I don’t compose: I assemble materials I assemble material myth material math mockingbird assemblages
I assemble human heads repeated / overlapped I assemble human heads overlapping circular lines shifts Circular lines overlap portrait snow shifts / parallax polar coordinates
I don’t compose: I assemble materials I assemble snow portraits polar bear silhouettes I material slower snow appendages or assemblages
Douglas Huebler said: “The world is full of objects, more or less interesting: I do not wish to add anymore. I prefer simply, to state the existence of things, in terms of time and/or place.” I like objects and the materiality of objects, both objects whole and in fragments. I merely assemble and transform objects. I rearrange and repeat objects interesting and uninteresting, and I like to think the object bricolage adds new or novelty to the world. I hope to prophesy an anti-tradition, a sort of revolutionary and avant-garde spirit that nevertheless ruptures and sprouts out of tradition. I reinvent and (mis)interpret traditions. Anthony Braxton categorizes creative / mystical cycles as restructuralist, stylist, and traditionalist. Restructuralism is analogous to Thomas Kuhn’s paradigm shift perhaps – that creative breakthrough like Charlie Parker’s innovations that led to bebop or Albert Einstein’s theories of special and general relativity. Stylists are creatives who build upon and expand the initial innovations: I believe Braxton gave Paul Desmond and Ahmad Jamal as examples (it should be noted that for Braxton, this is not a negative comparison to restructuralists but each part of the triadic cycle is necessary for healthy and full creative development, and Paul Desmond is a huge influence on Braxton). Traditionalists are those who continue in older forms, such as performers of Dixieland Jazz or older forms of blues and gospel music. I find Braxton’s creative cycles a useful model for my own creative processes and motivations. I feel I work both simultaneously in a prophetic / mystical / visionary tradition as well as in the avant-garde and experimental lineage. I attach myself to the cycle of traditional bodily other into a regenerative and experimental magma/miasma. I assemble objects and my assemblages in themselves amplify novelty and new.
I don’t compose: I assemble materials I assemble slower soft processes / poem cardinals I assemble facts My face transforms faces: my face morphs faces face-to-face fire summer fog My repetitive face manipulates face topologies (I assemble faces in night terror distortions)
I Prophesy Using Improbable Means
I prophesy improbable visuals using improbable means I hammer improbable rubble or improvised rescue / firetruck laminates fuse Book and canvas
I prophesy improbable visuals and I shuttle canvas carved march into bone Improbable bone belt rubber spontaneous
Improbable bone belt rubber spontaneous: tapestries of woven light differentials
I visualize windshield wipers warped by rubber rain and rain continues to construct ruins. I do not seek shelter from the rubber rain but it structures my body rigorous ruin. My rigid body still manages to decay and in the fermenting ruin, lobe light and leaf light from the holy left. Body ruins and body fragments fertilize forest fuck and buck bone. My bones breach forest all lighthouse ruins.
I visualize the improbable plexiglass plumb line (Plumb line pins the tail on the donkey to the tune of pop goes the weasel) Plexiglass plumb line plunges pop forest
Pop plexiglass plumbs forest ferment: visually wet acrylic anatomy
Anonymous autumn leaves layer anatomy / I carry my landscapes around with me Anatomic autumn leaves layer laundromat math / I carry my landscapes around with me
I carry my landscapes around with me. I nurse the landscapes and the intimacy of her names. Her names embed landscapes with wild what geometries. I carry landscapes scrape her initials into the forest and human body ruins. I nurse ruins and revive histories in fragments. I arrange histories and carry them as landmarks carved into my cranium. I carry the landscapes around with me and I nurse her nurses carnival and heterotopia.
I measure improbable visuals using improbable means / Book abides road road wild animal
Animals put me to death on the road to Damascus / stealth sun dog bandits Stealth sea lion mouth swallows wild ben hinnom woman / wild see saw margery daw She puts me to death in her jaws of the wild beasts / I carry my landscapes with me in the land of the dead I prophesy seven sermons to the dead / I unhinge my jaw in stealth secret name secret road
I carry improbable landscape with me using improbable means Improbable landscapes blossom patriarchs porous secret road secret rose
Rose restless risks secret abyss: road abyss deep Rose road abyss deep a difficult place a deathly place
Road rose up rose cain I carry my landscapes around with me I carry my landscapes around with me a dangerous place: dark place light place abyss
Dark landscape light landscape it is an abyss
I Bricoleur A Minimal Book
I bricoleur a minimal book I bricoleur a minimal Book and an aphoristic Book I hammer and hew a hermetic book that fits easily into a front pocket
I experiment and I hope I always experiment. I slice space open and I squeeze through the rigid ritual of the book. Currently, I sabbath and I renew my experimental vigor through research and reading. Currently, I read Force In Motion: Anthony Braxon and the Meta-reality of Creative Music by Graham Lock, Spinal Castastrophism: A Secret History, by Thomas Moynihan, and Face of the Deep: A Theology of Becoming, by Catherine Keller. I hope for a creative resurrection and a revived experimental spirit through broad study of the creative chaos and open form abyss. In the meantime, I take inspiration from the miniature composition. I think of the compact musical compositions of Anton Webern and György Kurtág and I too would like to write something concise and self-contained – a difficult task for a haphazard maximalist like me. But if Radu Malfatti can play free improvisation and then play highly reduced EAI, then surely I can at least attempt a Book of aphorisms and a Book of monostitches. (In the future, when almost all my work is lost to time’s clumsiness, some scholar will reconstruct it as a series of heraclitean aphorisms and fragments: the way up and the way down is the same transforms both directions at once).
I bricoleur a minimal book I bricoleur a book that sloughs serpent column and serpent cylinder (Do you ever get that feeling that you’re sinking? I do.)
Book sloughs an iron serpent column and the skin fragments form a shadowy phalanx
Book deposits sediments arranged in layered sidewinders and wide spears
I sift through sediment and find the minimal crocodile radio I radio forest ring or rob metals (I bricoleur Book with bismuth, chromium, and radium / I bite into bismuth, chromium, gold, and rhodium)
Keith Rowe introduced radio into the musical improvisations and I hear both Book and Forest
I bricoleur a minimal Book but it continues to radio the rhizome (Book radios the forest mycorrhiza / Taryn spores minimal alligators)
An alligator radios soft systematic use of modular internal divisions An alligator rearranges aleph numbers and the softer surf radios modular arithmetic (I divide names and numbers differently)
Alligator Taryn eclipses Christina parallelograms. The pattern plates hexagonal Asia arrangements.
(To find a way to newly arrange fragment-constellations, aphorisms, and the narratives – what could these all possibly have in common, and how can they cohere as a single Book? I attempt to think of them as a musical improvisation: just as an improviser slowly accumulates various techniques such as circular breathing or microtones, or different kinds of scales and melodic fragments, I too learn various writing techniques: narratives, constellations, hermetic fragments, different rhythms and lengths. Only by practicing and working and experimenting with these techniques will I be able to become fluent in these techniques and learn different ways to combine them and how to manipulate the combinations of their effects. Chuck Jones said: there are ten thousand bad drawings in you – get them out now. I continue to experiment and make failed and unsuccessful experiments – but I continue to grow and draw better.)
I manipulate the frequency of the minimal crocodile radio I fuck with the forest frequency and the radio riverruns metal rhizome erotic (I row rhodium rhizomes and chromium catastrophes) I fuck forest radio / minimal Taryn alligator I approximate soft alligators and melted crocodiles and I machine mutant modules / I divide my body as a Book: fragments, constellations, and narratives
I bricoleur a minimal Book and a mystical Book
I emerge from the Book a mystical minimal crocodile radio
Book emits crocodile interference and alligator infernos
I bricoleur a minimal Book, Taryn the weight and risk of glass
I bricoleur a more compact text and context. I work and manipulate the more compact lines, and I study fever book bodies. I study fervor book bodies alligator frequencies, and I radio smaller forces: fractal fragments and fractal forms. I bricoleur a more minimal Book.
I write improbable visuals using improbable means: I bricoleur improbable rubble or improvised rescue I bricoleur a minimal Book from improbable visuals using improbable means
I Perform The Book Complete Metamorphosis
A map has to do with performance / A map performs as a map’s performance
I map a Book at the cusp of spoken Bereshit I map the Book from the spoken Bereshit to the written Bereshit, a simultaneous but distinct Bereshit at the cut cup and cusp The multiples of the map reveals itself as real multiplicity and real mappings, and I experiment with its maps: I myth its maps magnetic and magmatic and it smears chaos landscape Book swims thin landscape not exactly mapped but sketches written and spoken Bereshit
I perform the Book as a map reading and the reading revolts against reading The map mutinies multiplicity, midway revolutions of a new map
I open the Book of the map moonlight monochrome twin repeating elements I open the map of the Book black canvas repeating eliminate leaned against a wall (I lean the Book against walls my wall body rows / he who walks behind the rows I open the map of the Book bubblegum pink peyote of the precipice I open the Book of the map bubblegum pink PKD laser beam) I beam the Book to the map repeating rows and repeating twin elements
Book sloughs serpent column serpent cylinder seductive sidewalk lemon yellow (I loiter the lemon yellow labyrinth: I linger lemon laughter Yahweh I look lemon yellow lark light central park in the dark Yahweh) Book molts serpent skin and scattered maps and maps multiply horned mayflies
I map my body to the Book and the book to my body: both undergo a metamorphosis. Book undergoes a complete metamorphosis and Book molts new maps. I arrange the new maps in different combinations and perfume permutations, and the modular Book ribbons rhizome anew. I map my body to the Book pink beam body without organs and I rearrange my organs through a modular metamorphosis.
A map has to do with performance and I map my body to Book acute performance and performing monomania Book deep sapphire performs sap sip forest last supper Deep sapphire Book performs excreted earth and compact earth girth alligator porous
A map has to do with performance and I perform the Book complete metamorphosis
A Map Has To Do With Performance
A map has to do with performance / A map performs as a map’s performance
A map has mud or mow A map has lawn mower or muddy mud skipper
A muddy map meanders lawnmower magma, a magnetic word or language A map meows mud an absurd oxbow language and I move map to map I extend the map purple martins or magpies (I dream a nightingale and she introduces me to the combers blackcap bluebird reed bird stork I dream her stork speeds in chariot wheels to the underworld, a katabatic map made of flocks of various birds)
A map has to do with performance and I ghostwrite for god I ghostwrite rhizomic maps as goregrind gods I ghostwrite god thought experiments and the tetragrammaton quantum tunnels through the Theater of the Absurd A map has to do with performance and I ghostwrite performances within the sea of reeds I map the location of the ten plagues and the frogs and locusts follow the directions of my map
I always visualize maps as different bodies of waters and the map never stays static but shifts constant flux and fluxus. The dynamic map continually swarms sands of the desert and dislocated dunes (these sands double as bodies of waters). Maps move maps and map live wild and active: movement of the map drives movement of the landscape. The active map mirrors the erotic earth: its magmatic flows, its shifting and slipping faults, its tidal cycles. The earth never ceases moving and the map never ceases moving.
[Asia sends me a map entitled “Level III Eco-regions of the Continental United States] I’m [such and such eco-region], I say. [I’m such and such eco-region], says Asia. Alaska is more subdivided than I expected, I say. I knew it, says Asia. All neurodivergent people love maps. I didn’t even give you any context. I just threw a map in your face and you’re like “Oh cool, Alaska”, says Asia. Was this a secret test? I say. No, I was looking at eco-regions to look for native plant species to plant in my yard and I thought you would like the map, says Asia. I did like it, I say.
A map has to do with performance / A map performs as a map’s performance I map multiples and multiplicities and I ghostwrite for god (you are the one who writes and the one who is written) I write the god Book and the divine Book: I write the Book Child of Humanity and Human One
I map Book Child of Humanity and Human One The Human Book performs blessingway wild word and I wire wild ben body The Human Book maps walk wall ritual / ritual revels minimal monochromatic (I map minimal monochromatic and the body without organs and my human body shapes sharp heat I map heat written and rewritten) I map the Human Book into and onto performing organs / I perform a monochromatic map ostinato
I map Book Child of Humanity and Book Human One onto the minimal body without organs (my minimal body machines the Book monochromatic and the Book canvas crocodile) The Book snaps crocodile bite and Book shakes human jagged Book quakes an irregular map pulsed odd additive onto my body bodies
Not much difference exists between a map and a book: their differences write and rewrite the synergistic Book-Map. Their differences drive alive the anarchic differences and I live in the anarchy of the map. I thrive in the anarchy of the Book and I adore its flat map where even its topologies and elevation changes project flat into the languages of the Book. The minimal map of the Book prophesies both directions at once (maps multiply multidirectional) and the minimal and rational intertwine human macrocosm and microcosm. The Book as map bursts open into blue dragonflies and her words wing fly-by-wire over wild desert. The Book-Map crocodiles snap swarming dragonflies and maps rain many wings, the sound of differences together.
So I have this student who is OBSESSED with maps and war history and foreign countries, says Asia. It’s funny because every globe or map in a classroom he checks for accuracy and is demanding my coteacher gets a new globe because her globe puts Taiwan as a part of China. He was drawing a German tank and he put an iron cross on it, and I was like “hey buddy, I know that you don’t mean anything by it, but I don’t want you to get in trouble. Is there a different symbol we can put on it? What about an eagle?” He just looked down and said “I don’t know how to draw that”. So I pulled out a pencil and a piece of paper and drew the eagle symbol. He silently watched me draw it, then when I was done he held it up to his tank drawing and he said, “it’s too big” but then carefully tucked my sticky note into his chromebook so I think he liked it, says Asia.
A map has to do with performance / A map performs as a map’s performance I map the locations of the Book as dislocated and bilocated: Book locations look and lake allwhen and allwhere Book looks maps when all directions and its where machines deserts and lakes (I am the lake written and rewritten I am the desert) Book maps blue dragonflies lawn drawing undressed I draw Book maps undressed rainfall (maps that look like normal maps but are representing what anarchic non-hierarchical communities would look like, says Asia) I undress in lawn pom-poms and rainfall rewrites rainbows as forest earth funk and horseback archers (Rainbows map forest earth funk fire rainbow forest)
I repeat the Book red and I repeat the Book red maps I repeat the Book red map reading rose secret road I repeat Book map trees crags gorges river precipitous land various precipitous places, and the maps perform the paces The maps perform precipitous places precipice red aporia Maps rainfall porous aporia the Book full crag and gorge
I read the Book map precipitous displaced aporia and maps perform in the penal colony Maps repeat in the penal colony red colonnade or pink out the corner (in the penal colony repeats its human maps red bodies book bloody)
I ghostwrite for god and I receive the rays of her disk when she lights up my bodies in the netherworld (when she passed by I enter into darkness) I ghostwrite for god and a map has to do with performance I ghostwrite the performance and I map the map worship I perform the map worship written word work and wyrd work I perform wyrd work map and I worship map woman and machine woman (head of horns face of horns neck of Horus The Goring One)
I recognize the rays of her disk and I map the disk. I map her disk sermons to the dead and I prophesy her disk as dead and desert. I prophesy her dead as the solar disk and the disk diverges to the solar anus. I recognize the rays of her disk as desert revelation. I recognize the rays of her disk and I map her disk as sea and sea. I receive the wave rays of her sea and I worship her rays written on my body. Her rays tattoo in the penal colony and reinscribe colony the ghostwritten Christina. I receive her rays and map their rhizomes onto the increasing desert palimpsest.
A map performs as a map’s performance and I repeat the Book maps and performances I repeat the Book human performance and map performs Book Child of Humanity Book repeats many maps river time and time rivers Book repeats time river time rivers precipitous places (I worship in the porous place and I pray in the precipitous places) Book between map and place ghostwrites passions and passages
Precipitous Book maps porous plane plank narrow forest: her rays row forest narrow bay monochromatic Plank marches monochromatic material multiple colors marble
I map the map mischievous machine Elvis, a DMT Towering Desert I map the performing map of desert towers and lake bunkers Maps whir water mischievous architecture (I fish lake Christianities) I fish microcosm a return to melody: multiple maps meander multiple melodies Melodies perform the map banishing circle and salt circles circling ben bodies
(You don’t have to worry about the changes, and you can do more with the (melody) line. It becomes a challenge to see how melodically innovative you can be… Fewer chords but with infinite possibilities as to what to do with them.)
I move toward a modal map and a melodic map. I perform the melody of the Book rather than the Book changes and its hermetic memory. I model the melodic line and I map melody onto melody: I map a multidirectional melody. Now a polyphony or homophony, the thick melody as fat melody projects its maps under earth netherworld. Melody maps downward and upward thick pyramid Kingdom of the Skies. I must continue to keep the melody and melodic map line in mind, and let the line write and rewrite towering thick melody (even a god phallic melody and a pornographic erect melody).
I map the line to the line I map the line the line melody (melody performs new now nonlinear) I fuck with the line map contoured cup cobra I fuck melody from circles cyclic rapid cycling and the lithium lamp oil receives the rays of her disc and lights up my bodies
A map has to do with performance / A map performs as a map performance
I map a Book melody I map a Body music precipice on the motion of a sound that doesn’t begin and doesn’t end I map a Book as a desert of line pulses and long tones coming together to yield a melody that never stops I word an erratic and erotic melody (an erotic event explicit hitman pornographies) (AND GO TO BED she was a jazz club girl and made music for men only)
I map a Book melody and its contours trace monochromatic moonlight Book repeats maps and maps map a melodic performance
The Book Bundles
The Book bundles the breakers of the Book a bastard bull Book The Book bundles up against the animal brush of the Book and Book brandishes brush against broad bodies The Book bundles the boulders of the Book, a stone brush bristle blush scarab
The Book bundles the whiplash rhinoceros beetle of the Book and I brush Book crossbow animals (I leave the frustrated shores and I embark on the Book I could not have left the Book since: I could not have Sometimes the space between the lines is so large I tread new ground) The Book bundles a new Book groundless and Book plunges pure abyss (This Book blossoms a What word and a Who word. This Book blossoms an odd What and I do not know the What of the book but its beware. Beware this Book and it swerves What word multidirectional. The What word of the Book bundles beware the Book Animal: Beware the Book beast from the earth and beast from the sea. This Book blossoms a bestial Book so What beware.) (I briefly hallucinate the Book improvising over the quartal harmony of Miles Davis’ So What and this entire What belongs to the Book: Beware the book contains everything her Who and What.) This Book blossoms her What Word and her Who word Her Word blooms beware the Book god goliath beetles
The Book bundles the breakers of the Book a bastard bull Book The Book bundles up against the beetle brush of the Book and Book bombardier beetle breaches the Book
A Book Sea
A Book breathes
Sea. Sea of reeds weave
Book sea red breath and
Blue breath
Banded ash pages.
A Book braids
Sea. Sea of reeds weed
Book coral red and
Blue kelp clusters
Cool caldera pages.
A Book brews
Sea. Sea of reeds wear
Book clamshell sheets
Blue and red
Magmatic pages.
I Increase Anarchies
I increase anarchies I increase anarchic intensities I increase anarchies I increase anarchic intensities the dragon Sabbatai Sevi I increase anarchic several antinomian disintegrations
I increase anarchies I increase anarchies / I invoke wild earth
I invoke wild earth and I unearth new texts. I invoke new wild texts and the texts trade and taste new textures. New texts teases and tastes wild earth textures. I invoke wild earth texts and I wear them as earrings and jawbone jewelry. New texts erupt from the repetition of previous texts, wild earth word bursting from new wineskins. I invoke wild earth text and its textures tessellate volcanic-rhizomic. I unearth text wild anarchies.
I increase anarchies I increase anarchies intensities and immediacies / immediately he arose, took up the bed and went forth before them all I increase immediate anarchies wild earth I increase number upon the face of the earth and no one whose testicles are crushed or whose male organs is cut off shall enter the assembly of the LORD (I increase immediately and there be eunuchs, which have made themselves eunuchs for the kingdom of heaven’s sake) I invoke wild earth let the waters be alive with the swarm of living creatures and let the bird wing their way above the earth across the vault of heaven
If someone goes by the teaching of Christianity and what’s in the Bible only, says Asia, they aren’t going to get a form of anarchic Christianity or one that values equality and justice – that comes from them having a strong sense of equality and justice in them already. That driving force will cause them to shape Christianity. As in “this is good and just, therefore if Christianity is good and just, then it will look like this” instead of “well, the church says it’s good, therefore I’m going to shape my whole worldview to make that make sense”, says Asia. I think you make good points, I say. I will point out two things though: the Bible says a lot of contradictory things but I think one theme of almost all the prophets of the Old Testament are: your sins are you’re rich and fat, and you neglect the justice of God by not taking care of the orphan, the poor, the widow. A second point is a point from postmodern philosophy. Jacques Derrida thought all texts including scripture inherently contain the seeds of its own deconstruction. To simplify, the text always-already undoes and dismantles itself. So if the Bible is really about power and hegemony and oppression of non-Christians, then the Bible for Derrida always necessarily contains the seeds to undo that power. I think a value of having the driving force come from within Christianity is it is helpful for Christians stuck inside the structure. I really do think it cracks open that husk and dead shell of Christianity and opens it up for spirit of ripe fruit, of ripe living and sustenance and nutrition, I say. I agree with that, says Asia. I do think it holds the seeds for its own dismantling. Have I ever told you about a book called Small Gods by Terry Pratchett? I read it while on maternity leave and it was a salve for my little post-Christian soul. [Asia tells me the premise and summary of the book]. I just love it because at the beginning, Brutha is presented as simple and slow but shows this kind of non-violent strength, says Asia. Brutha acts like Christ, I say. Maybe Jesus Christ incarnated to keep God in check. I have told you about my idea before that God becomes completely God by becoming completely human, but maybe Jesus also acts as a sort of holding line to Yahweh, I say. Strength in kindness, says Asia.
I increase anarchies I increase anarchic intensities and immediately spirit drives into desert I increase anarchies / I invoke wild earth
I participate in anarchies as John Cage and Merce Cunning participated anarchies: not with abandon but an interest in creative anatomy. I anticipate as anatomy of the Book, and I try to create what Albert Ayler called putting the form in the free form. The Book contains form and structure but I prophesy a non-hierarchical form and a flat structure. I structure the Book flat and extended-undifferentiated while simultaneously teeming and swarming with multiplicities: an animated wild earth. I prophesy anarchies enveloping and then devouring Christianities. I prophesy an immediate anarchy always-already erupting and rupturing Body Earth.
An increasing anarchy speeds Taryn tumbled (Taryn tumbles ten ton tongue anarchies) Taryn speeds speakeasy tumbles bubble dance anarchies (thimble tumble bubble theatrics) I prophesy theatrics more repetition less density Theater less density mystery howling bone (ben bones howl a wild earth / earth repeats erotic anarchies)
I invoke wild waters anarchic earth (earth archives anarchy and antinomianism / a theater for nuclear semiotics) (Wild waters swarm wild: I worship wild woman winged wolverine Wild I worship fallen fallen is Babylon the great)
How is it that a heathen can write better religious narratives than religious people can? says Asia. How is it an atheist understands Christ better? I think an atheist comes to Christ with a different set of interpretations in mind, I say. A Christian grows up with the baggage of church doctrine and ready-set interpretations. An atheist can come to the text by itself. The text by itself is still infinite interpretable, but it is not confined by the interpretation of years and years of church. It is open. I think in general, openness is more Christ-like for me, I say.
I increase anarchies I increase anarchic intensities and I prophesy several antinomian disintegrations An anarchic Christ immediately stretches forth his hand and catches him An anarchic Christ prophesies, and some fell on stony ground, where it had not much earth; and immediately it sprang up because it had no depth of earth I increase anarchies and I invoke wild earth I invoke deep earth entirely stone desert: stone bone sound soft whirlwind
I language a creative anarchy and open ant whirlwind Anarchy steps theater tetrahedron octahedron / tetrahedron tendons agglutinate long filaments I language anarchic fragments and sustained tone patterns (I exchange one pattern for a bone pattern for a stone pattern) Taryn tetrahedron tumbles Taryn terakaidecahedron Taryn tall a wall apricots (she wanders tetrahedron ant lions)
I meander language fragments (an anarchic fragment further forests) I meander language fragments immediate magick (greek magical papyri play rhizome rituals and magick multiplicities) (I am not an atheist but I am somewhat of a radical materialist. I believe in the physical and material and in its scientific analysis. However, when it comes to my own creativity, I recall what Henri Matisse said when asked if he believed in God: “Yes, I do, when I work.” When I write and create I feel something like the mystical and apophatic and the prophetic spirit happen within me. I think non-religious people might call it “the muses” or “connection with the universe” or “psychological flow” or other terms. Because I grew up Christian, I use the terminology of Christian mysticism. When I create I feel the same as when I saw God face-to-face during my mystical experiences. I do not believe in magick, except when I write magick. I do not believe in the afterlife except when I write and make the afterlife. I’m a radical materialist until I create the apophatic and mystical in my writing, prophecy, and creativity.)
I increase anarchies I increase anarchic intensities and intensities invade leopard language I meander language fragments, immediate magick and immersed subterranean rituals (I meander ritual and rhizome) Language adds oxbow ben adam sacraments / wild earth eucharist Language add adds oxbow / oxbow meanders figure with meat Cave mouth erupts eucharist oxbow and oxbow erotic (magical geometries and non-euclidean magicks)
I increase anarchic intensities I increase anarchies / I invoke wild earth and wild Book (We left our frustrated shores behind and embarked on your book You could have not left the book since you could not have But sometimes the space between the lines is so large that you seem to tread on new ground The margins are so wide The book chains us together) Book blessingway wire wire word ben body Book blessingway wall walk body without organs minimal monochromatic Book blessingway wire wall walk body lean: body light lean mellow monochromatic
An anarchic Book blesses Book An anarchic Book blesses Book increases An increase anarchic Book intense I increase anarchies / I invoke wild book and wild earth Book wild wild whirlwind anarchic An anarchic Book blesses Book wild
I embark on an anarchic Book. I embark on the anarchic Book and Book builds flat Babel. Book builds horizontal Babel and Babel sprawls an anarchic body without organs. I embark on babel banks of Book and book rivers horizontal. Book meanders anarchic and opens oxbows (oxbows appear as another open Book). Oxbow opens a cobalt Book and its river pages salt horizontal. I embark on the indefinitely extended anarchic Book and Book babels a multidirectional horizontal. Book babels both directions at once. The direction immediately babel anarchic and reiterate anarchic Book.
They aren’t respected jobs and are considered feminine because they are lesser, says Asia. Empathy makes you weaker in our current system. Imagine if those institutions were owned and operated by the community instead of some CEO who doesn’t even live there looking to siphon as much money out of the community as they can. That’s another thing, resource are very important and you cannot dismantle power structures without establishing more equal access to resources, says Asia. Do you think there’s spirituality in an anarchic community or if there are truly no gods, no masters? I say. I don’t see why spirituality couldn’t be in an anarchist society, but the “us versus them” mentality has to die, says Asia.
I increase anarchies I increase anarchic intensities I increase anarchies / I invoke wild earth I increase number upon the face of the earth and the breath of Elohim overs above the waters Waters meander oxbow lakes, her anarchic Book lights and her face hovers over waters and turbulent waters reveal her faces
I Make A Mirror
I make a mirror I make a mirror face-to-face I make a mirror face-to-face with her forest I face her forest and her field mirrors my face Forest mirrors pretty polyrhythm schism and pretty how town
I make a mirror I move mere mention I move stone moor more mere mention (her mirror moves meteor manipulation) Her meteor here I wake up mirror I mirror and I make and wake mirror mere mast or bronze casting I move mirrors more waters water more water mara scar wave invisible More material material mirror sand work Sand sorts mirrors Sand sorts monuments and mirror more momentum: mere momentum slings middle and meddle language Mirror stings dream tonal stones Stone mirror stone sounds tonal eccentric flint canoe with passengers
I look at the mirror as a meteor. My face mingles with iron. I move toward the mirror and it strikes my face as a meteorite. My face fuses with the iron (staring at this Parisian sex flick where the characters don’t meet, the characters don’t speak, and the characters are like mirrors facing mirrors: space always expanding). I look at a photograph of Christina or her mirror and I see my face expanding into space. I move towards her mirror, Christina’s mirror, and I only see my face.
(And she went and did according to the saying of Elijah: and she, and he, and her house, did eat many days) I say stray earth structure, she with he her metal earth: memetic earth hermetic work (People frequently ask me what my definition of music is. This is it. It is work.) I work mirror written rewritten mirror earth Mirror earth moon mirrors metal metal metallic (I look mirror mirror shellac or shaker I look metallic medicine cabinet copycat plexiglass)
I make mirrors I make mirrors mere motion
I Want Dinosaurs All The Time
I further forest fragment face-to-face / forest furthers fragment face-to-face
Forest future float further forest: forest futures floats further forests forests (Forests multiplicities fragments fragments) Forest future float further forest my fractured spinal column
Future forest furthers future forests (I further my feel for these fragments and I float flush with forest languages) Future forest furthers future forest not a disjunct forest but shares forest furniture
Forest future float further forest my fractured spinal column City columns cling cord crisp cookie cutter shark morning Not disjunct forests but further forests shared furnitures (as soon as someone dies, frenzied construction of the future shifting furniture, etc: futuromania)
A forest futuromania meteors manic: an iron chair fragment, a steel chair leg, a brass basin bottom I scavenge forests for further metals
I find fragments in the forest and I further forest fragments face-to-face. I find fragments in forests. I find fragments in the forest and fragments time travel past and future. Future forest fragments send apocalyptic transmissions dreamward (You are receiving this broadcast in order to alter the events you are seeing You are seeing what is actually occurring for the purpose of causality violation). The future of the forest is the future of the fragment. Whether I name them fragments or patterns, they extend far into the future. I extend future by extending forest fragments.
Future forest floats peacock feathers and feathers tickle my fractured spinal column (I listen here a new city in the future and Christina eavesdrops on an old wire or crystal radio Here, here it is, the places where you lived, the place where you rose transparent a ghost) Future forest floats fragments fashion further blown ash I catch ash forest passages and I pursue passages into the future
I pursue forest passages into the future and I make future mirror
I make a mirror fragment I make a mirror forest fragment further into field Forest field mirror mirror passages schism polyrhythm Forest mirrors fugues with fragments and the melodic cells mirror polyrhythm and text passacaglia
I pursue passages and I prepare text fragments as passacaglia. The text passacaglia grounds my grammar even as it disintegrates in language experiments. I pursue passages through the forest and even routine fragments reveal undiscovered Christina ghosts or Asia conversations. Passages spiral into the forest labyrinth and I treat the walls as a lydian fugue and a catholic mass in mixolydian. A lydian forest punches firefly lights into the future.
I love dinosaurs, I say. I want dinosaurs all the time. Dinosaurs are cool, says Asia. Do you have some dinosaurs you like a lot? I say. As a kid I always thought Utah Raptor was super cool, I say. I think dinosaurs are cool but I’m not very good at remembering their names, says Asia. I liked the very tall long necked ones as a kid. Brachiosaurus, I think. Sauropods, says Asia. Next time when you’re at a museum, just ask them, I say. George, Bob, John. Brachiosaurus is cool, I say. I particularly like prehistoric plants, says Asia, and how vastly different ecosystems were then how we think of them. Like how grass is relatively new and that ground covering was mostly ferns. My favorite part of the Jurassic Park exhibit we went to were the bits about the plants. Apparently fern savannas were a thing. Lots of dinosaurs are cool though, she says. How come grass is relatively new? I say. Do you know what made ferns so advantageous during that time? If I were to take a guess, says Asia. I’m not an expert but I would say it’s because most grass species fall under the flowering plant family and flowering plants just didn’t exist at that time. Out of the non-flowering plants, ferns would provide good ground cover and grow quickly which is what you would want to fill that niche. I would imagine that most environments at the time were very humid so ferns make sense, says Asia. That sounds reasonable to me, I say. I don’t know if you know this but forests develop in stages, says Asia. The very first stage usually involves some kind of quick hardy “weed” like dandelions. These plants are called “scouts” and I think this is adorable but they do “scout out” the area and work at keeping soil in place and starting the ecosystem in the soil. The scout plants spread, die, decompose, enriching the soil and then come fast growing shrubs then trees. We like to think of trees as independent but they aren’t. A sapling can’t grow on its own: it needs cover from the sun and rich soil, says Asia. I actually didn’t know anything about scouts, I say. I have decided I want to hear everything you know! I say. I distinctly remember one time my very bright grandfather found a sapling on the outskirts of his property, says Asia. If I remember correctly, it was a tulip poplar tree and he wanted to dig it up and move it somewhere else. Me and my sister were like “I don’t know, it seems like it’s doing pretty good where it is” and it was the middle of the fucking summer in south Louisiana, it was hot. He wouldn’t listen to us, so he dug it up and moved it and it died in less than a week, says Asia.
I further the forest fragment face-to-face / forest futures fragment face-to-face
Forests further further forests / I further further forests by fugitive fragments I plane my fragments as herbaceous pioneers and shrubby pioneers Fragments cover quick fern fragments / stubby stalactite savannas (I stretch the savanna as extended pattern and fragment) I do not develop the forests but extend the forests I extend ben birch bodies blackberry bodies scotch broom bodies ben hinnom Forest repeats river echoes time / the only water in the forest is the river Forest lingers longer rivers: prolonged river pulses secondary-growth forest into old-growth forests (big shade and big mud) I prolong forest rivers rivers snake scale slightly different iterations surrounded by different silences
I search the forest for fragments and I find slightly irregularities sustained in the scouts and fragments The slight irregularities disrupt soil and explore new ground (fragment firewood wires wild new word) Fragments shimmer slight forest irregularities Pioneer plants extend forest soil then this happens and then this other thing happens
I extend the wild land set aside for hunting. Wild land extends open wood haunted and the witches gather ghost kind in secret forest shelters. I search forest silva sylvan split selves: I find my hunter-gatherer self and my bewitched sorcerer self through the wild forest mirror. I extend forest and field wild wood and rivers map multiplicities through the tree shadows. In shade, I conjure mirror forest and forests within forests wild: wild sylvan silver scouts extended sheets of sound.
Forest future float further forest her haunted face Her face fay and her face sylvan looks wild into my eyes gothic My face surfaces in the architecture of the secret forest city, and city mirrors my fractured spinal column My face city sylvan clings crisp to my cookie cutter shark mourning
Forest future face wraps snow around further feathers / feathers flint fragment zone of exclusion mutated forests (luminous limestone infiltrated forests lurk a long witch light light rivers) Luminous forests fragments find my frenzied face and I swing bat below monomania Manic forests mixed our forest Christina face-to-face: our face mourns videotape torso body horror
I thought of an art concept earlier, says Asia. Maps that look like normal maps but are representing what anarchic non-hierarchical communities would look like. I also thought of a concept for a xenofiction. It’s a post-apocalyptic xenofiction where corvids, cephalopods, slime molds (and maybe like dolphins and orcas) have gained sentience and formed their own societies. The story will be told from the point of view of a corvid named Fermi (like Fermi’s Paradox) and explore ideas of what is intelligence, cohabiting with other creatures, and similar themes to the Fermi Paradox except the other intelligent life is on the same planet. I was thinking the slime molds could use and repurpose leftover human technology and when they come into contact with other slime molds, they become one intelligence. I was also thinking of an entire forest being a sentient creature, says Asia.
I further forest fragment face-to-face / forest furthers fragment face-to-face Forest drags sling furniture snow to snow silicone breast implants (I bare my breasts forest blue sapphires) (My breasts blaze blue fire abyss and forest fangs forest fitted blue fires) Forest furthers fire fragments and benjamin bare breasted / blue breasted ben hinnom
Vision and Mysticism 