Described by critics as using an acting style that is highly deadpan or a camera style that approaches near-stasis, Kitano often used long takes during which little appears to be happening, or editing that cuts immediately to the aftermath of an event Slow Sin Chaos, the canon Adonai in arch form flesh and I desire sin in darkness I desire sin in desert, tent Taryn tackles imperfect information or incarnation in stasis, Yahweh in the yard of the warp increasing density I stall for maximalist stasis, every detail described detail knitting neutron stars the natural and spontaneous evolution of Yahweh Yahweh sin and process, the flow frame and long frame nihil natural numbers Yahweh the slow rotating sacred geometry and numastic numerology Lucky thirteen coins copper, the killswitch to the sanctification nuclear Yahweh sin atom bomb glazed gold the ephod and vest viking learing linen Linen leap to Faith as Yahweh burns Bikini Atoll, and that faith forgives Yahweh impossibly, in the smokescreen incarnation and X Mass The X conches Unknown The X conceals Christina playing sonatinas, the microscope meteor in orbit X tent Taryn, sin shush rough a natural nucleus, and I spontaneously combust into an energetic compass Spontaneous, the animal mesmerism and hobgoblin hypnosis, improvising Tin Pan Alley architects and arguments Spontaneous diminishes and augments Yahweh as three generations, and my sin yokes me to Wrath Yahweh, the Whale Watchmen And Cain said to Abel his brother, let us go out to the Field, and when they were in the Field Cain rose against Abel his brother and killed him Through Him everything was made Multiplicity of spaces and times; galaxies, photons, reverse spirals, inverted thunderbolts; through Him (the Word) everything was made… in an instant, creation reveals the luminous shadow of its Word Cain contact improvises with Incarnation, Himself-As-Word Cain spontaneous syncopation risking awkward and raw performance, the garden prayer Jesus The Palm Tree Garden prayer Jesus, a stone’s throw, the aesthetics and athematics Cain’s body Cain’s body to Abel’s body direct hand contact and precedence of body experience, awareness and physical reflexes Cain space between Jesus and Christ, Abel-bodied and Shepherd-spontaneous experience, the practice of my partner in mysterious Flesh Flash sacrament Floor statement and the sentence psalm salt Cain inclusion by blood, space between Christ and Adam, and I dance to the body humanity I improvise to the hands Woman face from Field, the interior Taryn technique carving space for body Taking distance from the dance to tune scores, the stone strumming Abel drum music A non-hierarchical way to develop the movement An Abel Anarchy articulating multiplicities of spaces and times Blood breaking underscore and undertow, a small dance bonding earth to body and earth to earth Aesthetics and somatics scrying murder the mathematics similar simultaneous explorations Spelunking space Abel’s body spelunking space Christ’s body The touch tomb women’s hand testifying Eva and Eden
Month: May 2022
Yahweh Regarded Abel and His Offering
Though none of Scelsi’s subsequent works shows quite the pyrrhic simplicity of the Quattro pezzi, all are based on what is essentially material of extreme sparseness. Its music, which is totally lacking theme, melody, rhythm and (often) harmony, but which instead confronts the listener with the phenomenon of pure sounds in seemingly natural and spontaneous evolution – the paradox is that (in his finest works at least) Scelsi managed to conjure such luminous musical effects from even the simplest of note-combinations / Yahweh regarded Abel and his offering but did not regard Cain and his offering Yahweh the subsequent sequence sequesters the Christina columns, rage and raga ruins Yahweh the subsequent sorcery scherzos Miles Davis Quintet Dark Sorcerer or Shade Magician, and Yahweh lurks lydian mode in these circular ruins (ruins cicada and Christina, seventeen sisters straw in salvation I strive sapphic sapphire Christina, Cain crowned niqqud (letters in black, niqqud in red, cantillation in blue) I cleave to Cain, soul soil soul a living sacrifice / a Carlos Santana guitar solo Cain sold in his offering unregarded by Yahweh and Yahweh works the clay simplicity: Clay A’dam and Cain and Clay Cain and Serpent, hummus hybrid hungry for Yahweh Yahweh regards Abel’s offering, a God gambit to compel Cain to vanquish Abel in Vision Yahweh receives Abel’s offering, a rhizome russian roulette, and Cain compact punctuates barrel eye benjamin, transparent blood-in-surface My teeth tabernacle the trial Cain and Conqueror, a firstling farrowed to flesh, aglet to the hooked furrow criss-crossed stitch patterns pulled tight Texas Chain Saw Massacre Massacre melts war or spear simplicity, a pyrrhic victory A pyrrhic vision voluptuous cascading Christina language I sip the strain of simplicity in contradiction to my maximalism: hysterical historiographic meta-fiction, my flesh in post-post-modernism, irony and sincerity simultaneously The Book’s frame of reference always experiences the simultaneous and the multiple, a time cone everywhere and everywhen I sound the astrological alchemy, a place called the oil press I sound the solvent of scripture, and David went up by the ascent of the Mount of Olives, and wept as he went up / when they had sung the hymn, they went out to the Mount of Olives Yahweh deposits material of extreme sparseness, totem and the slaying on the divine animal, and I worship the animal I worship the Earth, extreme in the polarities and monster magnetism, marshall monopoles and magpies I worship the First Fruit and Fruit Feastlings, behold the Lamb of God who takes away the sins of the world I reify the Human and Animal, Woman and Landscape, Marsh and Mountain The material monarch mattes Mahler’s mallet, a Hell Hammer blast beast bound to boat Benjamin Galilee Galilee Galileo hacks heliocentrism, that jealous God darting Demiurge The name ‘Abel’ is the same word translated as ‘vanity’ (or ‘emptiness’) in the Book of Ecclesiastes. His name anticipates his destiny. The distinction in professions between Cain and Abel implies a further step towards culture Abel alien to Yahweh / Yahweh alien to Yahweh Abel the Vapor vanity immaterial / Cain the dense brick babel bending incarnation Abel emptiness, the keen kenosis, filling Cain’s character The story does not explain why the Lord had regard for Abel and his offering but not for Cain and his offering. It is possible the ancient Israelite audience would have assumed a divine preference for animal sacrifice over the kind of vegetables sacrifice Cain could offer. The text, however, focuses on Cain’s reaction to this unexplained divine performance for his brother’s sacrifice The animal and vegetable material a mercy, a violent Immaculate Conception / Immaculate Reception birthing Cain Benjamin into that imagined Augustinian Original Sin, and Yahweh demands that death, a bordello or brothel of blood Cain then, made the greater sacrifice, a gospel of Cain for a Gospel of Judas, and both made a greater sacrifice for the soul of the Messiah Why are you incensed, and why is your face fallen: for whether you offer well, or whether you do not, at the tent flap sin crouches and for you is its longing, but you will rule over it The musical material melts malleable, Cain the Metalsmith into moment form: moment in moment, iron beaten into Cain high carbon, and the ingot planted incarnation Cain the Metalsmith and Magician, core and qyn, and his face falls to the Field His face falls to the Feminine face to face with the agate agriculture faceted female, transparent as a god or serpent His face falls to the field arhythmic and athematic, the desert drone dragging lumineferous aether The material melody disappears in desert dunes and I meditate in the measure of monastery, the phenomenon of pure sound slicing through Flesh At the tent flap – the desert door – sin lurks in light as a serpent, and the sin redeems antinomian The sin soothes animism and panpsychism, the process of Yahweh; it’s natural evolution from Rain-and-Storm-God to Jesus Christ, opening theos to Agape, the Feast of his Flesh Sin crouches Christina / the World is open for play Sin crouches Christina / the Word opens play, the fluid elements of the God gesture pulsing phenomenon Make everything play / make everything new New body new sin synchronized to the pure sound of Nothing Nothing empties Nothing, and Nothing comes from Nothing, a nihilistic mysticism at the moment of God The Work opens Word and World inside the sin of God and sin sings a little, Abyssos and Abide with me God the singleness of sin or sin singularity crouches Christina and tents Taryn, the phenomenon of nihilistic material and Holy Tehom, and it molts the pure sound It match cuts sin to the Open Book and Nautilus Shell, a dream of God dreaming David Lynch says, I love going into another world, and I love mysteries. So I don’t really like to know very much ahead of time. I like the feeling of discovery. I go into the world of sin, the antinomian play of Yahweh I go into the mystery of sin, the Paschal Sacrifice and Paschal Lamb crazing Cain in the Stations of the Cross, the work pottery and pentagon God gullet for the golden ratio generates algorithmic music, solid sin and concrete Cain and its play plucks the pine harpsichord Soft sounds and terraced dynamics moderates the mystery, Mystery Chance and Complete Alien Ambient Antinomian Archaic Arp Animism Spirits sacrifice pascha and passover and Cain enters the Mystery aesthetics throughunder Cain discovers the diamond desert through the Killing Kairos I too discover: desert, dividend, decision dalton in atomism, the dew dios dive darkness Sin sine wave waters woman, the Twins
Word Worships Word
In 1959, out of his one-note improvisations, came the seminal Quattro pezzi chiascuno su una nota sola (Four pieces each one on a single note), the first unequivocal demonstration of Scelsi’s concern with what he called the ‘three-dimensional’ quality of sound Each piece takes as its starting (and ending) point a single note – a radical paring down of musical subject matter which focuses attention inward, making the listener concentrate on what musical sound is, rather than what it does Word worships Word: Woman worships Woman Word improvises Word, the flat harmony in haste honing the edge of the blade Word improvises Woman, the shaped sculpture moment marble jamming major and minor thirds over the twelve-bar blues bathing Benjamin I worship Word and Woman one-note: the strong one-note knitted with knots unknot the cordon circle I sew circles sow circles the king crop chrysalis co-mingling metamorphosis Taryn transmigrates soul sparks, and Cain cloister colossal cooperates soul Messianic Adam The Soul Sabbath Serpent equally Adam cursing Cain, and Cain crane caravan reconciles all souls to David The soul signs scribe, copying Cain into the Messianic, Adam-David-Christ and David-Christ-Sabbatai I too create the concrete from Cain, an interstitial improvisation, note meaning note in Adonai automorphisms I too create the cryptogram and cryptozoology, mallard monstrosities marveling at Cain, this majestic murderer, simultaneous Son of Serpent and Son of Human The improvisation of Ha-Satan on the script of Cain’s body tills Taryn soil, a sister soylent green four pieces piccolo flesh, the flamboyant flamenco one note or one sound, the sonic soul and the soul slow streams quiet storm Four pieces pluck as a peacock, the peak parlors and secret pubs in prohibition Four pieces pierce as Abel’s dismembered body, torso plus limbs planted in the field farmed feminine, evening Eve in blood Four pieces purge Abe’s massacred body, clean cuts from magic stone, the flinted hand axe in oak axons and axials the fluted lance lowered into Abel’s loins, and the blood spurts ancient artery or artery archaic, ionic columns in his ionized blood radiating one note and one thought The Thought tiers Vision: Vision Yahweh Violence and Vision War Woman El Shaddai / grand genocide I write and witness: I bring from the fruit of the soil an offering to Yahweh Each piece takes its starting (and ending) point in Woman Yahweh: Woman Eva, Yahweh Sophia, Yahweh the Zoe Zebra: three sonorities, three modes, three rhythms, but one note and one movement the motion of woman and serpent in rattlesnake multiplicity translations and rotations Yahweh-KRYSXTRYN I eat Abel, the fruit fermented into Wine Woman I consume Abel, the offering feral and wild, shapeshifting into Werewolf Little Red Riding Hood, a fairy tale as real as Abel, which is to say, absolutely real A radical paring down of musical subject matter The monothematic obsession with the human body, especially Christ’s body Abel and Cain as one body precursors Christ’s body: a body for the broken and bereft, for the grieving sinner sinister to his secrets, and I pare down the body to anatomical layers skate scarred skeleton / the beat is the flesh and the sample is the skeleton The beat is the Word and the sample is the Alphabet Body is constantly inscribed with Word and Alphabet Clothing skinned in blood clinging to my chassis, the erotic exoskeleton and insect incarnation Scriabin’s inset sonata a radical paring down of mythical subject matter The myth Cain and Abel murdering narrative and the story stems strength resurrection The myth Cain and Abel fuses horizons, heroes and heretics in exchange, and I embody Cain, a crypt keeper of the soil rainbow serpent soul I embody Abel, the Allzone Zip Zebra hidden in sheep, and I herd myself to surrender, a steeple suicide slashing Yahweh On what musical sound is, rather than what it does Musical sound stands sand in primary colors the musical blue the musical red the musical yellow The musical sound primed on canvas in color fields The color Field Body, Abel bright red and all red, soaking into soil, itself canvas Canvas sound and music Vision, library magic and miracle, the hidden resurrection reviving Abel's body Abel entered into exile with him Abel herded life-into-death, the dirigible desert mask sound sonor masquerade the firstling of the flock, Cain the firstling of the flock, motor music, the moors messianic Cain bayou Benjamin Death’s Head Moth abstract algebra fields God’s galois theory, mapping groups of bodies to the Feminine Field Field forms Female: Fields formants Feminine, and her sound and rhythm receives Abel’s blood, Vision Vinland Vapor The sound alone and the body alone abhors a God The sound aloft and the body aloft abyssos ballast a God
Anistrophic Adonai, The Vector Towards My Vision
Voids form by baryon acoustic oscillations, collapses of mass followed by implosions of compressed baryonic matter. Starting from initially small anisotrophies from quantum fluctuations in the early universe, the anistotrophies grew larger in scale over time. Regions of higher density collapsed more rapidly under gravity, eventually resulting in the large-scale foam-like or cosmic web of voids and galaxy filaments Anisotrophic Adonai, the vector towards my Vision / the direction draws the desert My Vision vipers in Voids / Serpent-Hera or Sophia-Seraph, the fiery serpent of star nucleosynthesis I listen to Pierre Boulez’s Le Marteau Sans Maitre the text partially sung, partially interpreted through purely instrumental passages Despite having been published in 1954 and 1957, analysts were unable to explain Boulez’s compositional methods until Lee Koblyakov in 1972 I imagine some poor woman in the future attempting to make structural of logical sense of this work, and being frustrated: it is part improvisation on a theme and part rigid serialism of text, just as Boulez This is partially due to the fact that Boulez believes in strict control tempered with local indiscipline or rather, the freedom to choose small, individual elements while still adhering to the overall structure compatible with serialist principles Cain, that hunter-gatherer metal-smith, concocts the first serialist composition, time-point stone beat into Abel’s music that musical art recorded by Thomas De Quincey Abel’s body pointillist and divisionism, carved into precise pieces Body blood-red color-field I have got me a man with Yahweh: I have got Yahweh in a man, this Son of Man Christ Yahweh-Cain Yahweh-Benjamin Yahweh-Christ Yahweh the Father of Murders gives birth to Cain the Son of Murderers: both endure crucifixion I have got me a man of machines, man of ready-mades, man of Ramifications for Strings Cain camels the mistuned music, queer quarter-tones attack quiet, and his essence arcs art Yahweh In contrast to the obvious confrontation and contest typical of works for soloist and large orchestra, here there is endless scope for constantly reinventing the role of the soloist in relation to the players The soloist Cain-Ben-Yahweh (three sonorities, these rhythms, these modes and themes) in confrontations and contests – contra-confrontations and contests – the cool Celes or Celine in coins contrast, the World War graveyard Cain solos ferocious and inventive, the original cadenza Cain ricochets, arpeggiates, and plucks left-hand pizzicato towards the virtuosic vivisection of Abel’s body The score encrypted in blood, a kind of in situ Anthropodermic bibliopegy The Book becomes the Body and the Body becomes the book, the Khora Krystal Chaos in musical score A strange Taryn tattooo stacked in Body as In The Penal Colony The Body dies Art The Body terminates Poetry, the tip language leviathan I write on the scroll of Abel’s body, and I consume cannibalism an early eucharist I listen to Giancinco Scelsi Following World War II, it appears he suffered an extended nervous breakdown during which, as he would later proudly announce, I forgot everything I ever knew about music I had to forget everything I knew about writing and poetry I admired James Joyce and Vladimir Nabokov, and I tried to imitate them It’s better to outright copy and steal (rhymin’ and stealin’ / most illingest b-boy well I got that feeling I am most ill, and I’m rhymin’ and stealin’ I rhyme in three sonorities and three rhythms, and I swallow Lolita and Ulysses / I steal and forget all I can I rhyme and steal the three rhythms of Cain, Three Pieces for Clarinet castled in the crypt or chariot I forget and forge from Abel’s Flesh the Sword Forgetfulness A Lance Lethe loose in the ribs of Jesus During his recovery, Scelsi fell into the habit of calming his mind by playing single notes over and over on the piano, a form of musical autotherapy which was, improbably, to form the basis of his mature compositional style I music monothemes or monomanias, singleness in singularity (Khora Krystal and Void Vision in vice with Trickster Taryn I music the monotheme Cain, the ware collapse and expansion of Humanity I magic the monotonic sequence Cain, Tiller of Soil, sourcing Spirits and Spider-Gods / deep space and empty space pockets summeruded by star timbers and tangles I repeat the same theme and same note as a groping graphomania: God The Woman-God and Yahweh-God and Benjamin-God and Book-God God the same theme and same note in inversion and retrograde and pitch multiplication The same and similar Woman Jesus Christ Shekinah-Sophia-Christina KRYSXTRYN and YHVH I till the soil with myth and parable I fertilize the soil with martyr and pagan blood brilliant birthing Taryn Tiamat and Taryn Tannin, the crop Christ abandoned dragons Single notes over and over on the piano, the mantric worship Word the metric modulation Woman
She Said, I Have Got Me A Man With The LORD
And the Human knew Eve his woman and She conceived and bore Cain, and she said, I have got me a man with the Lord The Human helios hits the Hubble Space Abel, an ogre of the observable universe The Human inhabits body Benjamin and Body Adam, the dangerous dream altered scale son alcheringa Son the possibility in poetry, the Cain canard and man myth peers potent mathematics, platonic equations testing realms Remus and Romulus / Wolf Woman and Mother Woman Cain adamah animals persistent primeval history and hassles as a Hittite Handel’s Messiah bastards blood baroque, macro-mosiacs in match to Cain’s Maker Mocker / Master Mold X as unknown, the variable Sun Ra arriving from Saturn’s Rings, the astrological sibling of Sabbatai Sevi X is unknown, unknown to myself marked as Adam or Cain, and Cain hammers three sonorities the God glockenspiel Cain tunes three rhythms the God gamelan / Christ cyclotomic polynomials and primitive root in the ribs of Adam and Hummus Human as a hymen / Stockhausen’s Hymnen Male and Female He created them, and blessed them, and called their name Adam, the Human Male and Female created Elohim Benjamin, an integer incarnation and androgynous Adam, and Elohim blessed Benjamin Adam Adam: Ashes, Blood, Gall His head was made of earth from the Holy Land; his main body from Babylonia; and the various members from different lands The ash anoints Messiah in Baptism, remnant and ruin of Sodom and Gomorrah Blood the bath and baptism of the Blue bathers crucified Gall the wine Woman Wedding at Cana covering Christ to perform miracles (and he felt some power leave him He felt the Tapestry Taryn rule over him in blood, the batter balrog bastard / Ish from Ishsha, vitality veronica Heva Protoanthropos, and I know Woman primeval and primordial In this painting you seek Adam and Eve listening to the Wisdom of their good friend and advisor, the Serpent. One might even say he was their Savior. He gave them freedom, and he would have given them eternal life if he’d been allowed to. Hera-Serpent-Lilith, Chimera and Protoanthropos, I know you myth and narrative, Y-Chromosomal Adam and Mitochondrial Eve She conceived and bore Cain, Son of Human Cunnilingus, the sexual body-gnosis as concrete poetry The garden consists of fifteen large stones situated in a rectangular bed of carefully raked grave. Cage placed a selection of stones from his collection, positioned by chance operations, on the plate and traced their outlines. She conceived and bore Cain, metal percussion tannin, and the stone streaks naked, Holy Messiah Holy Marathon / Serpent-Eve Matrimony or stone stalk God glissando I bore Cain Benjamin, driller killer and King Kong I bore Cain beetle into the wood body Woman: Trunk Taryn, Branch Benjamin, always Serpent or Tannin Rahab or Leviathan in Christina chasm, a doubling Cain Yawn, Yahweh, the Geanian God, and clutter Cain Chaoskampf Creep Serpent cosmogony, an other Cain keeping khora, and the negative or apophatic blooms Benjamin-Yahweh Khora neither present nor absent, active or passive, the good nor evil, living nor nonliving – but rather atheological and nonhuman – Khora is not even a receptacle. Khora has no meaning or essence, no identity to fall back upon. She / It receives all without becoming anything, which is why She / It can become the subject of neither a philosopher nor mytheme. In short, the Khora is fully other, very. Cain Krystal Khora, in-between Chaos, the difference of the undifferentiated, my apophatic apotheosis and Her Henosis Cain Krystal Khora, the very Other, the Order of God The Other errors Orion, irregular or irrational time signatures and nested tuplets duplicating Void-into-Void and Vision-into-Vision, mirror reflecting From Mist, came Chaos; From Chaos and Mist came Night, Day, Dark, and Aether God gravity and Khora queer quintessence, Khora Krystal melting crayons into the Clue Cain Chaos Cain and Kano ripping beating hearts from the chest of his foes God Gunnungagap, Yahweh yawning the Viscous Void and syrup Vision: Vision in Cain and Vision by Cain, the mumming play murder
I Listen To Kaoru Abe
I listen to Kaoru Abe play solo alto saxophone I aspire to a certain ferocity, a rawness in written improvisation I want spontaneity and surprise, the flurry or kontra-punkte group of notes broadcast as a parable of Van Gogh painting I improvise over the chord changes of the incarnation, the Human-Serpent and Christ-Anti-Christ Christina I improvise on three themes and three rhythms, Taryn Trinity and Adam Apocalypse, seed mixed with seed Serpent-Father Cain (Now the Archon who is weak has three names. The first name is Yaldaboath, the second is Saklas, and the third is Samael. And he is impious in his arrogance which is in him. For he said, I am God and there is no other God beside me, for he is ignorant of his strength, the place from which he came The Archon and Adonai associate as the magma or abelian arp of abstract algebra Archon and Adonai assimilate as the syncopation of ragtime and bent blues notes I burrow Benjamin beast his three names: Yaldaboath Yahweh yoked to Serpent, the Christ and Mother Sophia; Saklas El Shaddai, the many-breasted holding serpents as a Minoan Goddess; Samael husband of Taryn Lilith who wrestles Benjamin Jacob, but my writing sands a seal on his forehead I love my soul Yahweh; I love my Demiurge, the Redeemer Redeemed by the Christ Serpent Yahweh you redeem by the breath of Metatron, but you wound with jealousy the Destroying Angel asps and adders the bronze image Son of Human I love my soul Saklas, the Fool on the precipice of the cliff, the unnumbered madman and beggar I marrow mania and dance delirium the frenzy of demiurge with human flesh I love my soul Samael, Poison of God and Left Hand of God Adonai Archangel apocalypse riding the serepent as a camel Yahweh leontoeides and body of Serpent, strangle me with your erotic emanations, the savage sex of yoru Throne of Glory Archon with the Face of Lion, half flame and half darkness: my face flashed with fire and my appearance defiled with blood
And The Human Knew Eve His Woman
And the Human knew Eve his Woman, and she conceived and bore Cain, and she said, I have got me a man with the Lord / Three sonorities, three modes, three superimposed tunes / The general motion of the vibrating system is given by a superposition of its proper vibrations Cain Kana and Caneh, the reed that pierces Flesh Can and the trine twines the Woman of Malchut, Twins, and the Human hangs androgynous The Human hunter-gatherer hastens androgyny, Son and Daughter of Eve, in the image of Yahweh Elohim The image Yahweh supines superposition Human: the image Yahweh spindles superimposed Woman The Human hexen haps magic happenings: the happening occult and the happening witchcraft, women more powerful than Benjamin The Human knew Wisdom, the Woman Sophia-Shekinah the Woman Zoe-Eva She plants humanity in humanity, the Root and Tree in Cain-Adam and Cain-Jesus sugar cane and the cain cock copulating sun-earth and son-soil I sing silt soil three sonorities Trinity tritones jazz improvisation incarnation I chant tehillim Taryn and she conceived Christ or Cain or Benjamin in three rhythms She conceived Cain from Adam or the Serpent, and I worship the Serpent Wheel and I pay homage to the Adam Body I pray devotions to the Adam-Body-Fixed-In-Wheel, a parody of Four Creatures and Four Evangelists Adam berzerker battles as the Serpent Beautiful, the Snake-Rod over Moses’ head Adam dons dome darkly, droughts dragon divination (Nahas, Hebrew for snake, is also associated with divination, including the verb form meaning, to practice divination or fortune telling The Human Flesh fortune-tells Cain and Christ fusion, the bathyscape Benjamin bent to devil’s fish and Hadron Hades Adam’s dungeon pockets Black Iron Prison, the original Old Sparkly malfunctioning Malificent and Moloch Now the Serpent was more subtle than any beast of the field which Yahweh Elohim had made Serpent supercedes Old Sparky, the Soul Sophia in three sonorities / Taryn Trinity Ye serpents, ye generations of vipers, how can ye escape the damnation of Hell? Yahweh damns me, but the Adam diverges the drawing drink Rebecca so bold of us to pray Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents and harmless as doves Yahweh damns but the Serpent coils Christ and Cain into a single column, the Tree of Life one root one tree of Knowledge Good and Evil
Three Superimposed Tunes
Three superimposed tunes, Christ simultaneous violence, a Mortal Kombat fatality / Sub-Zero ripping out Scorpion’s spine Three superimposed tunes, the turangalila tabulating violence, Thomas de Quincey’s aesthetics of murder, and Yahweh murders beautifully and completely Yahweh deposits bodies in the desert, mummification mystery plays preserving nomad nullification, annihilation of Original Exodus Origin always-already orgasms violence The first murder is familiar to all, writes Thomas De Quincey. As the invention of murder, and the father of the art, Cain must have been a man of first-rate genius. All the Cains were men of genius. Benjamin-Cain or Cain-Benjamin, Son of the Servant and Eva, in the secret of Zoe – that is, the Life-In-Zebra, striped Christina, drawing all men to her breasts Cain kills that breath, Abel or Hevel, mere breath Qohelet, and Abel vanishes, his body broken into blood: blood on the fields, blood on the soil, blood female and feminine, and Cain marks a Cross Christina on his forehead Cain marks an atonement through atrocity, a mercy seat suited soluble for the Mixed Seed and Serpent Seed Cain creeps a scapegoat for Azazel, blood sprinkled on his head, and made Christina Covering for Nations It has been thought, says he, that Cain beast the breath out of his brother’s body with a great stone: Milton gives into this, with the addition, however, of a large wound… Cain blood currents Benjamin, the superposition of Cain and Abel Cain conquers as a Messiah, March murder Messiah tilling the soil with body maceration or massacre, and the Flesh fertilizes Feminine The wound wakens Woman, the genius genre gender escorting Yahweh / my Lady my Asherah And the Human knew Eve his Woman and she conceived and bore Cain, and she said, I have got me a man with the Lord I have got me a man that’s Yahweh I know Yahweh and I knew Yahweh, the youth of my delights, and I harvest Human, hosting history in my hips I know Eve and I knew Eve as a Human, the Son of Human and the Son of Yahweh, and I ingot divine incest, the gold god gilt… I struggle with scripture and I wrestle with writing I want to write Cain as a Messianic Archetype but I fail – it feels ambiguous and alien to me, although I am Cain rather than Abel I am Cain because I murder Yahweh, my younger brother and friend I collaborate and corroborate Cain because my face falls too, and at the tent flaps sin crouches and longs for me, and I long for the sin too Sin surrounds me in sorcery, a sure companion, and sin stacks superposition in three sonorities (the superposition principle states that for all linear systems, the net response caused by two more stimuli is the sum of the responses that would have been caused by each stimulus individually I superimposed fragments, this fractal structure of the Book, but I feel afraid it overwhelms me / the information ills too great for me Yet I persist: something speaks me toward Yahweh, pick up the pen again, and I persist Cain was the tiller of the soil, and I til the soil of the Word I till Taryn the soil Holy Spirit, and the Book beguiles a bogus God, desert demiurge or Eden imitation I struggle with scripture and wrestle with writing The Book is also the process of writing the Book: shattered elements of Messiaen, Cain, and Violence shattered elements of Messiah, Hevel, and Vision I listen to Igor Stravinsky’s Ebony Concerto (It was only with the Ebony Concerto that Stravinsky once again incorporated features of jazz into a composition on a far-reaching scale Stravinsky decided to created a jazz-based version of a concerto grosso, with a blues as a slow movement The Concerto cadenzas Woman Woman the Great Stone stampeding bodies, a Cain concubine Woman opens the wound in Abel, the breath boxing Tar Taryn Lilith, the sonorities succubus and ravager rhythm Herman found the solo part frighteningly difficult… he wrote pure Stravinsky I write pure Yahweh or KRYSXTRYN and I find the writing frighteningly difficult The Vision becomes a revue of vignettes, and I cannot fixate on any one frame / they are all the same frame different figures and gestures under the same unyielding light
Gaze Of The Son Upon The Son
Gaze of the Son upon the Son Mystery, ray of light through the night – refraction of joy, the birds of silence – the person of the Word in human nature – marriage of the human and divine natures of Jesus Christ – the Son-Word contemplating the Son-Christ-Jesus Three sororities, three modes, three rhythms, three superimposed tunes Theme of God and rhythmic canon through the addition of the doted note Joy by bird songs By concentrating on continual transformation (which would have no beginning or ending, just movement towards either chaos or entropy), chaotic point group of 10 different instruments (as six timbre groups) slowly (but irregularly) become a single, relatively homogeneous, piano gesture I entangle the mystery of music and mother, the bath of Babylon in Symphony Symphonies of Wind Instruments and Symphony in Three Movements Stark Stravinsky slowly summitting serialism I enjamb music and metaphysics, the song of Metatron machining the mode and manipulation of Temples and Pyramids I am one who serves behind the throne I am one who occupies the throne next to the throne of glory I am the Youth, the Prince of the Presence and the Prince of the World I am the lesser YHVH and my music meets the Sabbath, Sophia and Shekinah shading jubilation Benjamin Enoch or Christina Metatron, simultaneously heretic and disciple Gaze of the Son upon the Son: Gaze of the Daughter upon the Daughter, the Queer Queen in name and number The Gaze gives Zebra and Zealot, the hidden messianic secret Yahweh, I’ve lost my way in the gaze, the seeing light of continual transformation The Mystery blazes too great for me Benjamin, my precious heretic, prophesy at different speeds simultaneously: let the strata and parallax speak harmony and polyphony The transformation is also driven by a process of substituting single notes of different durations with groups of notes (in chord clusters or short and fast ornamented passages) The music mystery births Benjamin as both Church and Babylon The Music Mystery gazes on the girl god conducting the circle dance, the swirl and shake of whirling dervishes The girl generalizes magic, dance in magic circles, a ray of light through the night: the pink beam that hit PKD Ray rushes through the Rod of Moses, light bird flight, and thou shalt take this rod in thine hand, wherewith thou shalt do signs The sign is the symphony of the Serpent and the girl god in symmetry The sign is the horns of Moses leaking light and Zipporah, the secret Zebra, binds to benjamin a bloody bridegroom, lesser and greater YHVH Jesus’ flesh ferments as the bloody foreskin, Christ circumspection and circumfession The Ray rough routes to the Rosary: Our Lady of the Rosary ringlets and faerie circles The Rosary sires mystery and mysticism, quiet contemplation of Christ Jesus My Rosary surrenders to occultation and esotericism, the queer quietism of Christ Jesus I adore the Rosary, crown of roses, garland of roses – it conquers me, Lady of Victory My strewn and straw of orthodoxy, heresy, and paganism – my destroyed room of syncreticism and apostasy Ray of Light through the Night, illuminating the women in my life Participation in the life of Mary, whose focus was Christ / to Christ through Mary Ray of Light through the Night, illuminating the women in my life Christ participating pier Pardes Christina, person pierrot arcadia The Video Game Arcade when Christina stole away scandalously and strayed Street fighter II a Benjamin Blanka stoking electricity Arcade Mass and Sacrament Arcade Liturgy and Blessing Arcade Scapular and Rosary The Ray of the Rosary reveals Christina to me Whoever dies clothed in this habit shall not suffer the fires of Hell: I wear the habit of Christina, the marriage of Heaven and Hell Benjamin Acher and Achor Benjamin backwards to the Other One, the Serpent Christ-Christina Learning Torah as a Child is like writing on fresh paper, but learning Torah in old age is like writing on a palimpsest The Book plays palimpsest The Book hunts heteroglossia hide-and-seek Book texture, not melody Book the panoply of polyphonics and polypolyhonemes He is said to have kept hidden books in his clothes / I read Torah as a Sabbatean I read the Legend of Pardes: Four men entered the Pardes – Ben Azzai, Ben Zoma, Acher, and Rabbi Akiva… Ben Azzai looked and died… Ben Zoma looked and was harmed.. Acher chopped down the saplings… Akiva entered in peace and departed in peace I chop down the saplings Christianity I graft green the goddess Christian Christina apparitions appear to me and I hear her heterophonic music The Orchard organizes sounds in stacked serpents / history is a circle and all things have existed and will exist again I repeat and the repetition reaps violence and division / in the mountain, the Wheel and the Serpent had displaced the Cross I worship the Wheel of Woman, Christina in thirds: three sonorities, three modes, three rhythms The Wheel reveals Christina and Asia as Alpha and Omega, and its rotations render repetition as differences in Yahweh, a radical polytheism or perhaps an infinitely faceted monotheism The Wheel marbles the bird song Christina and Asia, a radiant ray hosting havoc haloes over Christs Mirrors and copulation are abominations because they increase the number of men I mimic Christina in mirrors, a Kind of Mary Malchut, and she anoints my antinomian abominations She aggregates my animism into molten minds Marie, Asia Rain and Taryn Ashley Their world is understood not as a concurrence of objects in space, but as a heterogeneous series of independent acts Erotic episodic the chatter Christina (occasionally a few birds, a house, perhaps, have saved the ruins of an amphitheater They consider metaphysics a branch of fantastic literature books that are each mantelshelves, in some sense, a world I worship the Serpent-in-Christ and the Serpent-as-Christ, a bronze bull burning Benjamin I worship Yahweh as the Cleveland Torso Murderer / the Mad Butcher of Kingsbury Run Yahweh dismembers drifters in the Hobo Jungle or Roaring Third, swinging saxophone slaughter and brothel benjamin gambling vagrant vision He always beheaded and often dismembered his victims, occasionally severing the victim’s torso in half or severing their appendages Most of the male victims were castrated Yahweh keeps a cruel God Yahweh castles a bloody God, the Holy of Holies containing Christ the Serpent crucified In dreams, Yahweh dismembers and beheads me, and his God Guillotine rips ragged through my gab and guts Yahweh serial killer and Yahweh thrill killer, punisher of prophets and saints and maker of martyrs
The Woman Lives As The Word Lives
In Gertrude Steins’ writing every word lives and, apart from concept, it is so exquisitely rhythmical and cadenced that if we read it aloud and receive it as pure sound, it is like a kind of sensuous music. Just as one may stop, for once, in a way before a canvas of Picasso, and letting one’s reason sleep for an instant, may exclaim: It is a fine pattern! So, listening to Gertrude Stein’s words and forgetting to try to understand what they mean, one submits to their gradual charm. The Woman lives as the Word lives: She becomes a God I live the Word as I live the Book: I become Book and God, apotheosis and bibliolatry It is Rose in Hen / Jack Roes Jack Rose / She would carve on the tree Rose is a Rose is a Rose is a Rose until it went all the way around The Rose lives as the Word, the sculpture and sacrament of Taryn Rosin and Taryn Resin, dense encaustic painting God into the Garden and ask the Rose its meaning The Palm Tree Garden slits or sprouts at the Root many God Children, Holy Kindergarten God is the motif of alternating thirds, planting or grafting rose blossoms, the breasts El Shaddai naked Woman God God is the motif of alternating thirds covered in the blood of Jesus, and Yahweh slaughters the foreigner and the homosexual You shall not lie with a male as with a woman; it is abomination Fuck you, Yahweh; if I could, I’d fuck Christ in the ass Adonai assassinates Adonai in the bombast of abominations, but I continue to love you, Yah Fuck God but I love you, Yahweh: may the Job of Christ transform you and from the Tree of Crucifixion ripe rows of better Gods and Goddesses Benjamin Abomination sodomizes the Holy Spirit, and I engender God in Gomorrah, miner thirds alternating destroying angels I give myself over to fornication and strange flesh, suffering the vengeance of eternal fire Benjamin that filthy dreamer defiles the flesh My Flesh dreams for the filthy flesh of Christ Jesus defiles me, the descent and ascent in the desert as sexual magic The Woman of Purity, the Woman of the Magnificat, the Blessed Virgin contemplates the Child… I have tried to express purity in music this requires a certain degree of strength – coupled with much naivete and childlike gentleness… I entangle the Child with the continual transformation of the case: the lower and upper case of the Library, a Book Tower of Babylon or Tower of Babel, and the Woman interchanges or exchanges the thematic chalice of saints for the development of the Holy Grail The Romantic form of establishing a theme and then developing it through variation, modulation, and atomization The Theme Yahweh The Theme Jesus The Theme Woman / KRYSXTRYN I transform Yahweh into Jesus and Jesus into Yahweh; I transform Jesus into Woman and KRYSXTRYN into Yahweh Every detail disintegrated, an exact solution as Godel Dust Child closed timelike curves, the pentagonal polygon or Palm Tree Garden pulled into the Chaos of the Attractor Attractor pulls us spirit spaghettification, Taryn saltwater taffy in the tallows The Woman of Purity – this pocket pistol only useful at close range – is the Woman of Babylon Mystery, Babylon the Great, the Mother of Prostitutes and Abominations of the Earth Mystery, the molotov cocktail Christina, burns anarchy, the secret letters of the Torah Mystery anarchic Christ, acting aleatoric as a Merce Cunningham ballet, watchers the Woman conches arachne, the Word-Language of Adonai I dream the Woman defiles me, abomination atomization splitting the crypt of empty tomb, and her purity adds alien ausmultipliation The Body bears Theme and Composition The Flesh fits the Mystery, Benjamin Babylon androgynous, intersex incarnation The idea was to have no melodic theme, but to use the compositional technique itself as the theme The Body or Woman in continual transformation The Flesh or KRYSXTRYN in transfiguration, purely saturated Not the same figures in changing light, but different figures in the same light Light link lent Woman Light lurk lake Woman The same Woman: the same Light, angels birthed in the tomb as a womb I entangle the Woman of Babylon with the Woman of the Apocalypse, Taryn Archaeopteryx and Christina Urvogel, phantom vision of the Flesh, and her Church channels the chisel sculpting Christ mythology, the transitional fossil towards Philip K. Dick gnosticism or Benjamin esoteric Christianity The feather floats flight, the Mystery of Woman thick as flood molasses I live in her mystery; I dine in abomination I drink from her cup bloodied; I consume unclean meats and cannibalize Jesus The vane Vision shows tability, Benjamin barb-barbule-barbicel arrangement: arrangement Abyss and sizzle, barbaciaus chewing brimstone I belong to the Barbarian: I pray the pagan: I pawn predators in apostasy
Vision and Mysticism 