She Throws Me Into Abyss

She throws me into abyss repeated in retrograde and interrupted by musical parentheses in faster and slower tempos     She throws me into abyss and locks and seals it over me until the thousand years have landed

She throws book: secret Book hidden desert secret. She throws Book Ben body without organs explosive odd-origins organism. Throw Book apocalypse and abyss / John the Revelator wrote the Book of Seven Seals
Throw apocalypse acoustics
Assassination blood language summer
Throw apocalypse acousmatic
Throw Book into Book an abyssal woman wholly chaos

She has made me to see many troubles and calamities and will receive me; from the abyss of the earth she brings me up again

She has made me see visions of amen and a long a last amen apocalypse
Apocalypse electroacoustic improvisation
Electroacoustic forest attacks
Forest attack play grass Pac-Man
I pass through the four scherzos of her abyss and I experience her prime prima materia passion in retrograde inversion, inversion, and amen retrograde (I beg her not to order me back to the abyss)


//
<Text-Composition 6A

Some in chaos cool prima materia

Chaos microcosms slits stella signata and Lucifer (Chaos shimmers day star and gleams bright morning star; Chaos shines Venus son of morning and sparkles the star the radiant the morning)

Chaos son of morning
Chaos the early rising
Chaos who rode in on morning

Chaos temperament water storms out of the whirlwind fiery and burning water

Chaos spittle of the moon splits human bone

Chaos same in chaos creates chaos corrupted chaos (holy chaos and corrupted chaos burn one chaos; sacred chaos and profane chaos burn one chaos)

Simply chaos created simple all chaos

Composite chaos through when a/thematic chaos

Complete chaos projects pink out of the corner Christina chaos

Some in chaos anoints prima materia chrism – moon microcosm baptism – radiant morning resurrection>
//


She throws me into abyss repeat apocalypse She throws me abyss <chaos son of morning> Throws <chaos the early rising> Throws <chaos who rode in the morning>

Chaos throws thrown <complete chaos projects pink> abyss

Can you give feedback on a new writing technique I’m trying? I ask Elizabeth, Yes, she says. A writing idea I am working with, I say. Having set “Text-Compositions” that can be interpolated and recontextualized, I say. I set off the Text-Composition lines using <...>. Like having my own set of modular melodic snippets and quotation that can pop up and give additional meaning and thematic text. I want to move towards a more malleable, mobile test, I say. I think that is very interesting, says Elizabeth. I like the use of the text comp lines. I always feel grammar should be used more often in poetry and used in new ways if needed, says Elizabeth.

She has made me see many troubles Trouble <spittle of the moon splits human bone> Troubles <karst sparse if I ever get off this killing floor>

She throws me into abyssal Book repeated Christina chaos
Spectral music seven sermons to the dead
Spatial spread spectral saddle forests
<Spittle of moon splits human bone>
Throw Book forests forest play point (When God, El, wanted to reveal Itself, It appeared as a single point).

I will tell you where I got my idea. Please do, says Elizabeth. Musician and composer Anthony Braxton:

“In the Introduction to Catalog of Works, Braxton lays out four fundamental postulates for the interpretation and performance of his music. These include:

I. All compositions in my music system connect together
II. All instrumental parts in my group of musics are autonomous
III. All tempos in this music are relative (negotiable)
IV. All volume dynamics in this sound world are relative

[…] Braxton writes in his Introduction to Catalog of Works that “All instrumental parts in this group of compositions are changeable – that is, any instrumental part can be used by any instrument – or instruments.”
(From the essay “The Music of Anthony Braxton: A System of Possibilities” by Carl Testa.)

Control the chaos – or don’t control the chaos Chaos transforms in its prima materia mobile permutations

She throws me into the aleatoric abyss / radical freedom of the Book forest X forest X calamities

<Chaos son of morning> made me see many calamities, but she will revive me; chaos and modular composition re/creates me anew

I beg her not to order me back into the abyss but <chaos same in chaos creates> Ben up again.

Name Unknown

Name unknown.  Buried at night.  Early 1900.  Name unknown.  My unknown name.  My unknown name – my hidden name.  Names within names.  Named undeciphered.  Names nuclear semiotics.  Radiation priests and ray-punk cats.  Hans Bellmer doll disintegration writings.

Book name God abyss whitened slack raging under an incline Incline increase unknown human intestines – unnamed organs and unidentified human intestines – and other mutated internal organs Book organ grinder giallo giallo jello unnamed gelatin body (Five dolls for an august moon on a suitcase for a corpse)
A suitcase for a corpse or Book God
Organ grinder general order Galileo
White incline cross clatter

Name unknown. Disappearing bodies. Body acres wrecking ball ghosts. Night buildings – night demolitions – night monster truck rallies.

Write white lacunae snow in water wave circles Wave wing human blood blunt god gash scratch or Christina (Little by little she makes progress. She already makes he first steps and in time she will know as much as her teacher.)

Buried at night. Gehenna. Ben Hinnom – early 1900. Nineteen jump in front of train. Buried at sea night. The truth of the matter, I sometimes thought that, not so much I wanted to die as that I wanted to not go on living in the present matter. I don’t sleep but I visit night the cemetery. I visit cemetery night and return of the living dead. Early nineteen. Early cemeteries Virginia City.

I act in short attacks: death territory. I act attacks: territorial death deterritorialized by my death. Angular attacks reterritorialized and I move from cemetery to cemetery. It’s always night otherwise we wouldn’t need the light. Attacks vibrate and repeat sermons to the dead. A good chess game can be translated into a cemetery musical or dead physics. Physics eventually passes away by jumping in front of actual train physics (physicality of my body materialized in the train slash submarine explosive decompression). Coordinate logics link cemetery to cemetery and my former life’s death to this present life’s death. I reread the logics and languages of Anthony Braxton and Braxton makes no sense to me and makes sense to me in my death. He makes sense to me in repeating deaths, repeating cemeteries repeating night trains. At right, I know the intersecting circles of night musics – night primary territories and night secondary territories. I travel concentric circles of simultaneously developing text, texts, night bodies, and compositions. I repeat dead difference – different horizons, different horizontals, different only oceans.

Movement from territory to territory negotiated unnamed and unknown
(I improvise a particular kind of prophetic magic and
night creativity. I travel improvised night ritual and
primordial night creativity. Night nets – needles –
knits primordial in the beginning / prophetic chaos.)
Movement from territory to territory current – electric current and volta vision – prophetic chaos name unknown

Movement from territory to territory via open improvisation (start a set text or set territory and navigate to another set text via improvisation and experiment)

Name unknown and buried at night navigates to open night building and night body – my night body subject to Hans Bellmer doll disintegrations. My unknown name moves unknown name, and all my names hide apophatic. I navigate abyssal names – her names – and I navigate her only oceans / buried at sea. I think time as alltime, and I tense time high wire transformer. Times pile on train buried at night. Texts pile on text disco demolition night.

There is this episode of Bluey where Bluey and her dad find an injured budgie, says Asia. They put it in a box with a tea towel and drive it to the vet. Bluey asks her dad if it’s going to be OK, and he says that he doesn’t know. Bluey says that she hopes it will be. I’ve seen this episode plenty of times but today I noticed for the first time that right before the vet comes into tell them that the budgie is dead, there is one sour note in the sound track. Just one note. Like I had such an emotional reaction to it. When the soundtrack is like “things aren’t going to go the way you wanted or expected to go,” says Asia. There’s a Calvin and Hobbes comic that’s similar, I say. Calvin finds an injured raccoon and they try to nurse it back to health and his dad tells him in the morning the raccoon passed away and Calvin cries and finally says, “He’s gone out there but he’s not gone inside of me.” God damn it, says Asia. Stupid kids media. For stupid babies, she says. I feel like that’s a rite of passage for my childhood, I say. Just experiencing a lot of death. I wonder if there’s less of that these days in media, I say. Yeah, kids media is pretty sanitized, says Asia. I was thinking about this earlier. Like people seem to think that their job as a parent is to provide their children with comfort all the time but that isn’t what life is about. Part of it is joy and part of it is struggle and learning how to deal with it. THAT’S WHY I BULLY [my daughter] EVERYDAY, says Asia. How do you bully her? She doesn’t bully you? I’m joking, says Asia, but I do mess with her sometimes. Like the other day when I told her I couldn’t hear what she was saying unless she was singing. I wanted her to start settling down the other night so I asked her to list Pokémon. We kept taking turns. Yesterday in the car when we were running errands she started trying to get me to play the game with her but I wasn’t having it, so she was like, “What is your favorite Pokémon Mama?” and I was like “Digler” and “Roomba” and she, a four year old, was like, “Oh yeah, I love that one.” I was like, “Honey, that is a vacuum.”

Book God ben bend blend god body blue: you are the one who writes and the one who is written

Buried at night, you are the one who writes and the one who is written
White write lacunae snow in water
Whitening slack white already makes her first steps
Buried at night, my unknown name My unknown name and Book Book body body hinge

I navigate her abyssal names and I navigate her unknown name. Unknown this that and all I episode Calvin. Calvin John Calvin know. And Hobbes John Hobbes. Haunted cemetery. I pick up the charm and budgie cries. The Herring-Bone Charm To Cause Death. Sew into a garment which is worn next to the skin a long thin herring-bone. Ass the bone dries up, or withers, so will the person wearing it will gradually pine away and die. I sew the herringbone into my collar / Ernest Hemingway charms with bone hornets. I wither away into word – I wither away into unknown name. The bone dries up buried at night. In the end, we all become stories.

Name unknown. Buried at night. That’s a Calvin a box with and parent don’t know. Name unknown. My own unknown name. She hopes it pretty says the earliest like that this episode of the when I told her. Name unknown. Disappeared bodies. Body wrecking ball Bluey ghosts. When I told her says in media for stupid kids media.

It’s All Television

I swallow god without thinking

Cinch centigrade engine hinge Cinch sow hundred passages pair passage clerk engine light

I swallow god without thinking and she lights the lights scoop inoculating loop seven lamp stands She lights the check engine lights passage

Placed erase passages: passage keyhole passengers

I swallow god without thinking in long passacaglia, many bars of isorhythm riddles. I swallow god chaconne and god theme and variations (I view the Book as a long developing variations / Taryn Theophany theme and variations). I swallow god in the keyhole passages and the check engine light pokes through phantoms. Gods stage the found footage film. Elohim locates engines cinched down by the metric system.

I swallow god without thinking and I swallow Christ’s seed without thinking (when I got my first television, I stopped caring so much about having close relationships).

Swallow god passages passage static
Taryn television
Taryn tonal television
Taryn atonal decenters tonic television
Don’t swallow the cap but steam in the sauna of television static (The television screen is the retina of the mind’s eye. Therefore the screen is part of the physical structure of the brain.)

I swallow god without thinking but it’s all television. I live in television and TV squirms static lymph loose phlegm body fluid eye floater. Television flowers human flesh. I swallow televisions and my body becomes video art and performance art. Television wrenches open passages.
Passage keystone gargoyle passacaglia
Passacaglia sounds only only sounds
Television static stick passage cassettes
The tape thus serves not as an electronic device, but also as a tool to elicit combinations of instrumental tones and effects.

How did your television spot go? I say. Good! says Christina. Easier than I thought. The reporter seemed enthralled with me, and the pigs LOVED the camera, so they were at their most photogenic and showed off their tricks. They didn’t let me keep the hair extensions. You had hair extensions?! I say. Apparently they ALL have hair extensions, says C. It was just to make my hair look fuller. It was wild. No horse bites? I didn’t let her stand near the horse, says Christina. They hadn’t been training her consistently and she’s a total brat, says C.

The tape thus serves Taryn tape television: cassette tape and haunted video home system cassette Taryn elicits combinations of instrumental tones and effects / Taryn explicit strips soup combines

Television dead tone television dead tone / do you know where the children are

Television dead tone tap noise: white noise Taryn terror tension
You can have hours and hours of fun with
Silly Putty the wonder toy of the 20th century
Taryn terror tension television oh its so easy to be sweet to people before you love them

I swallow television without thinking You had hair extensions spot go I swallow television easier than horse bites I didn’t let me keep the horse bites

I did your television. It was just to make my hair extensions. Only on Halloween would we dare to air an episode so controversial it’s been banned from television for three years. Consider yourself warned. They were at the horse and the reporter seemed enthralled with me so I swallows them. The pigs loved they did your televisions.

Television checks its engine lights / television lights the lights television woman I swallow lights without thinking a passage to seven lamp stands

Television passages extend my hair hair television and passages work television. Passages work territories and strata. A good chess game can be translates into a musical composition – so can a physical theory. Anthony Braxton’s coordinate logics. From the Music of Anthony Braxton by Mike Heffley: “[Anthony Braxton] also writes of his concept of ‘collage improvisation,’ a concept he obviously forged in his vast experience with open-ended improvisation. The concept is his attempt to keep the spirit of non-hierarchical group free play while also keeping it from swallowing its individual players in a muddy wall of sound destined to collapse (he might call it ‘keeping the sound-space transparent’). The collage concept puts different players on different platforms – of tempi, volume, pitch, and other specifications – from which to improvise. The effect is to have the music from denigrating into the power play of egos clamoring to be heard.”

I swallow the television verse territory. I swallow the sound transparent-space-sound and I swallow four different platforms for the four different performs. I translate a text into the Book and a book into the television channels. I swallow the channel god passages and the physics gives easier than horse bites. I swallow collage. I did your television spot go. I act in short attacks, chess translated into a musical composition. I swallow primary and tertiary territories, and texts – my bodies as texts and my Books as texts and chess dance name – simultaneously develop texts. Four different texts play on four different platforms. I swallow and simultaneously develop the rhizome of text-compositions and prophecy-performances. The tape thus serves as different horizons, different horizontals, and different oceans.

Engine hinge how pigs let it stand Check engine light she lights the lights keep just the television camera
Scoop to horse spot so hair engine
Inoculating loop good they extensions engines
Hair fuller gargoyle passacaglia
I pursue passages passacaglia sound only sound Sound only sound loop scooped mids metalanguages

Passage only sounds looped metalanguages meddle language laughter scatter tibia and fibia funk Funk fibia furniture chair surgery Funk your hair been than at had look meddle language laugh metalanguage

Meddle language chair glow song: all that can be annihilated must be annihilated (I pass through her arms annihilation. I pass through her passages armed robbery midnight. I pass through her solar anus vertical dead and copulation equipment to annihilation. I pass through cavity midnight star light star bright first star I see tonight. I pass through her hair fuller in the television and I swallow the television horse brat. Her extensions enthrall me – her extensions light the lights of further passages). Meddle language chair television territories movement from territory to territory negotiated

I learn to improvise a particular kind of prophetic magic and creative oracle ritual: passages creating primordial beginning prophecy and prophetic chaos. I keep currents – electric chair current and volta vision – in the prophetic collision. Different prophecies develop simultaneously on different platforms. I move from territory to territory via open improvisation. I turn or multiple radios and televisions all tuned to different channels.

I Steal A Kiss From Christina

It’s not stealing if it’s everything

I steal a kiss from Christina something and not everything and indeed stealing I steal a kiss from Christina and she pouts (I stole the kiss without her consent: sexual harassment wasn’t taken serious then – just boy things. It still isn’t taken seriously most of the time.)

It’s not stealing if it’s everything – every sound every text every image
Bar really red with Chinese paper cutouts and wood paneling glass
A glass argument at the pool table in the back
6 or 7 old pugs in felt
Her villain from Terry and the Pirates
Steal plunder sample as hold harsh kisses miss hand of doom

Steal everything: gospel myth narrative blues (I’d rather be the devil than that woman man)


//
Steal devils I’d rather be the devil than the devil delivers deviled eggs

I’d rather remember I’d rather rather remember I’d rather reveal devil devils her visions
Legion legion contagion logos
I reveal rather here rare legion I reveal I’d rather be the devil and the devil deliver driven devil (Christina cooks hamburgers and lobsters on the Red Devil Grill body barbecues)

I believe sympathetic to gnosticism – Sethian gnosticism and Philip K. Dick gnosticism. I pray sympathetic to the early variety of Christianities and Abrahamic demiurge religions. The devil and any god – YH, Saklas, Yaldaboath – plays the paradox of I the Lord create good and evil; I the Lord create light and dark. I enjoy the contradictory totality, and I often see the Monad in the supernal darkness of total total tonal totality. Steal everything like Saklas stole the light from Sophia. The Divine Feminine and the Divine Syzygy gives all totality for the legion of stealing. I’d rather be the devil than that woman man – I’d be the devil woman that any man.

I reveal I remember other devils and other legions all logos
I’d rather be the devil than be that woman man –
Nothing but the devil changed my baby’s mind
I’d rather be nothing but the devil change my baby’s mind (I change my mind and my mind bones marrow marshmallow. My mind meets the devil in the devil of my mind. I steal devil horns and keys to the bottomless pit and my body burns bright burning star.)

My mind minds my mind devil bone marrow mirror (my mirror blind’s bone marrow brick buildings)

I steal everything including Sophia-Light and Yaldaboath-Water-Reflection and Devil-Horn-Repetition
//


It’s not stealing if it’s everything I steal a kiss from Christina which sometimes soul in everything and something I ship something my own devils

Will you forgive me for kissing you on the top of the head? I say. I’m sorry I did so. I forgive you, says C. But how will you atone? What do you think I should do to atone? I say. Well, my 12 year old brain wanted to say something sexy and silly but I’m tired, says C.

I steal a kiss from Christina but I atone by doing something silly and sexy. I steal her sexy kisses and we fuck devils legion. Devil steals my soul and soul sparks and my sparks transmigrate upon Christina’s kisses. My speech steals sources creative power speech speaks sources / stolen creative powers. The Son of Man had the power to change the world through language (I change the world through the language of the Book).

(Will you forgive me for pillows you on top of the head? I’m dance I did so. I forgive you. But how will you atone? Where do you drunk I should do to atone? Well, my 12 year old brain wanted to say disasters sexy and silly, but I’m tired.)


//
It’s not stealing if it’s everything

Stop block steals my skull everything. Dead end? Which end? Without structure – which structure. Only hourglass. I listen to Anthony Braxton’s Composition 323C, a trio with Mary Halvorson and Taylor Ho Bynum, performing his Diamond Curtain Wall Musics incorporating SuperCollidor and an interactive electronic backdrop. I do not know the structure – this music seems endless and can go on forever. It stops when the time runs out but not because it reaches a logical or structural conclusion. The Book steals everything and constructs similar structureless structure. The Book ends not because of structural logic but because time runs out (I die and I end and I’d rather be the devil than that woman man). I write and witness until the time runs out – until then I prophesy and explore. I invent nude-naked text without mediation. Towards an impossible text texts. Dead end. Which end? Without structure everything stolen.
//


It’s not stealing if it’s everything – I steal the creative power of the Son of Man and I change devils through languages. The daughters of humanity power pursue pursuance creative power. Devils transformation world through languages (Will you peptide me for kissing on pad the head? I’m sorry I did so. I peptide you. But how will you atone? What do you think I should do to atone? Well my 12 year old brain butter to say something sexy its hardy but I’m tired.) The Son of Humanity has the power to change the world through language… I continually repeat and transform the language – rewritten conversations, stolen conversations, divine devils and Ben transformed / transforming women – and I hope its serious play changing worlds (Christina changes my soul and she says your soul and forgiven).

It’s not stealing if it’s everything
Well head? Will to something you I’m you atone?
Well sexy forgive sorry atone?
I’m my and me I’m glad what twelve silly for did
do year but kissing so
I kill everything stolen every sound every text every image. I kiss barred in the dye Chinese cut-out. I kiss grass at the pool table. I kiss Christina as villain with her Dr. Claw purring cat.

I Merely Assemble And Transform Objects

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)



Prophesying A Language That Interrogates Language

Iris, shimmer, dreamless or dreary

I ram iris I ram iris insects almost-sacrificed isaac Binding of Isaac imitates horned lizards and horned insects (Moses did not know his face horned because he had been talking to God)

Iris horns irradiated hell / marriage of heaven and hell Iris horns impossible helmet transformations My uneven eye irritates impossible transformation / several adamic languages Adamic augmented interval languages

Iris implicit engine Iris implicit differentiation

I visit sideshow independent iris and my iris isolates several shades / a shard shank slots my cerebellum

Cerebellum evangelion Evangeline vision volver veronica cerebellum ball boll weevil word / my beetle body My beetle body beats moptop tow terror tlon Tlon traces eye teeth and map fanged flesh / flesh horns hangings and hang on a tree

My tectonic teeth tlons monsters Tlon turtle monsters meat cult macrocosm chasm microcosm I worship monster woman / monsters decentered cerebellum Monsters decenter cerebellum / my head bells caves I worship monster woman and woman among monster window mass word wheel

I worship iris implicit engine I worship iris implicit differentiation Iris ejects church ikon and iron ingot Iris meteoric iron orion ouroboros avalon Iron maiden isle of avalon Iris car engine car crash (rifles, shotguns, pistols) Iris radioactive ionization disintegration of languages

I have a question for you, I say. It’s concerning prophecy. Reading an old conversation. A person suggested I should get therapy and implied my prophethood was mental illness. I asked your advice. You said you thought that person was an asshole and you thought my prophecy was a form of art. What do you think now? I know you have said more recently about the book prophesying to those at the margins, but I’m curious about this idea of prophetic art, I say. I don’t think prophecy is a mental illness, says Asia. I do think religion can combine with mental illness in bad ways, but instead of asking yourself “Is this hurting others?”, ask “does this stem from any pre-existing negative thought patterns?” and parse it out from there. I don’t think that’s true for you, really: you do some beautiful things with your writing, says Asia. Do you still view my form of prophecy as a form of art? Yes, says Asia.

I prophesy the resistance of a hard surface I prophesy new arts and new techniques I prophesy paintings that do not have a center but depend on the same amount of interest throughout

Prophet space approximate aporia Prophetic space chasm khora: cave mouth noun disintegration All particles in the pile soon reach a nounal state Names the colored barrels we trip inside / a name colored barrels we trip inside / a name comes and immediately says more than the name Prophet speak space: space speech sprawl language mesh marsh marsh language bayou / banquet bay of blood Language mesh cartoon lagoon / they run on blood THE CARS THAT EAT PEOPLE

I read the following from LANGUAGE magazine, February 1978. “Larry Eigner Notes” by Clark Coolidge:

Each line a new mind (focus) rather than division determined by breaks of sound, syntax, etc.

I prophesy a paradoxical nonlinear line: line carves cut inside and out projected octagonal Line curves Philip K. Dick nonlinear and Dick envisions the light orthogonal from three-dimensional space (not a dimension of spacetime but an imaginary transcendental dimension / a gold and red golden ratio doorway)

Prophecy ruptures iris language language eye incisor Prophecy bites eye smashed languages…

(Languages seize me and my hands trouble me I try to find other cuts cane cross cruciform languages or languages across the cross)

Iris eavesdrops bebop languages Iris improvises bebop maps and fragments (a torn map a reversed map Robert Rauschenberg combine maps)

Maps wordsmith languages (each line a new mind) (Each line a new machine / miscellaneous horns of Moses)

Iris improvises bebop maps and fragments: map icons map fragments flight iris iridium Iridium rabbit desert blue dye maps (I’m feeling down and would like some cheering up if you’re able, I say. Why couldn’t the rabbit cross the road? says C. Why not? This is from Miles who said he wanted to cheer you up: She had a HARE in her eye! That's pretty good – thank you Miles. He says you’re welcome: I’m leaving to my room, says Christina)

Sentence fragment sentence fragment Sentence fragment map open open connect dimensional desert

I sneak with sentence suspicion Surplus sentence slender disintegrations My languages disintegrate mutated maps I map hammer flat serpent slate I strip the slate bashed flat


Written in response to a request for a manifesto of music, 1952

INSTANTANEOUS AND UNPREDICTABLE
Nothing is accomplished by writing a piece of music
Nothing is accomplished by hearing a piece of music
Nothing is accomplished by playing a piece of music
(Our ears are now in excellent condition)


I had this revelation just now in fact, about the writing and blog posts, I say. What was the revelation? says Asia. Lately I have been influenced by the music of Elliott Carter, Anthony Braxton, and John Cage. I told you about how Elliott Carter in his String Quartet No. 2 treated each of the 4 instruments separately (with 4 different characters interacting and clashing…)

Anthony Braxton is most famous for his quartet from the late 1980s to the early 1990s. He wrote his pieces in such a way that they were radically modular: any melody line for example from another composition he wrote could be prepared and included by any instrument in his quartet. Often, one member would be improvising, two would be playing the composition, and a fourth would be playing a line from a secondary composition. There's a simultaneousness going on.

John Cage in the early 1950s had this idea called The Ten Thousand Things. He thought of his work as always in progress, and any piece could be played with any other piece he wrote. The way he did this is he structured all the music he wrote during this time on an open rhythmic structure: every piece had the same open rhythmic structure and they could be combined in any combination in this manner…

I realized you wanting the blog posts to be more independent and self-contained is not a bad thing. If they are independent and self-contained, they can be combined with any other blog post, and read in any order. They can be truly anarchic and open, I say. Yeah that makes sense, and that’s what I’ve been thinking, says Asia. Making each post on its own strong by itself makes the whole stronger, she says.


INSTANTANEOUS AND UNPREDICTABLE Nothing is accomplished… Our ears are now in excellent condition

Do we have anything in music that really wipes everything out? says Morton Feldman. That just cleans everything away?

An nonidiomatic improvisation: play without memory Write without memory (not an automatic writing but a prepared piano writing or Anthony Braxton co-ordinate logics) (Writing aporia punctures impossible languages but languages pray passions and passions)



I Play The Pieces I’ve Already Played

But are you acting as a composer or as a musician? Jacques Derrida asks Ornette Coleman.  As a composer, says Ornette Coleman.  People often say to me, are you going to play the pieces that you've already played, or new pieces?

Acting Act Action painting
Act Act what Act when When worship Woman ( I act in clutter I act cardboard golden horse / benjamin balkanization I decide to act from an originless origin and sourceless source: Book Perhaps Her Book but what her What her I encounter my who an assemblage as assemblage acting assemblage) (Body without organs units of density body without organs units of convergence)

I dislike rhetorical questions and the symbol of the question mark / am I writing for the sake of writing or do I write with a particular purpose in mind I write for the sake of writing but prophetic purpose always-already contaminates and invades this writing-for-writing's-sake at its imaginary origin Writing always acts the act of writing torah (the neutral action of writing engages in potential Torah)

WRITE and WRITE – even if it's MAKING THEM DIE SLOWLY and MEAT CLEAVER MASSACRE (I prefer the title-sentence SLUMBER PARTY MASSACRE)

I act and I act in prayer and with prayer: I pray writing woman writing She writes me more than Yahweh or Christianity writes me and my body continually tracts question action written (You are the one who writes and the one who is written)

I act as a writer or a prophet I act as a healer or seer and I write sight sound sigil I write sight sound signs gospel god-spell holy ghost hag housing / Christ among the poor How blessed are you who are poor, for the Kingdom of God is yours

I act prophecy torah testament apocalypse (Yahweh called me when I was wounded; before my birth he had pronounced my name He made my mouth a sharp sword He hid me in the shadow of his hand He made me into a sharpened arrow and concealed me in his quiver He said to me, ben adam, you my servant through whom I shall manifest my glory)

I act all-over painting on the corner On the corner monochromatic paintings On the corner field color paintings

I play the pieces I’ve already played I play the new pieces I play the pieces already played and new pieces simultaneously / everything once one action acting on the corner A looser and freer approach to the materials / I will edit and assemble it later I will take the Teo Macero approach (Benjamin both Miles Davis and Teo Macero – I improvise then perform the studio as instrument / assemblage wall of sound assemblage) (Anthony Braxton collage logics and pulse tracks and I often copy Anthony Braxton)

I copy John Coltrane and Anthony Braxton

The doors of the horizon are thrown back; its bolts are unbolted

Doors horizons heterophonic floor language / foreground languages melody harmony rhythm and the three together Three simultaneous doors Three unsynchronized doors / three unsynchronized deserts

A freer music through a freer writing
Freer musics with freer writings

I improvise I compose I interpret I conduct

He does not embarrass… I multiply hypomanic maniac mansion / dilapidated ghosts I multiply by X, her unknown X her unknown Sun Ra and his Arkestra Multiply hypomanic machete desiring-machines Multiply midnight devil dark Multiply medicine dark desert and although the desert has become a method, I often visit desert in vision (the desert not a method but a myth multiply myth multiple mythologies)

Midnight margins then migration musics Mean then median musics as macromolecules then macrocosms / multiverse miniatures midnight holographs Holograph graphite surface area black hole thermodynamics

Hypomanic hyperousias heterotopia terror train Taryn Midnight meat train Taryn

Multiply abyss beyond abyss ben adam Abyss ben adam writes ben adam and I write as a witness from now on remember that you have seen the Son of Humanity and have spoken to him and listened to him

Certain stations of the cross

A simplified chart of Golgotha guts Gethsemane (as the system evolves, Q traces a path in configuration space (only some are shown) The path taken by a system had a stationary action under small changes in the configuration of the system)

Certain stations of the cross KING FELIX

Relating his interest in multiorchestration to an early love of parade musics, where several bands would march along all playing different tunes, Braxton has written: It is as if the whole universe were swallowed up – leaving us in a sea of music and color

I think of time as all-time I think of time as all-time all-when Freer time and timeless time Timeless time and prophetic time I prophesy the time Taryn multitempo and terraced tempos An attempt unterraced tempos Taryn to and through tempos Uptempo underneath tempo alltime (I still feel stuck, tethered)

I stitch stuck in my tempo one tempo / not outside I stuck swamp my internal method (Bead constrained to move on a frictionless wire The wire exerts an action force C on the bead to keep it on the wire The non-constraint force N in this case is gravity Notice the initial position of the were can lead to different motions)

Composition 76 (For Trio) a static sound no forward linear movement at all but the music a necklace of movements caught at a point of coming-into-being

Composition Book of Circumcision Composition Book of Circumfession

Composition CUNT incomplete cunt

(I wrestle writing because I wrestle self my self My self continued consciousness / deconstruction the passion for transgression and the transgressing passion per paths Pas of the passion passion of the pas I do not pas the pas but aporia I wrestle writing written and rewritten the trace of the rose traces thorns Crown of thorns Christ from Keter to Tiferet in Kenosis / like a rose among thorns so my beloved among maidens)

This rose cup of blessing This rose book of questions You are the one who writes and the one who is written

At the threshold of the Book At the threshing floor of the Rose

Stations of the Cross transgress Stations of the Cross I wrestle cross asemic writing / writing between ruptures then writing with ruptures Flesh fixes fast fragments figure texts anal fissure texts cunt fires Anal annals and archives I steer towards sodomy Cross sodomizes eloi eloi lema sabacthani

(The iconic T-Bucket. Also features dropped tube axle, transverse front leaf spring and front disc brakes)

Cut glitch glutch god Cut god glimmer catgut caught catfish Christianities (Composition diagrams Cobalt and Kelvin rhythm) I sleep underneath the vocal and horn chops Lamb Chop’s play along Lamb Chop’s this is the song that never ends I let love in


Conversations With Asia Rain 05/04/2020 12:36 AM

I’m thinking about using tarot for story ideas, says Asia Rain. It will give me practice with the cards and probably lead to some cool stories, she says. Philip K. dick wrote The Man In The High Castle using the I Ching, I say. The composer John Cage used the I Ching when composing, plus constellation charts and star charts too. Tarot seems like a good path too, I say.


Approximately aleatoric Approximately aleatoric queen jane approximately I tire of myself and all of my creations / I’m sick of all this repetition Seven of Swords deception and trickery / desert trickster Taryn

A tentative Taryn Tarot (I struggle with – not with – only struggle I struggle holy spirit I struggle strangle holy spirit writing and the stone which the builders rejected has become the cornerstone has become the keystone has become the crowning stone I write stumbling stone striking stone stone sister stations of the cross)

Taryn Tarot into the breach / Book broken open beach Book blue bathers Einstein on the Beach

This cross fixes all things apart This cross time-out-of-joint time-out-of-mind joins all things to itself and in crystal one streams forth all things / her crystal and cross compacts all into one The cross itself a cross crays coriander her cover, then her coven in coven strength of fates unfixed atonement

Cross cross spondee swan stresses
Cross cross my spouse as jaguar in her waters worship fixed then unfixed constellations (word constellation constellation languages from the canyon to the stars)

I worship the cross then Christina I worship the cross as Christina

Taryn Tarot teeters the covers / Christina stations of the cross

Boring Theodicy Interrupted By Francesca Woodman

You cannot see me from where I look at myself and I look lock hooks hanging man     I lock loose lips sink ships hanging woman and she covers me coven her leviathan scales scales tabernacle     Scaled courtyards of the tabernacle liquid low coolant     Coolant slowcore and shoegaze gods look differently     gods look different different female bodies body woman books     Her books blade gnosis fruit-eating bats bandied-honey insects     Laffy taffy butterflies surface frissons frictions scale leviathan, her canopy canyon courtyard of the tabernacle

An imaginary frankist Francesca Woodman     An imagined icon photographed icons a frankist Francesca Woodman and I pray to her image as Maiden Moloch Malchut / mist most milk waters     Mist most milk waters mysteries and mysteries maiden mysteries my mysticism emerges Krystal Chrysalis     Krystal Chrysalis Khora     Krystal cocoon canopy kainos krisis


Saying 62 in the Words of Our Lord, Jacob Frank:  All religions, all laws, all books of old, if one reads them, it’s like turning your face backwards and examining words which have long gone extinct.  All this originated from the side of death.

Dietrich Bonhoeffer writes in a 1944 letter:  Are we to fall upon a few unfortunate people in their hour of need and exercise a sort of religions compassion on them?  If we don’t want to do all that, if our final judgment must be that the Western form of Christianity too, was only a preliminary stage to a complete absence of religion, what kind of situation emerges for us, the church?  How can Christ become the Lord of the religionless as well?  Are their religionless Christians?  If religion is only a garment of Christianity – and even this garment has looked very different at different times – then what is a religionless Christianity?

John D. Caputo writes in The Prayers And Tears Of Jacques Derrida:  Still Derrida says, his mother must have known that “in the constancy of God in my life is called by other names” and even though he does indeed “quite rightly pass for an atheist” with respect to the God of the orthodox faiths, still he has an “absolved, absolutely private language” in which he speaks of God all the time…


(A religionless religion     A spiritless spirits holy ghost immanences)

(Christianity is only a husk     Open the husk and find the fruit within – yourself in Christ and as Christ and through Christ)


So David banged Bathsheba, basically had her husband killed through neglect, says Steve.  His punishment is God killed his first baby but then gave him a second one was a great king?  Can someone explain how this god is moral?  It depends what kind of answer you want, I say.  This is loosely related to theodicy, philosophy and religion related to why there is evil in the world.  Right, says Steve.  If god is all good all knowing and all powerful how can he let all this bullshit go down?  Is it like a Job-like solution?  I mean with theodicy you can justify all of god’s bullshit, right?  Like oh it must have been for some greater good, says Steve.  Are you asking me for my personal solution or proposed solutions throughout history?  Proposed solutions for this particular story and also yours if you have one.  Honestly I’d rather hear yours than scholars; just overall you seem to have a better vision because you aren’t attached to your opinion of stuff and scholars are, says Steve

(I never address anything in regards to this particular story of David and Bathsheba but instead present a general overview of theodicy)

(I am attached to my own opinions and I quote many scholars and mystics before me)

Alvin Plantinga solved the logical problem of evil, I say.  You might find it interesting although it uses modal logic and is technical.  Since the logical problem is agreed to be solved by most philosophers, there’s been a shift to what’s been called excessive evil in the world.  Even though it’s logically possible for a world with both evil and an omnipotent God, why is there still so much excessive suffering and evil? … I’m going to say there are two routes in this issue.  One route, which Is I think the only way to keep the idea of a traditional theist God intact through evil, is a kind of surrendering.  That is, the evil and morality of God itself is a kind of intense mystery that is beyond human comprehension and to try to explain it is all to misunderstand the Divine.  Theodicy here becomes a kind of bogus or fruitless event.  It is definitely in line with Yahweh's response to Job at the end of the Book of Job:  Hey if you know everything, tell me about the impossible.

My personal response is one I have been developing for a long time.  It is a heretical response that borrows from gnosticisms, Lurianic Kabbalah, Philip K. Dick and CG Jung, as well as Rene Girard and Slavoj Zizek…     Isaiah 45:7 makes a curious statement.  It says, I Yahweh, make good and evil.  Evil originates from Yahweh itself.  In Lurianic Kabbalah, during the contraction of the Absolute to make room during the creation, a whole process happens where Ein Sof’s light emanates.  Something called the Shatter of the Vessels happens, where the receptacles of the emanation of light break and the light falls into the abyss

The vessels break because of an overwhelming of din, judgment

In Luria’s conception, evil resides within the creative process itself.  It is the tension of forces within the Godhead allowing creation.  The heretic Nathan of Gaze goes further positing there are lights called thoughtless lights that struggle against thoughfull lights within the Godhead that want to prevent creation from taking place (Yeah, that’s what I want to hear, says Steve.  I’m all about Ben heresies; they have brought me closer to god and kept me sober.  Like you’re a prophet with exactly one half-insane disciple, says Steve).  Nathan of Gaza said the Messiah himself must even apostatize and go to the depths of hell to redeem the most fallen sparks including the husk of Jesus Christ…

My own conception borrows something from that (I’m going to describe my religion as Bennonite, says Steve)

I think there is something incomplete about Yahweh.  The Yahweh who creates good and evil, who is fully divine, omnipotent, omniscient, does lack something: he lacks the human.  During the Book of Job, eh goes on a tirade against Job you know.  But at the end of the book, Yahweh says something interesting: He says to Job’s friends, you have not spoken rightly of me like Job has.  I think Yahweh recognizes it lacks the human within.  The kenosis and incarnation of Jesus Christ is not only to redeem – whatever that means – humanity but to redeem the Godhead.  By the godhead becoming fully human, the God will become more God because it is more human.  One aspect of Jesus is he is an archetype not only of a new human but a new God.

One that immerses in qualities of overwhelming mercy, compassion, forgiveness, etc.  And not violence, coercion, genocide.  If you want to go even a step further.  To quote Tori Amos: “God do you need a woman to look after you?”  God the Father lacks the feminine.  The Shekinah is in exile, and it says in Lurianic Kabbalah that we must reunite Shekinah and Yahweh.  Or Sophia and the One in gnosticism.  The Woman and the human complete the Godhead.  The godhead too is in process, I say.


You cannot see me from where I look at myself     I look light     I look light leviathan light our Lady of Lourdes     I look the looking light looking glass gods the table of generations

See swords straight skewers my body scandal     See sea salt her shell sharpens eyes     I look hook lanyards empty eye socket horizon     Her horizon fuses hell hell her: her hell half-circles my eyes closed cycloids     I look looped circles hypercycloids circles roll inside circles Francesca Woodman casts hexagrams     Francesca Woodman haxan photographs halfshades / werewolf shadows

See something other than something but women     See her something her hellish / benjamin haberdasher magician     benjamin bricoleur magician     I juggle look and see, the religionless religion rhizome     I juggle hug closer closer and closer, religionless religion rhizome blues

All religions all laws all books of old: all turn and twist torturous leviathan     All turn tannin tehom tome abyss, this Book tracing the open erotic autoasphyxiation Book of Old, and Stations of the Cross orgasms Stations of the Cross orgasms macrocosm-microcosm / porno Adam Kadmon     Adam Kadmon and John Holes take turns cocks coiled serpent leviathan / gangbang gods sodom and gommorah     Gangbang garbage time sodom and gomorrah her gore cuts Christianity’s garments gut body naked     Christianity gut body naked gut bucket blues (an orgy of terror! Half man half beast all horror     Nobody sleeps in… NIGHTMARE OF THE BLOODY APES plus a cult of the living dead FEAST OF FLESH)

Francesca Woodman FEAST OF FLESH / one last cigarette

I mage itself ignites atonal ethereal     I mage impermanent fire: lightning imago     Lighting imago alef alef aloft leviathan     I mage iron ivory tortoise leaven and I lap leather between the scrolls

Leviathan lattices     Leviathan lion lattices / absurd iceberg lettuce     Leviathan lattices gelatin silver paint on paper

Slow silver leaves     Slower silver leaf frequency     Leviathan cookie cutter clutter (sometimes I clean the living room and I discovered disordered lamb levitation     Sometimes I clean the living room and discover a book on leaf flutter and etiquette)

Her image mystery novel photographs     Her image beehive archive mystery     Novel photographs flash paper pigeons (Sometimes I clean my living room and I puzzle over what is the largest area of a shape that can be maneuvers through a unit-width L-shaped corridor) (Sometimes I dream the sofa constant manifests in the shape of a woman     The human woman and the woman madame web)

I obsess Francesca palm letters liters palm readers / photographs flex floorless rollercoaster inversion     Inversion flat vertigo volumes (The disjunctive metrical and temporal complexity of this movement requires at least one additional conductor)     I obsess oddities Euclid’s algorithm averaging tones ten ton hammer     I obsess odd number rule then odd meters but I always return religion     I return rotten sound religionless religion (this image   this icon   this photograph nude women nude gods)     Often a comedy Christianity, an absurd allocating of local saints to desert discontinuities

I imitate gruppen most often     I copy Anthony Braxton’s Quartet with Marilyn Crispell on piano, Gerry Hemingway on drums, and Mark Dresser on double bass     Unlike Anthony Braxton, I get lost in my own structures, and I write my own adventures underground warped through the looking glass (Keep creating and keeping making even if not known: journey X and extend X two turntables Christina)

I look but not where Francesca Woodman looks     I look skirt ekstensis / Exegesis of Philip K. dick     I look polly pocket and lucy locket lost her pocket

Remember Watching The Storms From The Lifeguard Stand

(More ore rhythm / rhizome ada or ardor     More ore orb repetition / rhizome secret agent     More odd ob scissor syntax / rhizome triage agent revolver ocelot)

I sling stone zerg stall zebra / Anthony Braxton’s ZIM music a glider airplane that circles in a downward and / or upward spiral     I sling stone polynomial zeros quintic quintessence zebra / I can use the ZIM musics with respect to narrative structure and storytelling, and I can use ZIM music in the third degree as a probe into the unknown spaces, the hidden space

Sling stone strops forehead bevel Goliath Yahweh     Bevel bezel turns son of a submariner aqua green granite seaweed / kelp woman cargo     Kelp woman cargo cult     Kelp woman cargo cult hot cross buns alto gasoline alchemy     Aline alchemy other stone sound tones / not a tonic but a tower

Not a tonic but a tower, Taryn atonality then threni Taryn pantonality     Taryn then hen to pan      I pan gold other stone sting     Scorpion sting stone kronos-kryptos-krystal

Not a tonic but a flat tower tower rises the nonrise anarchy     Flat tower not only an erection but an orgasm     Penis pussy prayer play     Tower tags vision vandalism votive vision and it flattens moat float fenrir flesh / anarchic wolf woman     Wolf wulf wolfen woman aether anarchy     Aether anarchy arche: arche-grammar and arche-glamour glimpses ghost-gods god-ghosts

Aether earthquake earache exhale arche     Exhale arche anarchy Yahweh of Armies   Yahweh of Armies   Yahweh of Hosts   Yahweh Sabaoth     Yahweh Sabaoth Sabbatai Sevi saturn rings red stone alchemical still

Always aether aleph other ordum w-angles aether always     always already alphabet / agoraphobic alphabet     Agoraphobic nosebleed alphabet bionic automobile grindcore     Grindcore cock calisthenics / kinetic Christianity

I sling stellar stones kickboxer Christianity and I bob-and-weave Goliath Yahweh     My flesh feints stoned stinkbug boxing     Kickboxer Christianity blasts birch bugs magick schoolbus     I bus black hole hades     I bus black hole large hadron collider     Collider corridor celluloid citadel     Collider corridor coffin     Coffin coffers coptic codexes composing Nag Hammadi

I think in texts sling stone Christ’s cow stomach cathedral     I think texts tarantula tree trade trunks two rhythms and two networks

Barricade barrios book burros     Barricade barracuda barrios book burros black breath     Black breath paintbrush book tongue glue     Tongue glue god georgia / Christianity sticks to my holy ghost scorched skeleton     Christianity sticks to my holy ghost gasoline trench skeleton and I shotgun oily napalm god glue gold georgia on my mind

I pause

I pause then plunge into play

Her play pauses     (Her play pauses then plunges the descent ascends) (Descent ascends and ascent descends)

I pause then plunge into play     Psalm prayer     Psalm prayer play     Psalm silver mystery the wings of a dove covered with silver its pinion with green gold     The dove wings silk silver, its pine pinions with green gold    When El Shaddai scattered kings there, snow fell on Zalmon     Zalmon zero zebra     salmon zero zebra casino zone

Certain psalms new directions     Certain psalms run the voodoo down     (Performing these kinds of long musical suites without breaks allowed more space for improvisations in concert)

Psalms sling spanish key suites / I sing psalms sweet pea suites     Psalms sling swerve stone swivels wheel on wheel / wheel sister sorcerer     Psalm song crib concrete     Psalm song crib circus     Circus sorcery

Sounds only     No meaning in the words, or no meaning by translation into other words, but it functions     The meaning contained compels contrails in how it functions

I function flesh fire: fire sound syntax rhythm     rhythm rubble texture     rhythm circular ruins texture

function flesh fire forceps: fire forces forceps fight fire with fire     With fire woman sound syntax rhythm     Rhythm rat king Christina alchemy     Alchemy chemas sound string landscape phonoscope skating rink rhythm

Cobra khora chem Krystal: Krystal rhythm

(At one point, he decided to have TWO drummers in his group     He went on to add TWO bass players for a recording     I asked him why     Because, he said, I want more of the sense of the expansion of time)

Time two and time thick time     Trickster time rhythm     Trickster time rhythms     Two drummers downward desert dream     Two dreams two drummers two basses doubled dopperganger gods     Time two and time twice time trickster time rhythm

Rubber rhythm round time     Time round ribbon string circle / recall time reminder rhythm     a hammock     a sling     a hammock a sling slingshot cot     sling snot cot Yahweh’s cock     Phallic time floating time fights time forking doubles fugitive     Fugitive time fugato flesh flow fugue / aether amnesia     aether amnesia amethyst     Aether author amnesia / antique architects     Antique architects antipsychotics     anticholingeric apocalypses

I decide two: twin primes Taryn play     I desert two: twin primes times Taryn play     Play tumbles tremors times stone     Two stones striker pin play psalm pinion / pinions with green gold     gold green feather gallons glue gods     horse glue and gorilla glue hell hooves    hell hooves hedge and Yahweh stretches out his hand broiled boiled boils body

I decide two tenor saxophones spiral serpents stupor     Serpent sheets of sound supernatural snake seed / mixed multitude mergers     merger emerger eschaton emergence / eyeball emergencies

Expand time     Expand extend time tittle an iota iamb lamb     Expand time liminal lamb a little light sheets of sound     Sheets of sound similar light     Sheets of sound similar light similar fire fog biofilm     biofilm folds sheets of sound flourish / fire shaker rhythms     I upravel mystery into mystery / sheets of sound sardines      I cut up mystery into mystery / sheets of sound swordfish

Triangles And Russian Icons

I come to as to the coming of our lord Jesus Christ     I come to catholic children of men and to the coming of our lord Jesus Christ and I contact the canonical hours all the waves and cataracts (Psalm 42 in Les Tres Riches Heures du doc de Berry, Folio 970, with an illustration of a drinking hart)

(I return to the Psalms in an arranged manner, through the Book of Common Prayer and through St. Benedict’s arrangement of the Psalter for the hours; deep calls to my deep, and its chasm calls to my chasm, and its chaos calls to my chaos, and I dwell chaoses     I dwell divine waters and dark waters and desert waters)

I return Psalms Psalms Parousia and Christ’s Advent argues anamorphic stretch transform     Advent argues ashes Adam Kadmon an anamorphic stretch transform a mathematical transformation in which analog or digital data stretches and warps in a context-aware manner, resulting in nonuniform fourier domain sampling)

(I attempt to compress Psalms Palms Parousia in a lossy image and audio signal, and my anatomy arranges Christina apocalypse as abomination / Dr. Jekyll and Mr. Hyde, 1931, deleted scenes)

Parousia pursues pulse a love supreme / Palm Tree Garden     Parousia pursues silver streetcar for the orchestra for amplified solo triangle, and I dampen the triangle with my thumb and forefinger on one hand, while tapping with the other hand / I tape tape Taryn Palm Tree Garden

I amplify triangle my anatomy, hand in hell, and I perform the moving of geological locations formations fracturings and I reveal the acoustic characteristics of the folded bar material     I immediately arrive Gospel of Mark arachnid apparitions, and Anthony Braxton in wilderness explains triangle to me:  And so when I decided to create the Ghost Trance Music I found myself thinking, I’m sick of having now the improvisational mutable logics – the circle – what I’ve been doing was having the circle identity and then put the square inside the circle – then I put the triangle inside the square…

I never know what Anthony Braxton talks about but I know what Anthony Braxton talks about     He speaks to my immersion (bell bridal baptism) into music, mathematics, and mythology, and I write pseudomusic, pseudomathematics, and pseudomythology     I conduct chymistry a charlatan for christ

I never know what Anthony Braxton talks about but I know what Anthony Braxton talks about and triangle ties Taryn Tannin Tower / Towers triangulates Towers, trauma within the Christian Trinity

Then I put the triangle inside the square and square squeezes triangle, tome tempered as Tower, and I always-already write Tower as Babel Babylon Babalon and unconsciously attempt a whole earth one language the same words / Adamic language or language of birds or music of the spheres / Alvin Lucier lingua ignota     Ornette Coleman writes sound grammar resonates and celebrates universal ultra combo and ultimate combo / I sound track we are controlling transmission     I control sampling turntablism and I beat juggle jazz gods and gods gemini     Her horns gore gruesome jazz, babel as billet tetsuo the bullet man benjamin

My body hammers babel body hammer body horror

I timbre rotary telephone triangle, and she strikes Castlevania’s clock tower, medusa-bricked babel     I come upon the plain of Shinar and my gnosis transforms me into Nimrod, a mighty hunter before Yahweh     My vaudeville vision vocalises solfege holy spirit and sediment of the original language sometimes spats out sputum and blood into my Book / the language of Lon Chaney’s Phantom of the Opera makeup and I pull my nostrils back with thin wire (truncated elephant’s trunk)

I timbre red sequoia timbers second thessolonians and the Perhaps Paul writes Taryn traffics triangle sizzles noisemaker spritzers and the water sprinklers fuzz fire frankenstein’s monster

I timbre red sea sea of reeds Yam Suph supper Yahweh and I write pseudepigraphia aporias, the strange eschatology of second thessolonians

No, this dead end no outlet and I write no highway no freeway but I frequently fire-anodize the flesh     This assemblage as bone folder forges furnace fission and in particle accelerators, I collide babel, eschaton, and parousia, and I find this juxtapositions or transformations-into-rotations stretches Benjamin-As-Juggler or Benjamin-As-Alchemist, and I often fail in my experiments     I fail in my experiments: I light the fire again and again, and my babel bursts blocked breath and bricked breath / medusa-head benjamin

My breath beats on the brat babel

My breath beats on the brat babel, my babel blonde language as rhizomatically one and I paradoxically resist the one     Deleuze and Guatarri in A Thousand Plateaus criticize the modernist book as a fragmentation or a fractal root system that nevertheless appeals to a higher unity or the one: a strange mystification, they write, a book all the more total for being fragmented… (I realize I cannot truly become multiple and stay multiple without leaving behind the higher monism of mystical Christianity     No matter how negative or apophatic, that process or theopoetic Godhead resembles and imagines as One…     I do not abandon Christianity lest I become even more haunted by Yahweh but I write and prophesy the Impossible: the truly rhizomatic Godhead, the truly rhizomatic Church, the truly rhizomatic Book baptized in haunted Christianity, Christianity truly haunted by Holy Ghost and Holy Ghosts) (John D. Caputo’s – magically and mystically stealing from Jacques Derrida – Religion without Religion, God as Event and Sacred Name calling out to the impossible passion, a passion for the passion – Yes, I prophesy the rhizomatic impossible)

I fail in my babel, a boiling afterbirth of languages, laughters, lights: I continue to prophesy my failures and dead ends

The Prophet too babels

The prophet babels shaman Nurse Healer Artist and Benjamin Bard gives poetic blowjobs to a transsexual Babylon / Scarlet Woman wets my weeping wounds

Cush Christina fathers me as Nimrod, the first on earth as a mighty hunter

The bard decorates the walls with notes underneath long titles jokingly providing instructions for achieving the intended tempo for each track: must pop valium for this cue; must take crank for this one     God told me to skin you alive and I hide different images underneath your flesh: a naked woman, three faeries, and several ghostly faces in the flames     The collage coheres as chaotic Christianity     The collage coheres as Christianity Compete / I paste different depictions of Jesus from magazine cut-outs over a dead malls no more anchor stores

I listen to the record Nimrod by Green Day and despite loving pop-punk, I’ve never deeply listened to Green Day     I explore their catalog and read the backgrounds of the productions and songwriting and I feel amused by accusations of selling out (The most appropriate response to selling out is perhaps Tool’s Hooker With A Penis)     Fuck authenticity: everything I encounter and everything that passes through me auto-authenticates     Everything I encounter and everything I experience auto-authenticates autoerotic asphyxiation (what happens on the road always comes home / sometimes selling out is waking up)

(I write too dependently on the Bible and my other go-to scriptures like Nag Hammadi     I need to take more risks, be less comfortable, and write more pop-punk and punk-rock)

(We take ourselves too seriously     We sneak as many politics as we can     But who will be the last to realize that sometimes selling out is waking up)

I take myself too seriously and I quote scriptures wild woman fauvist fire / I do not want the Book to become a dissected cadaver     Hey Benjamin, you can edit and cut – you don’t have to leave everything in     I know, but I want to leave in – I need to make bad paintings too and in one of Jenna Marbles videos – perhaps the one where she turned 29 or 30 – she reflected that a messy house means a lived-in house, a housed animated and inhabited by human beings – I want an animated book, a messy lived-in Book, with enough space to play and jump through

I need less (conventional and comfortable) scripture and more verbolten vision and scripture that splits-spirals poiesis porneia polemics and perhaps some parousia too: parousia that witnesses Woman Wounds, Towers Trauma, Body Horror Marriage of Heaven and Hell

Whorl Woman arranges argonauts into allosaurus and alice soma leaves     leaves sepals     leaves petals     leaves stamens     leaves carpals and caterpillars dis carpal tunnels into my wrists wretched writing / I demand an exorcist!     I demand an exorcism!     Something in the opening opening radial rabbits and radian russian icons, and Andre Rublev slow paints temple snow no scaffolding but holy spirit     Something in the opening radically opens radial rabbits abyss androgynous, and my alchemy agonizes in the conjuring Crucifixion of Christ

We will go to the Trinity Monastery, and you will make bells and I will paint icons

We will go to the Trinity Monastery, and you will make bells and I will paint icons (two traditions combined: the highest asceticism and the classic harmony of byzantine mannerism

My icon ignites igneous fire, keystone and cornerstone conflagration / I flute flesh forest fire and red robbin rabbits run spell smoke chariot spokes spear fishers of men     My icons malchut moloch Christ caricatures and merkabah mysticism measures milk fire magnesium     Merkabah mysticism cremates myth and music and color antiphonal choirs     I do not synchronize the musics but they stream simultaneous     I do not synchronize the musics but they stream simultaneous subterranean, choirs cloistered in caverns

You make bells and I will paint icons