli pli ponh pol
pepi midget


let them ballerina

noof noof!

image by Alfons Walde


An almost svelt wannabe hotty share of FB sips 
a well-hung latte' securitization analyst's 
nipple decoder nosering,

whose Ducati cellphone calling-plan's
mortgage fitness instructor goes abonding 
w/ push-up bra capitalization scheme..

With a noted 'gives good PE',
building up its liquid assets, finally (!),
a rapidly convertible conversion futures instrument
for T-Mobile's sub-prime IPO called

lays down a streaming webcast to debut-tantra-size
the groundwork (live)..

Some post-crypto-faux Latina 
trust-fund munching legalismos
are watching this live on Facebook,

while negress petroleum industry analysts
go LIVE ANAL on the drilling platform, a nod
to the offering's deep penetration
among post-Euro Greek currency trading
Cerberusian laptop toenail fetish phone phreakers

who / sell / have / offer / their own IPO
which is a securitization of a neo-faux-crypto-fascist 
backdoor Islam hyper-post-faux-crypto sub-text hack 
called Hotty Slave Cloaking Device; 

Some hyper-modified disembodied super-hotty 
brain-ducati-cellphones are in a latte' hottub
playing w/ their virtual nipple-keyboard options-trader avatars'
stem-cell mating-game with a chemise thinktank tubetop
of rogue Facebook profilers, whose mobile app brokerage
gives a barrista Scope-bong cellphone-nipple-fellatio 
on Facebook,

whose Walther Matthieuaw PPK Barney frozen Vasoline 
superconducting laptop put out by (Barneys / BMW)'s 
hotty piss securitization applet's IPOT bongphone futures' 
conversion template which vividly telecommutes
to a rapid prototyping faux-post-neo-crypto-fascist 
nobby nipple tire dealer's exorcism convention
with the sole aim of bringing out an IPO
for snowtire applet-golem nipple rings...

A braided Bo Derek nipple-hair corn-row-cellphone-brokerage
takes its Columbian highlands Ducati ICOKE-free basephone
to the [Free Trade Zone Ball] in a delitteralized vagina's
paramilitary crypto-Baptist faux-Jesus-DNA "gene jeans"
with their patented crotchless double-dong cellphone strap-on
API brokerage with big-breasted Asian hotty analog avatars
made from squirming coffee colored negress securitization golem
uprisings. The PE looks goods. Deep penetration is expected.

A non-semen producing IPAD ANDROID blowjob's boner's 
laptop's hotty fitness cartel's X5 Islam-hack gives cunninglinguis
to a faux IPO crypto-fascist information society's giddy fetish fashion 
thinktank's CO-CEO nipple-boner-antenna collective's mansome 
gallery co-op's coup d'état by private facebook email aggregator service
denial. [The crypto-neo-subtext reads: GATOR IN NILE STOP].


Let your inner brown-yellow-off-white-pink virtual hotty boner laptop
come to the debut, and wear a 4G CELLPHONE NIPPLERING
for all of MS. ARTEMIS's 444 4D 44 double D breast enhancements
giving their android hoohaa on the touch-screen's virtual clitoral
hyper-neo-crypto-dildonic apparatchick.


Some brainmeat in a thinktank chuckles;
tiny bubbles, of latte' laptop IPO world struggle securitization;


FB sucks!

Thursday, May 17, 2012

American Animal

no no nonononononononononononononononononononono!

Nearest Neighbor (Ralph Nadir)

Scarcely  a moment goes by
when I am not Ralph Nader:

“What then is the heft of our collective vomitus, O Haruspex?”

What then, or by what will,
would Lot in infinite vision, turn away from husbandry


What fox
does not revel at
being pulled from its hole
and shown to the sun
as a red stain
before the galactic panting?

Scarcely a moment goes by
when I am not the destroyer of worlds,
blank, capricious, and wholly mad,
a whirlwind of indifferent formality.

no entry
no exit

hex tree
try it

the elegant vomitus of nodality
its heft
as the leaping fox
through silver brocade //

I dream of dead Nietzsche
in a space suit on Mars
his skull like a bird’s egg
sheltered in the nest
of an undead mustache//

now go on
you have to be scary today.

Last Day

(Agallop At Moment's Clasping)

And the banks
with their trunks
resplendent dawned

according to the press
liquid banners
from their luminous
arrow loops

and the images
like faces
rose upon the walls

such red petals
paper its ever-ranging

And in our metal gloves
hands like rabbit heads
munching diversion
before the all-clustering
and concentric wood-lice

and our stomachs
like crimson rabbit heads
were made into peace
according to the press

and the divorce from all things
from a candle of captured weeds
from a flame of dismay

And from the edge of those
skilled in romance
a cancellation confirmation

a pale pink koala of plastique
whose tricorne
was fashioned from unzippings

the mirrored cuckoo
announcing to all
the frankish dread
of unsummoned places

who could not still their hearth-like mouths?

one total accord would press
and final fist
before the cuff

each cheap angular worry
fish-mouths rocking suck

the forlorn heart song
pebbled late upon
the creeping

Fruit mûr à la chair ferme [sama hetoimasia]

our fruit demurs on the chair of the firmament
a single Anth(r)ocyanin star brought down
to rest in rests by a chain

figured as vertebral zikr
whose laterally branching
components of Seamanite verbs

relate the same inestimable physical totality
of latent invocation through their
arrangement of magnetic rare-earth i(rr)ons,

and like the music of Chopin encoded
through a curling vibrile cut-crystal Megastrobilus,
the figure of constructive memory

is not a star that dwells apart,
but something ever being brought down
in charm'd magic casements

templum / figure / being
inscribed by no visible mark
of the lituus-language in the heavens
or on the foam of perilous seas

but only be movements
caught up in the melody
of the universal phanerophuein

all anacampserote
sense awarded
to bizarre distinction
(mirabile dictu)...

Wednesday, May 16, 2012

lazy rune