Her oracle obscures my oracle the open ocean Her oracle oblique overlays my oracle the open outside sine and I observe her body obverse I observe her body oval operators and we oracle through opposites We oracle through the desert deconstruction of binary oppositions I oracle the asphalt occult, the supernal shade of babel concrete theopoetics The Author speaks in Eternity: the Word shapeshifts as Woman and through Woman I speak the through enter-exit through eternity and I speak her serpent earth emanations I speak her serpent spiral sparkling aleph esoteric and alpha frankincense, and I fire my flesh seafoam fragrance fracturing the veil My vision vacates the veil or I vivisect the veil my forest feathers velociraptors My vision opens voluptuous and I oracle vertical the orthogonal ouroboros I often listen to the song “Rejoice” by Julien Baker and I think it almost ales as my anthem: But I think there’s a God and He hears either way when I rejoice and complain Lift my voice that I was made And somebody’s listening at night with the ghosts of my friends when I pray Asking, why did you let them leave and make me stay? Know my name and all my hideous mistakes I rejoice I rejoice I rejoice I rejoice I think Yahweh listens either way, and like CG Jung, I do not believe in Yahweh but I know I know Yahweh and I experience Yahweh lovecraftian horror or the monster minotaur / Yahweh yattering jack house of leaves The cosmos or cosmic cuts into nothing, the None Number Yahweh, and Yahweh’s face figures fantastic void The cosmos or cosmic comics the centripetal cut and she cuts as centipede Yahweh appears to me as a black cat beetle and Saint Maud listens to the Yahweh cockroach I know Yahweh as trickster, and she manufactures the multiverse as possibilities in play: play taken to its extreme extent and extension, and Yahweh plays impossible I too play impossible and I circumfess the Void, the Abyss, the Tehom, the Tohu Wa-Bohu, the YHVH Taryn… all apophatic, all nothing, all contradiction Yahweh necessarily contradicts and I attempt to describe Yahweh as non-linear and non-euclidean and hyper-dimensional but Yahweh ultimately alternates as apophatic, the infinite exposure of defamiliar desert and I desert desert yet dune doom more desert I always write desert because I always live desert, Yahweh among my dead Nevertheless, I rejoice / do I rejoice? I rejoice because I write and I rejoice because I prophesy I admit I have an unhealthy relationship with writing: if I do not write or if I cannot write, I feel useless and fall into deep depression (I recall a statement by Philip K. Dick: When I believe, I’m crazy; when I don’t believe, I fall into psychotic depression) If I do not write, I do not prophesy, but the entirety of my writing prophesies the esoteric, the occult, the gnostic, the mystery: not prophesying means I have lost my connection with the Universe / Divine / Godhead Therefore, I attempt to write and prophesy as much as I possibly can Writing ripples Revelation Writing ruptures Revelation, Alicia Apocalypse An invisible and steadying “IS” behind everything An insect and striated Yod-Hay-Vav-Hay at the bloody belly and my boar tusks bore gore pregnant women abortions desolation offerings for Yahweh My boar tusks trisect torso sections and the Yod strangles the string stretch of guts / motorik moloch miami hotline moloch moloch mississippi mud Papyrus Oxyrhynchus 3522 contains parts of two verses of chapter 42 of the Book of Job and has the tetragrammaton written in Paleo-Hebrew letters. It has been dated to the 1st century BCE. An invisible impossible inflects the Tetragrammaton as the “IS” incendiaries or improvised explosives I too improvise IS, the IS that IS, and she IS woman and a woman I improvise IS Tetragrammaton Theater nad Taryn tentacled gothic horror My hands demand distraction so I write the desert dead the IS emulsion My hands demon deconstruction but with distance and the IS drops as desert dung beetles The mystery hyssops horror and I heal by the hermaphrodite horror I heal by the IS invisible intersex and horror hits hematopoeisis Horror hermeneutics herringbone beveled benjamin and I sharpen my skull into a harpoon (I love horror because I love Yahweh) (I love pornography because I love Yahweh who exploits the erotic and bodies in bondage) The mystery hafts helical horror alien geometries and I steal the desert diadems a book of circles / one two three four five six seven eight wild circles And Jesus said to his disciples: I Am come from that first mystery, which is also the last mystery, the four and twentieth mystery I am come from and the I am alexanders Alice as Christina Marie I am atlas omens oracle and ouroboros and benjamin exens ehye asher ehye Am alloys abyss and perhaps this am aims analogous to Paul Tillich’s ground of being or the apophatic god as being-itself (for “being” remains the content, the mystery, and the eternal aporia of thinking… writes Tillich) I am assigns “Benjamin” as a sacred name and a prophetic name, and name accelerates my body as dominant as rapid rocket / the rabbit burrows beneath earth Mystery map mixes and mystery monster minimum maximum midland / inland empire Mystery maps mixes modular melodic and I melodic hypermeter mammoth Mystery emits elliptic horror and horror as ellipsis / locust eclipses the name of horror inhabits the name Yahweh YHVH Hod-Hay-Vav-Hay The horrific name and abyssal name tracts Taryn Tiamat Tetragrammaton Codex Marchalianus uses ΙΑΩ Iota Alpha Omega as the divine name but in the margin represents the Tetragrammaton by the Greek Π Ι Π Ι Pi Iota Pi Iota. It is a sixth century Greek manuscript. Horror massacres at the margin Horror machetes the margins in mystery, and Horror of Yahweh mutilates human bodies Horror crows the Cross in mystery, Christ’s crucifixion (the fifth sorrowful mystery Jesus dies on the cross and I pray ten hail marys) The margin middle mimes horrific mysticism and I merlin mystic magic (I write nothing and I feel frustrated writing Although the writing prophesies I want the prophesy to pray beautifully / gorgeous poetics and Taryn Tetragrammaton theopoetics As the Magician and Juggler, I might be trying to juggle too many texts, too many concepts, too many names – however, the process of parsing these prayers participates in the prophesy as well) Horror encodes the Primordial Name, the Yod Hay Vav Hay in Chaos Horror encrypts the Primeval Name, the Yod Hay Vav Hay catholic chaos, and from achlys came chaos Christina (Co caimen chaos confuses / khora contrails the bridal chamber) (Crow cain chaos confounds / khora clementines Christina) In the house made of dawn In the house made of evening twilight In the house made of dark cloud In the house made of rain and mist, of pollen, of grasshoppers House hammocks horror House hockets horror hook horror haunted happenings I perform the house hauntology I theater the house ghosts glamour ghosts and I might chant the spirit spilled grammar tetragrammaton In the house made of dawn, the desert dream and dream desert, and I dream the house slit sidereal with serpents The dawn daphne and the dawn diophantine daughters desert and I deep the desert diaphragm / the delineated dead sea The dawn destroyer or the dawn dialectic digs dizzy (PKD writes: In DI this same dialectic reappears and this time is states to be the two sides of God – rather than world order; that is, in DI it is now correctly seen to be WITHIN God himself!) The dawn dialectic divides the god desert, the ero echo elohim, and I erma errata I era eva elohim and the plural desert primes plural dawn, and the two sides of God glass the grand glow grove, and I gospel the grove garden of forking paths (I imagine or model myself after John Coltrane, and as Coltrane solos through the needless permutations and combinations of the melody, modality, and harmony; I am not as inventive as Coltrane though but I keep trying I keep improvising) In the house made of dawn, runaway horses, and the wolf house doses the dialectic dead Desert dawn deepens the dialectic dead and I divine the dead as the split double Yahweh doubles Yahweh Elohim and the Eloah carotids earth core Christina Yahweh doublets Yahweh as electron double slit experiment and Tetragrammaton turtles interference patterns Tetragrammaton interferes patterns Tetragrammaton interferes with my frontal lobe laundry and the name seers a subtle lobotomy / name entheogen and name narcotics (I’m not prophesying beautifully, I tell Christina. Who gets to say it’s beautiful or not? Me. I’m writing ugly now. Then just say it’s beautiful! Problem solved. That’s not the truth though. One should be true to self, right? Who cares? I do. Oh well that’s your problem! You need to do drugs. Why drugs? Then you won’t care. No, I would care more because the acid I drop will give me even more visions of the godhead, I say) The subtle lobotomy arum area arum serpents the subtle laboratory, and my lenticular or labyrinth brain strange loops library laboratory lighthouse Dawn demand dead Dawn demands dead and drink of the dead, and I descend death delta taryn thrones wheels and tabernacles I descend death a dozen dead oceans and I derive the daily gods and dancing girls hula hell holy In the house made of evening twilight I exon evening and evening edits my exegesis as momente form and messenger RNA I eddy evening and she deviates the disco desert or funk forest, and I dance possessed holy ghost people Evening enter-exits evening two the only even prime number and its duality diffuses as dyad desert Evening at the edge of evening displaces the flex and the flicked epee jousts the emerald tablet The emerald tablet concourses chaos emeralds, and I play Sega Genesis unplugged in the desert I play Sonic the Hedgehog 2 in the desert and I really dig this blast processing (Sega does what Nintendon’t) (blast processing, informal, video games, now humorous. The processing capabilities of the Sega Genesis video game console. In the 1990s, the team was used in advertisements, and later by Sega fans, to brag about the console’s capabilities to those of the Super Nintendo Entertainment System) Benjamin blast processes sorcery theopoetics and I pray in poetry / khora prosthetic poeisis evening prayer Evening ethylene birds euphoria and the gas giant gingers giant gods / great old ones or god onion galaxy anoxic and my body blast processes implosion, black collapsed bodies The house made of evening twilight tyndales Taryn truck traffic translation and I translate twilight into chaos terrain My twilight language transcribes ridges cracks plains jumbled and enameled into several surfaces completing surfaces (topography map of Oxia Palus region of Mars showing the location of a number of chaos regions) (Regional rings round third space twilight chaos Regions rib runners twilight underground tunnels, and her horror hagars El Roi / I river liminality) The house made of evening twilight tremors or troubles as technicians of the sacred and my techne transmits tetragrammaton television, and my vision various videodrome drones / holy pornography and holy body violence I typewriter twilight thunderbirds attacking tyrannosaurus rex as the center of the hollow earth (I should read Neal Adam’s Batman Odyssey which features Batman fighting Anubus and encountering dinosaurs in a hollow earth) I typewriter like Jack Kerouac committed to the typewriter and I recall Truman Capote supposedly saying of Kerouac’s style: That's not writing, that’s typing, and the same criticism could be leveled at me, and I agree with the criticism I emphasize the making and process over the end result Although I do edit, I try to edit as little as possible, and I compare my editing to the studio recording of a jazz album (Kind Of Blue where if the take doesn’t work, discard the whole thing and do a new take) House of the evening twilight timbers timbre the species spectrum spectral / spirits as ghosts
Month: May 2023
Chaos Car Crash Chaos / Scatter Stars
One must have chaos in one, to give birth to a dancing star I ooze only one, an ovum and I tool time egg the twin trim carchrome one, and one orcas chrono trigger ossia Chrono Trigger orcs as my ossia olio, an assemblage of tuxis, tystis, and time machines Time tilts chaos in tents Time tires chaos in travel Time trams chaos duos and trios: minuet and trio serpent syzygy Elliott Carter’s Triple Duo I open eye the ogre and oaks and I shape oaks into oars I cut the ogres into oars bloody body rudder I open one my ob bound to the bear labyrinth and I walk labyrinth wheel inside a wheel, its earth erotically empty, and I abandon all to make a book and labyrinth The book odd adds one, an open orgy The one orgy many man woman nonbinary and the Book hook kisses cocks and cunts The Book kisses Christina’s cunt and her cunt counts the coptic calypso of the labyrinth The messianic meets this mess of manuscripts the messianic metal mazes monsters my mess of manuscripts and I mask the messianic secret The book is a suspended mass of contradictory rough drafts; Christ died in the third chapter, while in the fourth he is alive (the fourth, Death, reverses death, and I converse with the dead circles similar convergence) (I choose chaos the tohu wa-bohu women labyrinth and women manuscript) (I choose chaos tehom Taryn and she tints book tenebrae, an exposed desert dark) Miniature of the first two days of creation (separating of light and darkness; separation of the primordial waters by the firmament), William De Brailes Ms. W.106 (c. 1250) I machine miniatures, action painting on the shaken down canvases field painting on woman wallpapaer transmogrifies by a shrink ray (honey I shrunk the kids) I motorik endless drum drones and I touch Tiamat in shamanic trance the body boiled earth I oracle chaos only open and radically open a New Oral Taryn Torah I oracle chaos the chisel cut chasm and Krystal korakoram, and I draw the octets in ochre I draw eight lines outre the outer darkness and I wander the bedeviled desert horned woman Yahweh I wander woman desert door and dead dream Yahweh and Azazel andiron the horned zebra I oracle chaos chymistry and Christina Christ combinations, and she decentesr my center the contra desert deconstruction / blood again cruor confiteor, what blood will have been for me Krystal khaos envelopes the overtones of my brain with vision vast void vacuum Krystal Khasko and Khaino yawns Yahweh and I wade the chasm as waters (now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters) (I wake the waters within waters my formless flesh undifferentiated desert and the water coagulates strings, bloody web woman) (The work of Yahweh is always the work of woman The Work of Benjamin is always the work of woman) I oracle tohu wa-bohu Taryn mad scientist and she frankensteins my flesh various prophetic heads or seer limbs and tarot torso revelation (one popular stereotype of the mad scientist: male, aging, crooked teeth, messy hair, lab coat, effervescent test tube, googles, gloves, and striking a dramatic pose while crackling evilly) (I feel mad the maize maze mile I feel mad the mist mural and I write the painting in air I write the painted canvas electrical arcs, bubbling apparatus, and bizarrely complicated arrays of dials and controls) One must have chaos in one, to give birth to a dancing star / First came chaos and then wide-blossomed earth I oracle one, the one omega, and I somne unctios to the one One oils ombre the one woman and Taryn dyes her hair blonde ombre I open one oral torah and oral tradition and Taryn oceans one chaos One chaos clockworks no chem cowboy Yahweh and many more too long, embryos, and idiots, termites, and friars One chaos eclipses Krystal Khora traces tangled traces and I write continually tracing the traces, the ray reshimu new or non Yahweh 4Qpaplxxlevb – contains fragments of the book of Leviticus, chapters 1-5 In two verses: 3:12; 4:27 the tetragrammaton of the Hebrew Bible is represented by the Greek trigrammaton ΙΑΩ (Iota- Alpha – Omega). This manuscript is dated to the 1st century BCE Iota tinkers tectonics, emma earthquakes Iota eigers tigris and euphrates impossible in the inland empire, and her face as letter invites me inside ink irons / blue benjamin black iron prison Iota emmures summa internet and intranet and the indigo ink points Taryn Trigrammaton tonics pointillism pigment in towers Trigrammaton intersects Taryn, the invasion of sacred letters, and every letter gapes the god tehom Alpha and Omega merge into oncoming traffic / alphabet car crash Alpha and Omega ohm outside an overture and I imagine my alphabet architectonic labyrinth as something like total work wonderwork work woman I imagine alpha nad omega as two keystones and two portals, the double hay hatched woman and woman hundred hatchet, and the letters wormhole woman the marriage of heaven and hell Frenzied women whose lips the God speaks spell sling serpents and the serpents soundscape iota alpha omega / Taryn tunnels Tetragrammaton I oracle one oxtail oxbow and my semen sprouts synoptic gospels I oracle one oxbow offal and I splatter synoptic gospels as aluminum pigment, and the metals mainline mystery I interpret one version of Christianity as an initiatory mystery school and I share the mysterious with my students I share the mushrooms with the disciples) I kiss kassandra my Christianity, the self-murder-man chop blood, the clutch of the cross The manual transmission of the Cross Cross fixed Christ phantasm my Christianity always geodes ghosts I kiss kassandra she shrieks children roasted on spits a father-gorge live flesh feast, and Christianity kills collectively a cross cantata I sometimes feel Christian and I sleep in its catacombs underground chaoskampf or Charlie Parker improvises over a contrafact of Cherokee I sometimes feel Christian the ghosts of Canaan god genocide and Christina appears to me in a dream the side wounds of Christ, the mystical mimic of her cunt Woman will you wash your man in the bath Woman will you wash your man in the bath, and Christina washes benjamin bodies bodied in bath and as bath and the baths bell bone the wash The baths bell bone the washer woman and wheel woman, and I bathe the continuous large bathers I bathe the continuous large bathers and I paint plaster plumage pyroclastic flows / the frank flow of my flesh Woman will you wash your man in the bath for the bath beckons the ascent and the descent The bath abyss begins as breath The bath abyss belles bronze blonde and blonde Taryn bodies bitch as the book / the ascent and descent beckons as Lavos beckons
Seer-Priests Versus Canonical Prophets In Bare-Knuckle Boxing Matches
I paint downward and upward the numbered canvas and I cube canvas and again I cube canvas taryn train tracks tesseract I amber action all-over attack and my all-over painting loops the field filament feminine and the strange loop warps the wrap around female field and woman water I paint downward and inward the entrails of the canvas and I stain shapes with aluminum pigment or metallic color whom he catches engorged on human bodies I labor the levels all lapped at the beginning level but beginning does not exist spatially: beginning only exists in one kind of chronology, and I temper time telero (I suddenly remember a game for the Nintendo Virtual Boy called Teleroboxer and although the Virtual Boy understandably failed, I have nostalgia for that eye-searing red-red ouch my retinas goggle revue) I level landless you’re going to make me lonesome when you go I level landless rope dipped in littoral latex and I hang the liquid ligands level layered level I level landless the Light Tree an arrangement of Taryn triangles I level lake the Large Lady and her open mouth later light consumes my body unleveled The Large Lady Lamellibranchiata opens her mouth benjamin bivalve and her light tree tremolo Taryn tags tusk of a boar The lower level or lower world walks the writing in loops and every repetition actually creates a new language, a new time cone, a new suspension as space and the space strobes strange Every scene is the scene of writing Every site is a site of writing but the writing too loops nonlocality I say that one must be seer, make oneself seer, says Arthur Rimbaud I see the serpent spectrum and benjamin as seer stones sterling silver and my vision is the sentence My vision sentences snake language shimmering and the words wade woman water The words warble birdsong waterbird women and women wake my prophecy and seeing There’s nothing I don’t want to photograph / there’s nothing I don’t want to see and see everything horror and pornography G.C Allen (1971) comments that in the First Temple Era, there were essentially seer-priests belong to a guild, who performed divination, rituals, and sacrifices, and were scribes; and besides these were canonical prophets, who did none of these things (and condemned divination) but came to deliver a message… I composite Seer-Priest and Prophet I function composition Seer-Priest and Prophet, and I immediately recall 1 Peter 2: Come to him, a living stone, though rejected by mortals yet chosen and precious in God’s sight, and like living stones let yourself be built into a spiritual house, to be a holy priesthood, to offer spiritual sacrifices acceptable… AND You are a chosen people, a royal priesthood, a holy nation, God’s own people… This aspect of Christianity cuts forwards and backwards: a universalization of access to the Mercy Seat, the hilasterion, where no Greek nor Jew, no male nor female, no slave or free exist… But this universality also erases identity, individuality, and the power of the name; indeed Christianity as its own power structure becomes a hegemonic force pressed from the top downward, eliminating the freedom of the gospel and its flat anarchic community relations entirely… I composite seer-priests and prophet I function composition seer-priests and prophet and I see the ship of slow serpents I see cargo cult Christ shaped into a bronze serpent and the bronze blastdoor blankets my body snake shrapnel and the Brass Christ discards pin pile the sharps container I see snakes start and select buttons and rolling replaces Tetris hypertapping I see the symbol and I see the sigil, and although I don’t believe in a soul, I see the soul too: I see the soul Adam-David-Sabbatai Sevi and this soul surgeons as a serpent towards my soul, and through fang scalpel and suture, conjoins the souls the chymistry conjunction / horror heiros gamos A ram with crooked horns and a bit of tail, a harmless image of Saturn – can you use it? The horn harbor hangar havens scapegoat and I slash stem scapegoat and serpent The horn haunts my hallucinations holophrastic hallucigenia and I worship her hypomania I worship her hexagram, horns birded at each vertex, and I vine votive offerings ouroboros blended with the Grape God And Aaron shall cast lots upon the two goats: one lot for Yahweh and the other lot for Azazel, and I see the serpent slide the sandstone sediment writing names The Name names name bomb-ombs as One and One / ornithology orioles many Goat and goat ground One, the many grouped by granular synthesis I see my god as the gramophone I see the serpent-self as not-quite-shaman and I feel reluctant to describe myself as engaging in shamanistic practices despite healing by traveling to other worlds / words I see my serpent-self with the tail rattle and shaking salt, and the sound disrupts the tabernacle’s surface, and my sprite spouse tiger taryn emerges underneath earth The tiger totem remembers trickster and she troubles as a ram’s horn, the crooked tangled gore The future Bororo Shaman, after a series of visions in the forest, goes home shaking and uttering unintelligible words An odor of decay emanates from his body Suddenly a gust of wind makes him totter: he falls like a dead man At this moment, he had become a receptacle of a spirit that speaks through his mouth From now on, he is a shaman The vision vores violence The vision vowels violence genocide glossolalia The vision vendettas voluptuous violence and Christina dreams violent benjamin (Oh! I never told you about my dream! You serial killed me. I woke up, and you had me on a gurney with my abdominal skin and muscles cut open and pulled back so I could see my insides. But we were like laughing the whole time, says C) The vision verbs vortex, fervent flow flesh in volumes, and I vomit the entire forest I emit emesis my mouth erotic hell Hell halves shaman hula husk and I shaman shekinah sophia asia One must be a seer, make oneself a seer, and I shift seven seer-priests: shaman, prophet and artist / I heal Christ Christina she heals me The seer-priests were usually attached to a local shrine or temple such as Shiloh and initiated others into that priesthood, acting a mystical craft-guild with apprentices and recruitments Canonical prophets were not organized in this way I shiloh charismatic and I sophia prophetic, and the tongues fire tag tapestry The inline outline twist taryn charis counterpoint The shrine shiloh themas serpentine and snake swells pregnant prophecy, and my vision shines shiloh stars slowing stars stars slowling stars stars striking stars tails star of bethelehem, the messianic signal slying lucifer levels lipids linus / bone lumen lighthouse I shiloh the comic charismatic and I coven comedy the clockwind of witches, and I prophesy jester juggler the inferno incarnation I shaman nautilus shell underground and the subterranean cave pipes / OK Computer by Radiohead through its spectral speakers The subterranean cave drowns its salamanders through its spirit sprinklers and the water women water aquas ancient (Alysalolitagesta and Alysalolitagenta) (Alysalolitagenta or Alysalolitagesta occupies the khora ouroboros / magick name and sacred name central columns as a perpetual calendar complication and time cycles concentric circles Taryn) The prophet too plays The prophet too plays structure slapstick pornography, and the more serious the message, the more comic the kerygma The prophetic name or the seer name curlycues chaotic the abyssal passages and tehomic rhizomatic, and the nonlinear limbic loads brain light the umbras unconsciousness undulating through and to the apophatic The prophetic name or shamanic name scripts stochastic and my secret signature shakers magic / oracular macrocosmic or molecular microcosmic And I speak with the ghosts, the shaman / pictures without words words warped within the pictures
Names Nest New Gnosis, Part 2: Names As Strange Loops and Erector Sets
He designs all his music systems to interconnect / the process of unifying the entire compositional output completes a communal Name I write community: I write community kontakte microtonal language and language longer anarchy The anarchic community erects my written community I study Anthony Braxton’s Ghost Trance Music, and the performing ensemble plays the between composition and improvisation, something like he Name written and repeated / the functionality of music-making in community Communitas crucifies / Tetragrammaton tortures and I write rattlesnake septuagint I write elephantine papyri juh and juh I write the yod as rod in Greek Magical Papyri, the insect IAO and IEOA and I ink the iota aleph omega I incarcerate the Tetragrammaton idiot, and the iota earth igneous isolated female letters I figure the female letters as Christina charis and Christina communitas In the book of Esther, the Tetragrammaton does appear, but it presents itself front and backwards in four acrostics Acrostics addle archipelago and I ambulate against the nonlinear landscape I cackle crackled acrostics as cockle shells and I army antinomian Acrostics echo acoustics amphitheater armageddon, and I anticipate the apocalypse appoggiatura the appoggiatura ant lion the appoggiatura antler The doorway opens deer The doorway opens deer golden ratio hambuckers The door drills digital distortion and I accentuate the antlers the empire never ended The door ding dong ditch The door daemon diaspora The door hermetic star drag and I pretend ot under the light redshifted Our car overtaking another, doubling it rather, overprinting it with the negative of a photograph already taken with a delay mechanism, and the body blurs black basket attic The body blurs blue black woman as beautiful as the chance encounter with a sewing machine and umbrella on a dissection table I dissect table tennis Taryn and her robotics reveal sharks swallowing rubber boots and fishing lines I fish fantastic flippers Ariel City of David I fish flounder fragrance and the fish flattens dragonfly aliens I somme strange loops the laminated labyrinth I siphon strange loops the long limousine librarian and she laughs slaughterhouse serpent Horla haunted strange loops double exposed the double exposure and the light liquidity lips liquefaction Strange loop doubled loom lavender overlaps and the photograph haunts Hermes Trimegestus / emerald etching emerald Emerald etching emerald / Sonic the Hedgehog’s chaos emeralds answer Taryn Taryn talitha cumi chaotic Strange loops stretches the lamelliform latchstring and serpent strobes door within door within door the children’s chariot I handle serpents and drink poison, phantos pharmakon and I frack the pharmacy ondine oil Strange loop ovens oil the photographic immersion and I transfer the ionomer into eye drops Liquid seeps into my inner skull the scalloped fret skeleton and torso traps toroid and tricycle triceratops Strange loops alarms my writing as leprosy the radical translation of script as a distended-and-decaying god Strange loop libertine alarms my writing leafhopper libido and I radically translate the script as the ghost god keylock lighthouse / the haunted homily limbs serpent sermon I move upwards and downward through the system and I arrive at the starting pendulum from both directions I move upwards and downwards through the library lighthouse and I arrive at the laboratory which sprawls the simultaneous space x space (I write with difficulty: all decoheres and I write work withing breath I write body without spirit I don’t know how to connect this mass assemblage / the loop of languages) (laughter lamprey language a cookiecutter shark bite and what connects the language: wound woman and woman wound / Christian shares my body benjamin) (language itself strange loops cardiac recursion, sodium channels chasing sodium channels the twelve tone row prime and retrograde or I project the row into third and fourth dimension, and the random walk circulates around the central pitch and central letter infinitely sideways-diagonal) I move upward the golden ratio of the nautilus shell spiral or the nautilus ratio of the golden spiral, and the spiral species space khora in counterpoint The spiral spiderwebs surplus asymmetry, an additive meter lunar moth medium and I reenact several techniques of action painting
Names Nest New Gnosis, Part 1
I prophesy the playground passage and the merry-go-round children chime row row row your your boat / michael row your boat ashore hallelujah and Yahu potters the passage pyramid I rediscover proverbs for paranoids but I do not think I’m paranoid but experience signs and symbols in all events and experiences (referential mania / ideas and delusions of reference) I prophesy the paranoid passage panic-haunted by Yahweh and every sign and symbol sigils my signature (On When? About as many years before Lolita was born as my age was that summer. You can already count on a murderer for a fancy prose stale) The passage participates underground, a subterranean psychohistory and psychogeography, and I hallucinate the fire works of brilliant colors I hallucinate circus balloon animals and a cave bear sneaks shamanic secrets to me The cave bear jaws projects sprites and spirits like a pepper’s ghost illusion except they reject their ectoplasm explosion as tabletop theater The passage participates in the Passion and the Passion pharmacopoeia pikes ghosts The Cross capitibranchiata grows gill gods / creature of the black lagoon and benjamin lepidopterist collects specimens at the lagoon-cross intersection The cross cryptid cannibalizes other clusters as a staff-serpent of Aaron and Cross contaminates all connected The paranoid passage paints my psychosis twin peaks, and in these very rare cases, the patient imagines that everything happening around him is a veiled reference to his personality and existence… (if this is the case, then everything I write, no matter how disparate or distant or far-fetched, connects to the same personality and existence: my own) (if this is the case, everything I write prophesies the same urground and urlanguage, the alchemical KRYSXTRYN) (I prophesy boredom I feel I write a rut and I dig and fill the same hole I continue to copy and I don’t transform enough I must radically rethink my language) The surreal power of the Name The surreal name of power The powerful name Yahweh and I too name the Cross I name the Cross as Cross and I name the Cross ZOXATHAZO and ZOZAZOTH, the simmering syzygy Zebra (I feel fucked I feel fucked phantasm frenzy Frenzy flexes fucked performance and theater throttles the passion Christ the truck driver wrecks his semi a thirty-three car pile up on the California freeway / thirty-three cars for thirty-three years crucified) The first letter of the name has been uttered and I unspeak universe I unspeak universe as Yod, the wilderness Yvette and Yvonne I letter Yvonne the Wake the Woman I letter yvonne Wake Woman and I cut cane wordless I crack the cone as code, and I assemble fragments from codex Nag Hammadi I compile codex secret gospel and the gospel gullwings woman jack the ripper I witness Yahweh incarnated by jack the ripper and his misogyny inspires him to cut apart women / a bloody bridegroom for a bloody god Dead end Yahweh End end Cross End end waiting A thought he’s only using one unit over and over again (Cezanne constructs unit monuments) I fear not making sense and I fear the unconnected fragment – but every fragment fractals flows firmament the dome I fear the incomprehensible and I attempt to make the apophatic cataphatic but I fail flutter flapjack fimbulwinter Fear nothing and Woman the Word Fear nothing and alice the alphabet I dig somewhere weird and I enjoy the weird wilderness weird west weird (non)fiction I dig when weird with 80s hair hairspray sea spray and I chop hop on pop I photograph phantomworks and phantomsmasher, marble madness meltdown, and I machine compulsion I machine compote compost mechas, like a DeLorean using refuse to power its flux capacitor The Book runners raw refuse and the memory of what survives me to be present in my disappearance interprets or runs the film again Interpret or run the field phonograph photograph graphic violence I interpret rum runner rascal and my ram’s horn reeks blood The Name states accent in air Staccato Yod Hay Vav Hay Stressed Christ and Christina The Name plastic pictures a pint of coffee ice cream and Christina away-already offers it to me at the Discovery Dorm In Name, I discover the Golden-Ratio Doorway
Is Benjamin Also Among The Prophets?
I am a juggler I the juggler and acrobat and I suspend several words several languages several icons at once and once upon a time once and always, always-already alien I am the juggler, benjamin bateleur and I play puppeteer: I play puritan pornography and I juggle erotic language and blue language, and I lead bears, baboons, and dancing dogs I play sleight of hand pornographic prestidigitation and I nile new names numinous arcane I am a juggler and I juggle photography and writing I juggle naming as the mystic happening and I hydra helios Son of Humanity I sonar sonoran desert Son of Man, and in the Cross I see my humanity and divinity simultaneously Benjamin buffoon juggles buckyballs belladonna and the nightshade intoxicates shoreshine deserted / the desert magic Revelation is the revelation of the names of God and the names-as-newel viper vertical circles / the split names of God The mass nonce nudie-cuties and Christian in exploitation films, and I photograph each name event aurelian event wings awake the historical rupture of the Cross Names from the intersection of segments, each a relic-as-image or image-as-relic, and I burn the splinters of the true cross into photographic paper Revelation is the revelation of the names of God and if the Pagad or Juggler is taken, the party taking him also earns five points Revelation overlaps overpainting the name with the negative of a photograph already taken with a delay mechanism The delay decodes desert as death and I kiss death black window angels I kiss death revelation of the revenant and my double ditch doppelganger delays god hyper hyphen holy The hyper hypnotized human and the Yahweh inside names greater than the Yahweh outside The hyper hydraulics hagger hydro forward, Woman from the spring and Woman from the sprout Revelation is the revelation of the names of God and the name noises nexus The letter aleph and the numerical value one sacrifice the candidate about to be initiated, the dexterous individual – the juggler – the jazz improvisation – the jester and jackal – and I join the jam sessions enabled names or the names natal and she births jazz nursing the names ninth circle I novena the names naked and I pray psalms cellular the names napalm Revelation is the revelation of the name Yahweh and Elohim and El Shaddai and her god name nectars neosis and nebula The name nebula queers clouds chatoyant and Christina clairvoyant prophesies many names by many names the foundations of the tabernacle Compulsion to overtake each second, like one car overtaking another, double it rather, and I double the name I double the Taryn photograph and I film flesh air flow fenders I compulsively prophesy and write and all I ever write is prophecy All I ever write is vision doublet vision and compulsion cities cyclops, the benjamin chaos I prophesy chaos and complexity, a juggler joined a pocket watch grand complication God’s language has no grammar, only names, and every word I write contains a secret name Every word I prophesy hides the secret name, a cipher inside a codex inside a cipher, the plow of palimpsest My grammar glamours Taryn theopoetics and I juggle magic and haunted photographs, and the image becomes a mirror that doesn't shine or the pure portal blackbody radiation, and the photograph reproduces language – my prophetic cloud chymistry christian language – and it mechanically repeats god It mechanically repeats the names of god: Yarn Yahweh or Elephant Electric Eel Elohim or Enteroba Electrum El Shaddai, and I photograph the names counterpoint the double exposure palimpsest and I overlap name and name the car crash (the car crash is not a destructive event but a fertilizing event, or its destruction fertilizes) What the photograph reproduces to infinity has occurred only once: the photograph mechanically repeats what could never be repeated existentially, and I mechanically repeat the event of God I mechanically repeat the hauntological event of God and I continually noise Holy Ghost because God geists the gaunt jaunt and I photograph the God Ghost as Transparent Ghoul The photograph reproduces many gods in counter-point and the Elohim Ecclesia clashes cars desert dissonance and I letter liturgy magic word magic names (I partake of the Eucharist for the first time in many weeks and I realize the Eucharist transports me to the third space, the liminal letter, the holy heterotopia) (I write myself into comfortable safe but I need to constantly venture into liminal vision or prophetic heterotopia: into the personal palimpsest, the benjamin photograph naked… Experiment! Play! Make messes! Choose cool jazz chaos!) The whole Torah is nothing but the Great Name of God I transgress Torah I transgress Torah Taryn the tintype tincture I transform Torah terra triceratops and my horn traces the ash hallway hockets woman Woman halves Torah high heel holes and she heads my horn hocus pocus The Torah tritones total therymodynamics and the system scribes statistics stochastic disorganized music / reinforced concrete pavilion clutters in nine hyerbolic paraboloids I intake Torah and Torah teaches Taryn: Torah teaches KRYSXTRYN and Yahweh gives her tenth of everything The Trader Taryn Texture tinges Taryn, bird trill prophecy and she braids Benjamin into Book, the bible Metastaseis She knots the name Benjamin-Yahweh and Benjamin-KRYSXTRYN, a state of standstills, dialectics, and transformations Torah hinges between, the doorway before and the doorway after, and I random walk by names and letters, an intense sustained nondirectionality Twist transformations transfer Taryn Torah as glissando mass events and permutations of tone rows, the liturgical mass amassed non-retrogradable rhythms (He particularly liked massed string instruments for their ability to slide smoothly across the pitch continuum) Compulsion to overtake each second, like one car overtaking another, double it rather, overprinting it with a negative of a photograph already taken with a delay mechanism… Book repeats delay and the writing repeats delay texts overlap collect aggregates / I horde and accumulate texts without limit, and I imprint the texts onto my body until everything inks I roll my body into the page of the book: body language and book body glossolalia latria my holy latrine of letters Like Andres Serrano, I want to literally use my body as medium, and I paint the book blood, semen, urine, my flesh holy universe and wholly universe I feel compulsion as the very impulse of the machine and circumfess the silver scroll and secret scroll by writing (I compose the Oral Torah as an alphabet and each letter hides a language Each letter hides the Book of the language, the library chimera lopped light) Compulsion pivots pitch as a printing press and my body prints panic graphomania My body plays prints the pentagonal monster and I print fentanyl photographs (I suddenly feel bored by my writing – if I don’t feel engaged by my writing, who will be? But the creative process – or at least my creative process – alternates bipolar depressions and bipolar hypomanias, and I’ve learned I must continue working and working the writing even despite the lack of inspiration) (I often feel I’m copying without transforming) (What does a truly profound transformation of a text look like? What does a truly experiment or avant-garde transformation of the text look like? Are these two approaches disjoint or in union?) I recall two versions or origin stories of the proverbs: Is Saul also among the prophets? 1 Samuel 10:9-11: As he turned away to leave Samuel, God gave him another heart: and all these sights were fulfilled that day… When they were going from there to Gibeah, a band of prophets met him; and the spirit of God possessed him, and he fell into a prophetic frenzy along with them… When all who knew him before saw how he prophesied with the prophets, the people said to one another, what has come over the son of Kish? Is Saul also among the prophets?… 1 Samuel 19:19-24 tells a second version, although I will abbreviate the first section where Saul sends his messengers to capture David and God strikes them with prophetic frenzy: Saul went there, toward Naioth in Ramah, and the Spirit of God fell upon him… As he was going, he fell into prophetic frenzy, until he got to Naioth in Ramah… He too stripped off his clothes, and he too fell into a frenzy before Samuel… He lay naked all that day and all that night… Therefore it is said, Is Saul also among the prophets? I copy these passages (polymer passages photographs) as a model (modal machine music) for my own prophetic experience and my own writing experience, my frankenstein flesh often in frenzy The frenzy floors violet faith and faithful violence, my eldritch abomination of desolating Yahweh The frenzy drinks fifths, improvises flatted fifths, and smokes serpent opium I copy these passages as pinhole camera prophecy and benjamin the pirate prophet hijacks Torah and Tanakh: a portion of heresy, a portion of blasphemy, and a portion of apostasy (16th century woodcut of a soothsayer delivering a prophecy to a king, deriving it from stars, fishes, and noises from the mountains) (I soothsay Saul, Saul the King of Israel and Saul the Apostle, and my tooth the oak of tabor shatters their psyche the prophetic skinned skull in motion) (I soothsay Holy ghost Holy Spirit the snarl spark of Sophia, and she soups as sea serpent She cardinal currents cat bones church bones Christ bones I net the bones and build spiral staircase banisters) I copy the passage harmonic partials partial photographs (there is nothing in the world than to feel the breaking apart all my pictures of you)
Untitled Umbral Undulations
Book haunted house hisses helical staircases Book haunted house havocs staircases double helix and Helios shines daylight horror and death drags diamond eye and diamond embedded in cranium Book haunted house havocs staircases double helix and helios shines daylight horror helios hernias Her-Hag shine on you crazy diamond and diamond dazzles as death Diamond drones strangelet light and light mirrored missiles / I see my reflections in the V2 Rocket My face is surgical flaps follows gravity’s rainbow In marches, the countermelody is often given to the trombones or horns American composer David Wallis Reeves is credited with this innovation in 1876 Horns countermelody horned gods and she births benjamin bold bull and bull breath / Hevel Abel Hell as existential ecclesiastes Horns countermelody horned gods and in majesty Benjamin is like a firstborn bull; his horns are the horns of a wild ox, and with them he will gore the nations, even those at the ends of the earth Horns hanger heretic and my heresy as hauntology spills spirals the golden ratio stairwells All I write simultaneously radically breaks and ruptures history while also continue in, with, and through history My hermenuetics rupture real rhizomatic and I crucify continuity to discontinuity, the desert disassociation I scratch scripture into my body, ghost galleon ghost and ghost kid gavilon god / desert delight detuned decision, the game gesture as deconstruction The mixture many angles angels The desert DMT distills impossible impossibly The horn countermelody, crosshatches shade El Shaddai and I imagine the ladder breasts, balls, and horns hush ellipsis elliptic the cave of curves She curves caves countermelody modal countertenor, and the tenor saxophone tunnel levels legato uma underground Horn also haunts Horn also haunts helel hell horror hallowed unto the hutch hut of impaled bodies Horn gores gods girls vintage grapes the vineyard Yahweh (a depiction of a horned deity image on the piece of pottery fond at Kuntillet Arjud above the inscription “Barakhti etelem…”) (an image on a piece of pottery found at Kuntillet Arjud is adjacent to the Hebrew inscription “Berakhti ethem l’YHVH Shouron al’ Asheranto”: I have blessed you by Yahweh of Samaria and his Asherah) Yahweh haunts inhabits habitat, the habitus of my body Yahweh haunts herd heterotopia, Taryn Terror Topology, and my torso as topos tinders tower, Yahweh Yardbird Yahweh Two return to Yahweh cabins the return to Self, haunted demiurge and ghost demonology I return to Yahweh as my demiurgic self and I dance spirals the al dente desert Horned Yahweh levitates in bronze, blended oil idiot orange otter light oval Horned Yahweh hovers bronze and woman washes basin the bare bathsheba blue bathers large bathers large glass slide guts grease the gluttonous god I don’t know what to write or how to write or I know the writing except there is too much writing I decide to copy a selection from Derridabase / Circumfession by Geoffery Bennington and Jacques Derrida: Photograph with automobile (1) Rye Saint Augustin, Algiers “… compulsion to overtake each second, like one can overtaking another, doubling it rather, overpointing it with the negative of a photography already overtaken with a ‘delay’ mechanism, the memory of what survived me to be present as my disappearance, interprets or runs the film again…” (Circumfession, 7) The racing of a car is filmed or photographed, always on the verge of having another accident, from one end of J.D.’s work to the other I have a naive or uneducated approach to photography and film, and I have an intuitive sense of film I want to read the photographic classics: Camera Lucida by Roland Barthes and On Photography by Susan Sontag Photograph with automobile arks ana ash and her ash rains image: image filmed flesh image knot gnosis photograph image Christian crucifixion The photograph kisses me as Christ I kiss Christ Krystal cloud chambers and the center decentered decoheres / the comic cross as her hermetic cosmic Roland Barthes writes in Camera Lucida: What the photograph reproduces to infinity has only occurred once… The Once has the same unison as Once Upon A Time, the iterative and permutative fairy tale Taryn tall tale myth The Once repeats Once Upon A Time the formula as phantom flesh or Karlheinz Stockhausen’s formula compositions, and I compose the Once as zero singularity / zebra camouflaged in the cross I photograph the cross, Once projected into Futures Infinity / time tremors truncated kairos, Krystal swinging the elephant’s trunk The Once opens Once and for all Alice’s Adventures Underground The once opens One and Once organic architectura, the blur of my blob body back cover blues / Auinor Architect Alchemist Once and always alligators alice Once always-already argues alligator alice or alice alligator clips the distorted desert and the haunted photograph Photography once and always haunts and my body houses hauntology My body hosts the growing ghost Yahweh Saboath and Alice armies the child’s automobile I imagine the car as carousel and I cut the horse into crescents I cut the horse crescent carriage chariot, and out of the open wheel, female whip fire The automobile merry-go-round wrestles hauntology as Yahweh, the ambush angels burning bush (Africa unite because we’re moving right out of babylon and we’re going to our father’s land) (The desert diaspora disappears hauntological benjamin / m y life in the bush with ghosts) My life in the burning bush with ghosts and Taryn Babylon and Taryn Babalon blossom the barricade of Towers (I always-already write Towers and I once and always write Tabernacle) I lose my life in latter layers and ladder rain, remote ruach or the circular ruins I lose my life laparoscopic letters and the telescope telephones tipsy Taryn as my surgeon / she sashimis me slices my brain matter white light laser material What the photograph reproduces to infinity has only occurred once, and I reproduce prophetic monstrosity I reproduce monster malleable Yahweh and I refine Yahweh into long copper wires / conductor woman and girl electricity The photograph unfixes the phoneme and I utter underneath language I utter underground graph god glossolalia and the photographic grid generates sacrificial girls / rites of spring handspring longhaired fertility rituals I reproduce photographic monstrosity as prophecy and I pray to and through the photograph as icon I copy photograph phantasmagoria as halo hallucination and the photo fevers as a human eye / eye to eye a portal Eye to eye, a portent Eye to eye, a position, the interstitial incarnation as the cross’ ignition, and I frame the fire I frame the fire as physician and crucifixion simultaneously butchers and heals Photograph butchers Benjamin, my body reframes as flank or loin and rib and I write the difference riptide the repeated rupture Photograph ruptures as repeated even, the event as singularity infinitely repeated, and I live that (or this) event haunted I write photograph as the Center of the Book and all I’ve ever written repeats photograph I write the repeated image simultaneously iconic and iconoclast as I pace the fortress as Jacob Frank contemplating the Black Madonna I repeat writing and difference and the photography differs desert tonality diamond, and I murmur underground utonality as the once oasis ouroboros The photographic desert drawls awls open The desert photography forks flail ball lightning and the photograph desert flood flashes benjamin I photography desert unidentified flying objects and the spacecraft assemblage extracts dinosaur DNA preserved in amber the alice cocktail (the writing and difference with dinosaurs) The photograph mechanically repeats would never be repeatedly essentially I enter-exist essential singularity The essential singularity wraps around my entrails and I dance the maypole with my marinated intestines / benjamin hacked up for a barbecue or scapegoat ritual Benjamin photographs the slaying of John Barleycorn The mechanical insect crawls photographic canals and the machine music mallets air plane propellers and cat-o-nine tail orgasms Christ on the Cross orgasms serpents and she-serpents slope mechanical marauders I listen to A Tribe Called Quest’s Midnight Marauders and the night’s on my mind as machine mother and she births dark steel and pattern-welded steel etched dark distance dark dark distance exposed the desert mechanically naked and I repeat naked pornography I repeat pulp fiction and dime novels and I photography weird wild west The mechanical insect Christ hangs on the Cross Chrysalis and crucifixion corrupts and copies textual transformation the mechanical butterfly Christ self-deconstructs or self-crucifies complete metamorphosis, and the middle machine dissolves as lycaena gorgon, the gorgon copper god (Yahweh gorgos, gorgos as grim or dreadful with the same root as the Sanskrit word garjana, guttural sound, growling of the beast / Yahweh gorgon growls guttural great big gobs of greasy grimey gopher guts) The photograph with automobile merges freeway automorphisms I imagine the Yahweh gorgon as a galois group and its roots river rhizomes / symmetry asymmetry something cylindrical the mirrored X as exegesis The photography with automobile poses poltergeists and the automobile automatic transmission shifts fortean anomalies or my flesh as phenomenon fucking god I photograph phantom cats and the cat cobblestone chucks teeth-with-bricks at automobile doors Doors open damselflies damsels-in-distress and my automobile drives butterflies large blues blue bathers large bathers, and I feel American when driving massive highways and watching baseball Naming as a primal language happening hyperventilates vision and the mechanical ventilation toppers my lungs elastic into vellum I write with my body and on my body and through my body, interior cut exterior the erotic postcard and photograph Naming honeycombs horror harmonica blues and I name the Book Christian Chromatic or Asia Aether Avant-Garde Funk avant-garde god metallic experiment The naming event evolves cloves close revolver The naming event rusts frantic and I impound iron from insect skeletons I name the photograph after an automobile and the phantom jaguar jumps my body robbery I name the photograph after gods Christina and Taryn and Yahweh exists the photograph as a tentacled tarantula I name the malt of materials Yahweh and I assemble Yahweh as an animatronic construct Yahweh steel and elastic netting composed of polystyrene bends and I stretch silicone over fitted frame I implant joints, motors, and actuators into the armature and wires whirl long and winding road I name as animal and I remix the organic and robotic / Yahweh as a grand artificial intelligence The name mutinies and raptors taproot Tetragrammaton stonetumble stonehenge and I’m certain that something like stonepunk exists / goliath monolith mechas Revelation is revelation of the name or names of God, and God’s language has no grammar: it consists only of the names Name narcotic necrotizes my body, god gangrene Name loch ness nails my body drowning and the black injects benzodiazepines into my bloodstream I am a juggler I am the juggler and acrobat and I suspend several words several languages several icons at once
Seer Shaman Shades Elohim Vision
Content Warning: Body horror imagery Center origin ends apostolic rhizomatic and apocalyptic rut root runner through three revolutions Center origin ends bone awl and bone folder messianic, and I Preidcit the parousia through pataphysics and paraconsistent logics Center origin ends arche, an antique rose orchard The play – sometimes and often contraries – haunt pure presence / ghost parousia I introduce play into pauline epistles and pastoral epistles and the play perverts The play clusters Christianities as pornographies, passenger erotic and palm-muted earth Peculiar play plates pentagram and pentacle, Lucifer as the five wounds of Christ, and I often prophesy the pagan play as a mystery play I prophesy pagan play as mystery play and the hypercycles condense circular at the Cross I segment the circles into caterpillars and Kendrick Lamar initially titled To Pimp A Butterfly as To Pimp a Caterpillar I cut into the circle and it fell flies demons daemons the drowned devil Everything connects concave convex the current flux Everything connects to everything ephrata or Taryn Talitha Cumi and everything follows everything rosewater resurrection I play multiplication timetables and I gibbet god from gallows / hanging holy haruspex I play pelican regular polygons and the rebels Henry of Monfort and Henry of Wylynton, enemies of Edward II, were drawn and hanged before being exhibited on a gibbet near Bristol… However, the people made relics of these bloody and mutilated remains out of respect and later used the relics in violent protests… Miracles were report at the spot where the bodies were hanging I play hanging and hanged man and I read the most difficult word to guess is JAZZ We jazz june we die soon and in some cages the bodies would be left until their clothes rotted and even until the bodies were almost completely decomposed, after which the bones would be scattered Bodies bask as a blade shell sharp shade Bodies basking shark slow seventy seventy faces seventy concubine foreskins, and in cages of drawing and quartering, the body of the criminal was cut into four or five portions, with the several parts of them gibbeted in different places SPACE IS THE PLACE SPACE IS THE PLACE pantonal parousia Space is the Place plate 1972 model 12 stepping up onto the trestle jumping down turning tabletop tourniquet and I space spandex dossiers connect four Space handsprings Song X and harmolodics haver hell I write mess I write mess no matador but minotaur I write mess Ren and Stimpy space madness What a mess the message is the massage The message as sheer material murders / disorder Joy Division disorder one hundred hangings What a mess I feel my writing sluggish schizophrenia What a mess the writing massacres the writing and I write docoheres hamnet hamlet a midsummer night’s dream Of course I always dream the desert I will die in the desert I will live in the desert too I live desert decoherence and the deconstruction doubles dream dreaming dream I lost my vision: I go into the desert to find it I lost my vision: I descend into Hell to find it Without contraries, no progression My vision does not originate from Yahweh but from something greater than Yahweh My vision originates at the Cross My vision originates at the Cross cocktail Christina and the Cross communes cigarettes champagne chocolate no origins The originless origin omega occulted in omega origin originless / ouroboros as octopus Gabba gabba we accept you we accept you one of us gabba gabba hey, gabba gabba hey (this would explain the drop in GABA fluid, the blocked neural circuitry uninhibited and at last firing) Recall the oldest function of poetry: the poet prophesies The poet shakes shamanic seer The poet taryn towers technician of the sacred Beforetime in Israel, when a man went to inquire of God, thus he spake, Come let us go to the seer: for he that is not called a Prophet was beforetime called a Seer Then the Lord put for his hand and touched my mouth. And the Lord said unto me, Behold, I have put my words in thy mouth Thou shalt not suffer a shaman to live Saul had put away the ones that spoke with ghosts the shamans he sent them away from the country I saw gods ascending from the earth saw Elohim I write the work of mess amassed mass messes I write two the work of Book as the destruction of Jerusalem and Temple transformations terra Taryn the Tower tuning fork forest vibrating the first 128 overtones of a low C I write serpent rattle shipwreck and I shaman underground gods or ghosts galloping as gods or gods in gridlock as ghosts Everything haunts everything and I sleep with ghosts I postpone everything and everything procrastinates with ghosts The post prepares for strange return, the simultaneous flesh phantom of Christ’s chrysalis-resurrected flesh I eventually return to everything I eventually return to the cross symphony century I postpone or deposit the desert dragged the flesh as frame reference and Mount Sinai square wave Mount Horeb the pike postmodern woman I place myself in the continuum or wet eroticism of postmodernism and postmodernism / the metamodernism as an automaton bird mechanism I crash the steampunk god into the clockpunk god gears mixed gasoline and air aether I crash the steampunk god and clockpunk god diesel wheel inside the diesel wheel chariot woman Everything inhabits everything as present absent ghosts within ghosts and the wheel whirls postmodern possession and the exorcism emanates demiurge / the spilled spark upwards The linear horizontal dominates over the vertical, and I reject the harmonic contour of lines I near the harmonic narcotic and nonlinear neurons / net work nested inside networks turtles all the way down, down to the valley below Do not control the text but let the text eviscerate itself and spill its blood and guts and high school over the page / viscera veronica vision Do not control the text but let the text countermelody text the comic chymical dissolving of many bodies / skin and skeleton soup
Contraries Within The Decentered Center of the Burning Sacred Heart of Jesus Christ
I return to repetition and I copy the repetition: Without Contraries is no progression Attraction and Repulsion, Reason and Energy, Love and Hate, necessary to human existence From these contraries spring what the religion call Good and Evil Good is the passive that obeys reason Evil is the active springing from energy Good is Heaven Evil is Hell In CG Jung’s The Red Book, he records as an unconsciousness counterpoint: Therefore after his death Christ had to journey to hell, otherwise the ascent to Heaven would have become impossible for him Christ first had to become his AntiChrist, his underworldly brother No one knows what happened during the three Christ was in hell – I have experienced it I experience hell although I do not know if it’s the Christian Hell I experience the Christian Hell, which is to say a Hell for Christians a Hell constructed by Christianity cross as cathedral / the cross as a coupled corpse the body camera in crisis Hell haps human hysteria impossible undertone harmonics (ouroboros otonality and umbilical utonality) Hell harvests watercress corpses subharmonic subterranean submarine Taryn and her hell speech stretches salt water taffy Her hell speech tongues tenor saxophone as a wheel spoke and she spindles wool thread woman the washerbasket in the wake I winter the wake water music / language music long melody the wake weirds wolverine and wolverine as weapon x and the X crosses both unknown and ten: ten tendon Taryn, my lighthouse in ligaments Hell halons the human body heterotopic hell hatches as a heist film, the hyena hymen and hymnen / her desert deconstruction Hell the harlot hotline dials Stevie Smith’s Not Waving, But Drowning and water smoke sensuous sirens or Sabbatai Sevi’s serenades / the sword is a sermon The sword slender slips through the human body several sashimi slices, and the defleshed and preserved skeleton is a sermon Hell hastens the Fire Sermon (all is burning and what is the all that is burning?) (Benjamin burns beach brilliant) (Benjamin burns bright blood metallic, iron igniting iron) Hell harems harlem renaissance and the dream deferred detonates as the Fire Sermon / Female Fisher King Woman Waste Land hell parodies Waste Land the Incarnation as irony and the Holy Spirit as sarcasm (Birth is exhausted, the holy spirit life has been lived out, what can be done is done, of evil there is no more beyond) I should cut the entirety of the Fire Sermon section (I try to leave as much embarrassing textual remains as possible but my ego easily bruises) (I do not cut but copy, corrupt, and converge texts / / Taryn Tower Transmission) Without contraries, no progression and I unearth elemental iron and I mine evil the active springing from energy Without contraries, no progression and I unearth eldritch abomination Yahweh / I create calamity and peace, I create good and evil, I Yahweh do these things My writing progresses in contraries, contradictions, and the canvas curved canticle into itself, the hypersphere halo hydrogen carnival I continually erase earth / I crossout and crucify Without contraries, under erasure upper structures, and I outline the hypershere ouroboros as an impossible knot and tangle / wormhole woman or the curvature of Taryn as one solution of Einstein’s Field Equations Without contraries, no constraints of the constraints limit instead of free (poetry fettered fetters the human race) Contraries intersect at the Cross, an open ball where nothing and everything converges / rainbow colors circulating and I imagine the center point of the universe as the Sacred Heart of Jesus, the decentered center The decentered center sulfurs desert, and the desert dionysius in its exterior redoubles and ruptures the structure as stratacoaster or the polymetric strata of Elliott Carter’s Symphonia centers within the structure outside the structure, the spine stricture stalks alphabet The Sacred Heart of Jesus prisms pointillist, drops of cloud colors, and the captured center escapes eva gyres, the coaxial escapement enter-exit impulses Center decenters dilaudid desert or the dihydromorphone remixes metamorphoses / my metabolism mutates minotaur tank turret Taryn The proto-cubist center cubes, circles, and conics The decentered burns bloodied heart surrounded with crosses and thorns The proto-cubist center ethers elemental iron and I wrench ore human organs often ouroboros with obolos / orb accidentally splintered orb Orb intentionally splinters orb Zombi two eyes my eyes missing The proto-cubist center celebrates the decentered protoevangelion, and I will put enmities between thee and the woman, and they seed and her seed: she shall crush thy head, and thou shall lie in wait for her heel The center decenters the center totality and the center does not belong to the totality / the totality centers elsewhere The center strawberries contraries The center blackberries bone bonfire chymistry contraries The center console plays a compact disc of Meshuggah’s Contradictions Collapse but the contradictions coalesce exquisite corpse / don’t look at the carpet I drew something awful o nit Yesterday I woke up sucking on a lemon and true love waits in haunted attics a light in the attic atrias atrial A light in the attic arias atrial fibrillation and I encase John Cage’s Europeras in lace fat, the lifted omentum of ouroboros Contradictions cave-in cavity the structured interior to Wonderwerk Woman and gesamtkunstwork woman / Jehovah gotterdammarung
Event Horizon Cross Capsule
Content Warning: body horror imagery The text tengens tritium and I tinker text tetris I change the reading and I transform the reading but the new reading radically relates through the old reading by causality: the chain of names and references The new reading relates to the old reading by topological deformation and a countably infinite number of morphisms --- an uncountably infinite cardinal / the curve calamity of the continuum As in the New Testament, changes, corruptions, and erasures have been found, particularly in the Masoretic texts… The early soferim (scribes) did not treat copy errors in the same manner later on I change the text chomper and channel cattle, and changes cobwebs original Changes caravan original blue changes rhythm changes bird changes coltrane changes I play the changes the experiment of original improvisation The original text mallet quartets malleable, and my corruption crab canon the cross My corruptions crossroads Robert Johnson perhaps three photographs, and I intertwine history, hermeneutics, and heresy My anvil hammers original heretic / west wide story witches My anvil pours black oil forged steel pigments, black on black palimpsest I paint or pound back on black palimpsest, the supernal or superluminary dark bedeviled Yahweh I copy error, corruptions, and erasures into the book, word juxtaposed word, and I crossbow bent open neighborhood multiplicity Multiplicity mauls maelstrom the monstrosity Yahweh I copy Yahweh yoked to the Cross and its scripture strikes women as witches and I worship the machined womb as wormhole I need dead god bones shaped into a phallus substitute and Yahweh yells mad sea captain eldritch horror the abomination that causes desolation I copy texts – I prophesy by copying and I copy I copy Christ on the Cross Christina a bloody copulation / Cross condyles the crane Bridal Chamber They discover a video log of the Event Horizon’s crew fornicating and mutilation each other shortly after first engaging the gravity drive The log ends with a shot of the Event Horizon’s captain, holding out his own eyes gouged from their sockets, speaking the latin phrase Liberate tuteme ex inferis (save yourself from hell) I listen to Zao’s record Liberate Te Ex Inferis, which samples Event Horizon in its songs, and Zao introduced me to the genre of metalcore – I still love that era of metalcore, the late 1990s early 2000s scene I feel much nostalgia and cosmic horror / Yahweh as terrifying as any god To ignore horror – both the horror genre and horror as manifested in what humanity does humanity and what humanity does to earth – ignores the horror of scripture and the horror of Yahweh I refuse to discard Yahweh as merely a demiurge because I myself demiurge but I also drive the demiurge as desert into desert the Holy Ghost I want to write more about the relationship between Yahweh, Godhead, and demiurge but I haven’t formed my complete conception of it yet – I suspect the Sethians made an incomplete analysis of Yahweh I want to write more about the interconnectednesses of Cross Yahweh, Godhead, and demiurge but I haven’t determined the process pied piper polygons It was “reduced unit” footage, I think the studio never bothered watching it because they thought it was mad inserts and buttons being pressed or something But what it all was, was actually all of the hell footage… influenced by Bosch and Bruegel… So there was a beauty to it, even though it was very disturbing A larger version where I hallucinate my mangled legs covered with maggots / god gas gangrene god gas gangrene god gas giant the very pulse of the machine Real-life amputees were used for special effects scenes where the crew members were mutilated, and pornographic film actors were hired to make the sex and rape scenes more realistic and graphic I attempt to amputate Adonai from my animal body but Adonai canes circadian parasites Adonai attaches to my skull alpha and aleph and Yahweh mops my body the meat grinder tunnel / in the mouth of madness (you know nothing hell is only a word the reality is much much worse) I know Hell I know the Gehenna God burning benjamin burning I know God Gehenna ben hinnom hacked bodies by Tophet Tetragrammaton I inhale ash adonai a billion amputees and a billion bodies bonfire and I photograph pornographic: the plate handspring the plate handstand the plate somersault salted circles cross by semen I write contrapuntal human bodies the cross framed by human flesh I write contrapuntal human bodies pierced by printing presses and the cross candles canal bone comedy / the cross as a newspaper comic strip The cross as Charlie Brown and Calvin and Hobbes The cross colonizes pulp fiction and pornography / the cross as exploitation and bizzaro benjamin nudie cuties I write contrapuntal human bodies porcupine pointillist, and I print every frame a painting (Plate 172. Model 12. Stepping upon a trestle; jumping down, turning) I start again: I backtrack, I contemplate complete erasure everything written during this writing session I feel uninspired and the writing ambles as amplified amphetamines I want to write nameless endless but I detour distracted the dirty war desert I start again and I examine the row in various transpositions, retrogrades, and retrograde-inversions Everything I encounter and experience, I want to write: I want to place it in the Book as an arkansas stone or arkansas toothpick Each object stabs as earthquake material, the loud before time trouble tremors, and I too eat tree stars I start again as Bojack Horseman and I jump and handspring into The View From halfway Down, and I often fantasize about suicide as often as a fantasize about sex (he once dreamed of seeing a beautiful nameless woman on the street and having sex with her without ever knowing who she was) I fantasize my suicide painless and not like Event Horizon where the decompression forces fluid through every orifice I start again machined metric modulation / aggregates gravitons pan-sexuality Aggravates gravitons I eat the Eucharist as syro I did not have the slightest idea that an orange film could be born and I ascribed the orange as obelisk and oculus, a heretic’s hourglass Orange open form films aleatoric angels and seraphim focus orange fire Seraphim fly orange serpents and the scorpions scorch ana’s fire flesh from against the body and I film flesh Fury 325 I need to write and work the writing and the pale orange keeps my sanity (rich oranges, light and cool greys, icy whites, and occasional reds combined with my own tasteful choices of soft browns, blonde browns, and delicate whites with blusish and pink shadings) I need tow rite and work the writing pale orange and phantom orange, the orange obverse obsessively returns faces eaten by something coming from the inside (The Village Voice reported walkouts by broad numbers and vomiting by well-dressed wives) H.D. writes in Section 36 of The Walls Do Not Fall: In no wise is the pillar-of-fire that mend before different from the pillow-of-fire that comes after H.D. uses wise where I would use ways: the ways to woman and the ways with woman, but the way prime and retrograde road the same fire Everything I write raptures fire, a hermeneutical fire and a fire eschaton I alarm escalation with my elephant gun / Aphex Twin arranged by Alarm Will Sound I stop and start again cell by cell animation and I attempt to animate on the one I want to feel fluid in the flux, every motion a wiggle I forge the text and I return to the text tarpit tunnels The text tumbles as subterranean sorcerer, the human hybrid with horns and I parade my animal The dancer-sorcerer or shaman becomes the emblem of my work to come I sing sorcerer psalms and sorcerer symphony a sea symphony and I combine the revival camp meeting with the stone and smoke shaman I sing sorcerer because I prophesy mercury magick / my kerygma kisses Krystal her nude body as sigil I write contrapuntal human bodies women's’ bodies moving in worship I write contrapuntal woman bodies women's’ bodies weeping in worship and the woman wastes wet embalmed organs Woman wastes wet weird wormholes and I organize the organs in origami Horror happens Human Horror hangs Human a severed head a severed right hand and I play the Piano Concerto For The Left Hand in D Major composed by Maurice Ravel Horror hags a hook in my hive body and the empty hospital hogs my skull an ice scraper The hospital haunts it scalpels and rib spreaders Hospital frightens horrific and automobile accidents because I nurse inept no wet I almost kill I sometimes kill as an avenging angel or a death cup The hospital hosts Pig Destroyer’s Terrifyer and Taryn titrates potassium chloride IV push for my execution I nurse the hospital as a new strain of hepatitis and I chainsaw livers leiders der doppelganger and the hospital cobbles scissors into skulls Sometimes I repeat when I don’t know what to write and the repetition names Repetition rhizomes runner riverstones and each names… Repetition rebroadcasts rhizome runner and its riverstones… Repetition rebroadcasts the riverstone rhizome… I abandon the repetition
Vision and Mysticism 