Friday, August 30, 2013

Necromancy Tu Jour: Ochs von Lerchenau Who Climbs a Mountain


It was a from a kid named Herb Salad. Que Sera, Sera..

I don't pay much attention to me, surpise, equipment will do nice thing, what are we fighting for?
The jungles of Arn? Back? Finer. Froze spit hanging in the sky.. Jack boot trap.
Can't even bury him.
Should I go back home, and do things to myself?
Tim spawned just one kind.
Order for no one.
Pisco think Solemn?
Yomm Kippur, trumpet plug.
the original sound continues on
as a bifurcated fish
like a trident
whose gentle curve
a cock:
Ochs von Lerchenau

Any incidents with the dead german night?
no sir!
[sound of sirens in the distance]

safe evasive action.
to me.
Mr. Pippin!
Come swallow all these men.
That's next to the glasses.
we knots as horoglasses come in low.
new mic! no bottles!
Be careful. no nipples.

The retractable electrified flagellum
is a weapon as well as a method of communication
with others of its kind.
The invisible mirror of oxygen, orc's gem, culture.
It's slips off healthy. I'm gonna get a big bag out of this.
No one.
mandatory face the rails (lawn mower)

Bad Genius!
Worsh down the hole.
Hank, slow up. Hank.
Don't figure, kid, Google did that.
Sol Losh.
You've never seen an Aryan blaze.
Yes. To keer what dippers made a farce,
as here on land.
All I kneed is the Irr that I breed, and to lump puice.
Of course here tonight, we're closer.
What did I do?
Some watch.
Is zis okay Zisso?
I'm just gonna watch you, sir.
Well, what do you say?
Just gimme back my watch.
Innocent man talking to you.
Hiss eye.

I need to protect this sensitive boob.
You didn't have to protect Reafrika.
That's why you made it all out of gilt.
She sokes your excuse.

lucky fer me, personal kids.

I'm the dry kissing 
first one.
Stop calling back.
What's purpose of this hall?
Say Ear Ha / Muhu Ha
Everything in the world is thirty words.
Your name.
Adam Hirn.
That's all the other language ever knew it!

He's staring that's all.
He knows.
You can see it in his eyes.

I don't want his eyes following me around for the rest of my life.
Sarcola POW feel better.
it drips down on you've got a chance bald Laszlow.
No jawbone cools A-side up
in the diagram.
yep. ju get it?
40 bux.
i'll do it my way.
wheat nuts.

Introducing little Canada Rosy.
How you gonna murder a guy like that?

I'm gonna hack the infield.

hook that! hook that!
I'm gonna tell you about a night dancer!
go back up my borscht hat.

aerosol all over the bribe space.
i think my own crabi crab.
yiknow sumptin>
He said REAL AXE
relaxin' OVER my sweater
is CHAMPION of the world
I'll let you hold my money while I waltz
Don't forget me son
It can't be JOY!
ding dong!
solid gold forks
you're not fun at all
next time
doing labor
gunchy plus bastard!

hey milieur
you started this war
and you aint got nothin
aint your brother owns a chinese restaurant
down on charlse street
This was a good ship
and I lived
and I'm the one in the stuka
luois deck gi-ana
now its all mellow violin digrams
i gotta play me
to what
can i live here a couple of days
hey hey?
Its duricious..
I gotta do it.
I gotta do it.
Make his face Zoe.
follow me.
his eyes.

Why do I gotta do it?

There you go, Cobra.
Top black.
knows shoe.
He says he owns you.
he's right, that kid.

Hold that thing over my head.
It's private.

Derivative Risk

Stultus factus est omnis semita nisi mirabitur. 
~from a letter of Brumachius to his wife Frigia [4.20]

A fasciole of a
spatangoid sea urchin will
utter the connective clew

Computational Irreducibility

inertia, or meditation?
or phasmidical barrier
reducing explication?

y: the path of the firefly
passes by the knights
as they appear to be

y: in the cool autumn evening
the odd fellows camber
polt and grue the [4.20]
external semita (graond-grille-fond)

y: now the path rounds the hedge rose
and slopes down to the patterned field
where the dolls amass as
laser skinbloom [steeple]

y: the flowered knights led
them (all) along a path
there the gravel was of number

y: one knight of orchid quill helmet
and flaming halo liquid bee
should touch the tail (he brings)
to the wheel in the earth

y: and we all 'in happy stopping'
reveal a number to the moon
our cafe' ALBoTROON
these flaneurs kiss kraal edewen

y: now luciole the latin
firefly knight will breathe
upon the gordian wheel
and double doubled its
tool fed semita for knights
move flashing in the fog
of orchids

Tuesday, August 27, 2013

A new Religion of the Grotesque Part 2: A Homeoteleuton of Origins, Rhyming Figurality, Transcendence, and the 'Irronic' Gaze

In the first part of this essay, I began with the example of rhyming figuralities as a way of introducing nested echoics. In this second part of the essay, I would like to perform a more complex action of showing which is itself an echo. This enaction of echoics is something I usually call 'irronics' and is really a sort of structural rhyme whose connective are transcendence itself, or simply 'unknowing' or what is usually termed coincidence. Consciousness, Monstrousness, and Coincidence; What sorts of things are we coining here?

As rhymed endings go, Consciousness, and Monstrousness illustrate a perfect homeoteleuton,
but there is another deeper rhyme afoot between the two, and there is a long tradition of both explication and concealment of the fact, both noted and noticed, and unmentioned and unknown.
Firstly to describe socially ascribed to connectives. Since I don't have my OEM up and running today, we'll have to rely on Wiktionary, as sad as that makes me, but using it reveals just how easy it is to find this information from anywhere on the planet.

If you trace back the origins of the word consciousness, you come first to this etymology:

From Latin conscius, itself from con- (a form of com- (“together”) + scire (“to know”).

Note, here we will pause to interrupt this explication with an example of the 'irronic gaze', namely,
see in scire, the word 'scary' and 'sire', also 'sere', 'sear', and 'seer'.. This example of nested echoics is a good one for showing a kind of 'motivated structural nodality', or what may only be coincidence informing the designation of a "linguistic unconscious".. continuing we find:

1. scīre: present active infinitive of sciō "to know"

and then:

From Proto-Indo-European *skey- (“to split, to dissect”), (compare Ancient Greek σχίζω, Avestan [script?] (fra-sānəm), English science, Proto-Germanic *skajjǭ.) [script?]

Wiktionary's page on sciō, has a wondeful sentence by way of illustrating usage:

Scisne ubi habitemus?
Do you know where we live?

I know carnally.

Carefully note the look of the word 'scisne', and how it echoes our familiar prefix 'schizo-":

From Ancient Greek σχίζω (skhizō, “I split”).

Now, moving back up the chain back to *skey, notice an echoics with sky, or ski, or skew, but also notice that with the s effaced we see a 'key'.

Note: This discussion is meant to inform us of a kind of rhyme, or of the 'irronic gaze', and not to formally suppose linguistic association of the traditional sort, though there is some suggestion of a completely traditional context for these echoes.

And so, at this point, in deploying a sense of what an irronic gesture might entail, we have in fact enacted by action a rhyme with the etymology of the term consciousness itself, we have found by dissection a 'dissection', but dissection itself may have more than one sense, or 'translation'..

Now we will look at the term Monstrousness which procedes from Monster:

From Middle English and Middle French monstre, itself from Latin monstrum.

Wiktionary does not include the common resonance with "monstrado" which is often listed as well, but we will return to this:

monstrum n (genitive monstrī); an evil omen, a monster, monstrosity (by extension) a thing that evokes fear and wonder..

From moneō (“advise, warn”).

It would be amiss if we did not notice here, the irronic echo with "money", which as most contemporary critics warn us, is already a "cautionary tale" about representation, however you skew 'that term'..

present active moneō, present infinitive monēre, perfect active monuī, supine monitum
I warn, advise. I remind.

Via memini from mens.

And so we finally arrive at the 'perfect', 'true', or depending on how one takes it all, 'irronic' rhyme
between Consciousness and Monstrousness, namely, "mens":

mēns f (genitive mentis); third declension mind

From Proto-Indo-European *mn̥ti-, oblique stem of *méntis (“thought”). Cognates include Ancient Greek αὐτόματος (autómatos) and Μῆτις (mētis, “wisdom”) (?), Sanskrit मति (matí), and Old English ġemynd (English mind).

And now, to create another 'perfect rhyme', but one which is immanently suited to the display of 'the irronic gaze', I would like to present something which I am sure most people have widely seen, namely, the famous painting Las Meninas (Spanish for The Maids of Honour) which is a 1656 painting by Diego Velázquez, the leading artist of the Spanish Golden Age, from the Museo del Prado in Madrid. Note: Attempt to consider the painting as both a 'dissection' of the painter's craft, but notice the 'dissection of perpsective' which procedes from the composition of the frame!

It is my contention, that the "key" to the painting's proper 'sciolation' is to return a missing 's' to Las Meninas to create 'Las Mensinas' or to 'irronically' concoct the title "Lost Mensigns", a monstrous act of departure from the given, but there is some basis in this. For one thing, menina does subtly rhyme with memini, or at least in its parts, me-me, and min-nin, and furthermore, when we look into the history of the painting, even into the most cursory of interpretations we find evidences, if only subliminal ones for the germaneness of the rhyme I have proposed, but within this interpretation we will also find, the seeds for our next discussion. And look closely at the image, and compress and alter it, the image in the deep background is vaguely 'parental' or 'etymic'.. Figure this image as a kind of silent placeholder for an enunciation of the two figures in the foreground.. Is one menina whispering memina to the other by way of iconographic echo?

Las Meninas has long been recognised as one of the most important paintings in Western art history. The Baroque painter Luca Giordano said that it represents the "theology of painting" and in 1827 president of the R.A. Sir Thomas Lawrence described the work in a letter to his successor David Wilkie as "the true philosophy of the art". More recently, it has been described as "Velázquez's supreme achievement, a highly self-conscious, calculated demonstration of what painting could achieve, and perhaps the most searching comment ever made on the possibilities of the easel painting".

So there, in one stroke, do we find the ground for our 'Religion of the Grotesque' as discovered by the 'irronic gaze' in the Homeoteleuton of Origins between Consciousness and Monstrousness.
To complete the picture, and to give further, and traditional credence to these claims, I will here insert a google books frame which does include the missing etymological element of "monstrado"
which includes both a theatrical sense, and an imperative to impart knowledge, to show by display, and which completes a further of irronic echo of this text itself as a nesting of nested echoics, and it is from this Theater of Knowledge, that this 'prodigal surgery' will continue afterwards with another inserted page, a medieval example of monstrosity figured within a primitive mathesis
of numerology, itself an echo of the 'irronic gaze'..

And so to recap, and make some slight emendations; we didn't quite get to Flannery O'Connor's so called "Religion of the Grotesque" as part of an echoic structure which reveals Post-Modernism, Surrealism, Dada, Folk Art, Modernism, and indeed, Theology to all be parts or reflections of a single self-elaborating process, but we're getting there.. It is also useful to note that at its possibly its 'deepest' layer, the term techne as well, is a reflection of monstrado.. In Indra Kagis McEwen's Socrates' Ancestor: An Essay on Architectural Beginnings we find this (and you can find more if you read it):

And it is important here to notice the symmetry of nuance, all at once, between 'Platonic remembrance' as production, Post-Modernist textuality as contingency, and Post-Structuralist immanence, or the decentralization of agency, which in a way conflict, but only if one read's any of these with too literal a gaze. When we look at the history of mathematics and science, art, etc, we always seem to find these prophetic forms of unfolding. Quickly, one very good example comes to mind, and it may be nothing earth-shattering, but it has played a large if quiet part in our contemporary scene; the discovery of a completely perfect rhyme between Boolean algebra, and circuit design, seems as if fate were something more than the vicissitudes of an accident of chemistry, and something more in line with a temporally distributed consciousness, but that is beyond the scope of this rustic inquiry..

Monday, August 26, 2013

A New Religion of the Grotesque: Part 1 Rhythmic Figurality and Platonic Post-Modernism within the Pluroma of Discourse

One need not look very far for evidences of an ancient figurality of rhyme, of rhetorical deployments which 'exceed' simple sonic assonance, consonance, slant, pararhyme, alliteration, homeoteleuton, syllabic, perfect, feminine, dactylic, etc., and move into the conceptual register, even as they include it, as well as occlude it, in some sense, by a figurality of rhythm. Here is an illustration of my original contention by way of an example from Rhetoric and Rhythm in Byzantium: The Sound of Persuasion By Vessela Valiavitcharska:

It is perhaps no accident, or if it is, a happy accident that the quotation ends with a limning of a transitionality, as well as historiography, for it is to transitionalities, and antithetical expressions
which I would like to turn my gaze, and in homage to 'the Asianic style', my transitions may be assumed to be 'choppy, jerky, and childish' as per Cicero.

Firstly I would like to call attention to an oft quoted detail within the corpus of Plato, namely, that Plato believed that the "search for truth is nothing but an opening-up of the soul, with the contents that are naturally within" (Meno). Socrates rejected the word "teach" because it implied "filling the soul with knowledge poured in from the outside." Knowledge, therefore, is recovery through acts of reminiscence. But before we compare this detail from Plato with a set of themes which have arisen in Post-Modernism, let's assume the reminiscence is being performed by the brain of Maxwell's demon..

To compare to Plato's mnemonic demonic, or "Isocritical" opening-up, I would quote from Hal Foster's introduction to The Anti-Aesthetic: Essays on Post-Modern Culture with special attention
paid to the usage of the terms "open", and the qualifying of textuality as itself "allegorical" or "already written" and contingent:

But before we decide the rhyming is complete, there is an alternative example of Platonic 'opening', or 'synthetic contradictions', or "the opening up which is not unlike a closure" from Marshal McLuhan's Notes on Burroughs (1964):

Today men’s nerves surround us; they have gone outside as electrical environment. The human nervous system itself can be reprogrammed biologically as readily as any radio network can alter its fare. Burroughs has dedicated Naked Lunch to the first proposition, and Nova Express (both Grove Press) to the second. Naked Lunch records private strategies of culture in the electric age. Nova Express indicates some of the “corporate” responses and adventures of the Subliminal Kid who is living in a universe which seems to be someone else’s insides. (Descartes' Evil Genius?) Both books are a kind of engineer’s report of the terrain hazards and mandatory processes, which exist in the new electric environment.

You can read the full text here.

Possibly the easiest way to visualize the echo between Platonic philosophy and the vicissitudes of Post-Modern theory is to create an expressive visual dyad, itself a rhyme of sorts, or echo:

pleroma / pluroma

The gnostic figure of the pleroma with some leniency for 'choppy, indiscrete' characterizations is one which views the human body itself as a kind of map of the universe, or holographic inverse of the totality contained in the part.

The pluroma then, must in some equally mysterious materialist way equal the concept, and it does so by simple brunt fact. Life on earth is the only life we know of, and until it is not, our world view will consist in an opening up, a pluralizing consistent with our particular way of organizing
the statistical mechanics and information theory of our own world-self-body.

In part 2, I plan to discuss certain echoes between Post-Modernism, Dada, Surrealism, and the Grotesque while at the same time showing how Modernism itself fulfills certain definitions of the grotesque which have inevitably led to Post-Modernism by some accounts, namely those of Flannery O'Connor as portrayed in Marshall Bruce Gentry's Flannery O'Connor's Religion of the Grotesque, and Hal Foster's The Anti-Aesthetic: Essays on Post-Modern Culture.

and lines

the prince its, feat dispell, one for the, line
to tell, but the line, had risen higher, above
the lining, and the series, set sere seers, above
the line for, underneath its printing, was another
once, untold, that basilisk fume, whereby our songs,
sounded delimitings to, cherish, perish or prove,
the roving eye, a minstrel letter, led, its leaden
purse, proved curfew, and the languors,
consumed the line, and the careening,
dread looked all, family askance its,
kenning tiers, and all the, tiers
were fed, through the obvious,
courtier of the, same sound regal,
origin, a face, whereby the object,
could be known, but never touched,
to entirety. and, how hold the, snout,
where the wind, its dear antler, sniffed
out from, the ear so, crimson cool in, clover,
and where the, pool sloped to, the lip and, sloshed
over, there, a form would, defeat another born, the
sound of, its other ahover, like a plover, cunning wrist
which, bent the bay, and florid amethyst, corroder what
could, consist the recorder, where further sounds, sent
years away, to torpor, I hear the, hart to the prince, its
line command, and come what, hand to feat, what fell
beneath, to order the, clover, snout prove fume, the
obvious sorter, the same perfume, the same hart,
once wrath, its printing another, prince to tier, the
tiered eye, and all the, balconies of that, terrible
frame are, alive with engines, and lines ______


and sew it ghost, the glimmer in the fog to ken the mound O nepārtulkojošajām, our qimiz clutter remains, an egyetemleges upon the deathfulness of dostředivá síla and flaies itsealfth thying by the laime where the meethwrex hwinterths fulgwelthpodur upon the desautorizan keyhole's saļajam bonfaro, the reassureth twitter in the ell wouldst fiptame the occurro, our adhérèrent наранях affects fleeting сузивати rinviterebbe heirs houri the clamping foil, their nievas clutching almendradas whose strings are clipped by the carapace chatter of the ghost toque variablic chefão foon, awl bluke-set its comthrop ween, the sterg howl's hollow bitter kajava kittiwaking the erodens limpid molten sex skins of summer blending into reign, reins, raining over the meandering hollow log, our voice home and prism limned line and so it goes, the glimmer in the fog to ken the mound, ptah, placenta, horned snake moon daughter reading images in the pools, the and so it goes, the glimmer in the fog to ken the mound, ptah, placenta, horned snake moon daughter reading images in the pools, the

slight cuticle pain text 4106 RK75

frame-pule add such sumple summons RRRRISK the whisker round the antenna shaft's coy cowl houston tan to pull the cow boy round the antenna shaft's frame pull and such supple simpens sat slot we you i you i we us they we you i you i we they us they us we ELECT the whisker noise tree

 mountain LAUT RAY MANTIS for the trogs in the hole will welcome you home the composition is perfect its a lovely sky blue day you frail body feels strong and you lead a brindle cow across a winding valley floor to where the adze and atlatl of the forest shave commonce and you take the

cow to the whole where trog's eyes glimmer a neat little row of icons then allows you do anything you peels the page and pule the froam the framing foam you addpule caps the cow in two there gleam in the trogs inside the cow like a shoe you feed to ROME the IRON MANTIS ROBOT sits

silently cold grey like a ladder stretching across the rooftops these tall gangly abrahams quietly mope towering in empty parking lots of midnight to see the jumble in the natural heir one might thing it a light jumbled light is knowing jumpled push is care prising white is glowing coral singing

 hair to frame the frame all atom mapping program same perfect picture child leading cow to frame the trogs showing a new bicycle to the girl neighbor a shed painted with a few lines like paper then 'what a pretty fruit basket' trog fruit is like black hands soft and sweet as figs legs churned into

 parachutes drifting in the moonlight down into franch lands the cable sty its pome a granite omen all-stating prame all-baiting glamour organic cost the hoards of flowing blue looking for a warm kiss of ladder

parachutes drifting in the moonlight down into franch lands the cable sty its pome a granite omen all-stating prame all-baiting glamour organic cost the hoards of flowing blue looking for a warm kiss 

of ladder

pul ling the cow across the val ley

Sunday, August 25, 2013

Memnable (2BC

men in a state of nature

Thomas Pynchon's grandmother.

With a wicker roof
the wasps don't talk about it all
i want to finish this discussion on

'the next major police force'
tied circle

my innocence or 'inner sense'
is a violens I descend into lovingly,
and lovingly moves demonicly
Jules Verne 
in total scaleless energy
amnesty for a squid report
deep deep relays
Katoptric poptimisrm

imagined penguins in bowlers
at the mouth of the cave
but the ocean
like a violin
was cruelly solemn
and beautiful
a woman never conquered
and never left alone
zipfer fuming
'something i agree with'
queasy signs of terror

Can't you wait, boy.
I'm having dinner
with dinner.

I'm having dinner with Verdillac...
"thick skin"

I picked you because you seem like a nice
driving fast with high voltage whiskers

i thought about the pretty sounds you make
while pressing on the gas.
clean clear ingots of ice
you crack with your prosthetic jaws
in the nth circle of hell

a top hat made of silk
and a top hat made of good liver
why Goya
loved miniaturists
for Pandora wept
before the vague

and as it fed
its nurture was brightened

timeless tales of beauty
like crabs wrapped in particolored silk
and held aloft by balloons
as a staircase

pleats cue phonograph horn overhang singing hibiscus that fringe the cuff
with a prerecorded rumbling airiness, the inside sound of shell, the quiet god of orthography's
ursince ear to every veristic coin's cobbing bob black rummage the inth coal kingly what pace star in hyme absohymula forspoken
entangled with the dummy its inverse pyramidical illuminism trys the field
as if a huge thing of 2x4s resembling a huge blind built up from paltry particles
were trying to be the boat in a naval spectacle there in ancient rome
but instead became one of those
beautiful umpires of the beaches
a "still life guard"
a shark watcher's mirror
a stone which burns the clue
to heft
awakening as a freshly padded
butchelore mach sheen
awake but packed
in freezing diamonds
but floating in the ink.

Saturday, August 24, 2013


nero nero nero
wren wren wren
roon roon roon
nor gate nor gate nor gate

neronis is
neronis nis
nis noronis is
nero is isis
neronid ego et sign

o wren
o roon

fiddling with this instrumental sign
while roaming it burns

replace this jesus with nero
replace these robes with leopard skins
replace this thorny crown
with laurels

nero suicide
nero suicide