I Gesture A Generating Tune And A Guttural God Drone

I gesture a generalizing tune     I hymn my flesh melodies fire fuguing tunes

I gesture on the seventh day Godhead finished his work which he had done, and he rested on the seventh day from all his work which he had done

I gesture a generating tune Taryn Tetragrammaton     I gesture chain gang tunes grow torture garden and palm tree garden violences     Palm tree Garden graphic violences volumes viaducts cut tunes cut time

I gesture garden sabbath and god sabbath and I pose sabbath south serpentine (slayer south of heaven)     I gut sabbath gods covering cherub cut time alchemies     I stir alchemies bitches brew tunes

Gesture grid gesture gate     Gesture grey grid stone garden     I gesture stones and gardens: I move stones sabbath and I grow gardens gods

I gesture a genuine silence

For this work John Cage employed harmonic subtractive techniques on two hymns by Williams Billings: Old North and Heath

I subtract hymns and I add hymns     I subtract hymns and I add hymns desert desert Taryn     I subtract hymn her serpentine core wire chiaroscuro     I subtract hymn Christina chiaroscuro / shadow time time Taryn stations of the cross     I subtract hymns subtle shadow halo dagger

Hymns subtract ice from hymns with ice water     Hymns subtract harmony her melody garden gesture     Hymns subtract technique titer tether Taryn

I hear hymns every hour and I need thee every hour.  I hear hymns holy holy holy Lord God Almighty and early in the morning I mourn hours and hourglass gesture gods.  I hear hymns holy holy holy all saints adore thee.  Hymns haste come thou fount of every blessing and the fount opens a garden locked my sister my bride.  I hear hymns and I hang from the church rafters sound rift and rhizome.  I myself sound hymn here I raise my ebenezer hither by thy help I’ve come.  Hymns and wholly hymns reverberate Child of Humanity and I hymn holy holy holy humanity.

I hymn Child of the Child Child of Humanity     I hymn Child of the Child cross the Human One (Human life is concentrated bestially in the mouth) (The forces of the cosmos confront an intergalactic traveler immobile in the capsule)     Taryn twists triad hymns be thou my vision, O Lord of my heart     Taryn twists savior of the twins hymn and her hymn twins trine Child of Humanity     She trumpets hymns the regions of rhizomes and apocalypses

I gesture a generating tune     I hymn my flesh melodies fire fuguing tunes

John Cage employed harmonic subtraction techniques on two hymns by William Billings: Old North and Heath.  Each hymn is treated in this fashion of 5 iterations, resulting in 10 variations.

I iterate hymn and I repeat hymn: I repeat hymn gesture iterations     I iterate hymn free improvisation increase fires     I fold iterative hymn fires rock of ages cleft for me may I hide myself in thee     I iterative fractal hymn and fractal melody, an iterative Book (A fractal is by definition a set for which the Hausdorff-Besicovitch dimension strictly exceeds the topological dimension     A fractal is a rough or fragmented geometric shape that can be split into parts, each of which is – at least approximately – a reduced-size copy of the whole) (A Book exceeds the fractal by the rough of the Book, and it splits Book geometries glue and fragmented glue desert dimensions)     I free fire free jazz Book fractal and I gesture free god sabbath tine serpent

I iterate hymn and I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments     I generate noise and I iterate noise upper and lower nile     I generate noise and Asia Rhizome conversations

(I have long-suffered with intense episodes of bipolar disorder and anxiety.  Recently, I have had some of the worst mixed episodes I have had in my life.  As a writer and creative prophet, I pour all these experiences and intensities into my art and maybe 10 people read it on my blog.  I have been contemplating what Spalding Gray contemplated: a “creative suicide” could prove the perfect end to a creative career frequently marked by bouts of mental illness and suicidal ideation.  I have been thinking of the Book as a long suicide note and when I die the Book ends and I imagine my suicide as a logical and satisfying completion.  All the Book records the wrestling of this long-suffering Ben and my failure to reconcile with this long-suffering Ben if this is the case.  But I’m still here.  The Present (if there is such a thing as this present) Creative Prophet Ben writes here everywhen.  I continue when and what now to create and write.  I hope despite the dark nights of the soul the Book does not end with the completion of an imagined creative suicide but ends like Walt Whitman’s Leaves of Grass – adding to it and updating it until its 1892 deathbed edition when he died of old age.  My death shouldn’t act as an end, but the middle, beginning, and middle of everywhere else and else everywhen and what.  The What and Who after Ben continue to prophesy the Book.) (A correction to Walt Whitman’s death: his cause of death was listed as “pleurisy of the left side, consumption of the right side, general military tuberculosis and parenchymatous nephritis” as the age of 72.)

I gesture a generating tune     I hymn my flesh melodies fire fuguing tunes    (John Cage employed harmonic subtractive techniques in two hymns by William Billings: Old North and Heath)     I treat the hymn in this fashion for 5 iterations resulting in 10 variations     I vary hymn her fuguing tune     I vary hymn to hymn be still my soul the Lord is on thy side     I fragment hymn and I fractal hymn in abstract expressionist brush gestures     Hymns fragment hymns child of humanity and my head emerges cross raw human     My head emerges raw river sausage come thou fount of every blessing     My head emerges asphalt feral pig eyes and snout / feral hymn fragments go to dark gethsemane     My eye engineers immediate head desert rabbit oscillation     I hymn human wild hunt haunts all the habitations of the spheres     Spheres bore skull blades drills lasers circular saws     Spheres siphon skulls child of the child classified information (game theory perfection information)

I find hymns embedded in my scalp: big god ticks we suck young blood.  I feel hymns swim beneath the surface of my skull leaving wormwood trails and tree knots.  Hymns knock against my skull tree knots and they fragment my skull concussive bone scars.  Hymns fragment my skull cross concubine a mighty fortress is our god a bulwark never failing.

I will summarize the excerpt in a couple lines for you and let me know if you like the summary, I say.  Asia is the person who I write for because she encourages me and excites my creativity in ways I don’t think of, and her participating in the Book makes the Book better and makes me feel more connected with our friendship.  Sounds pretty accurate, says Asia.

I gesture a generating tune and a guttural god drone     I hymn my flesh melodies long duration desert and desert fires ben fugitive fog drone and timeless tone

American composer and director of “experimental intermedia”, Phill Niblock posed for a photograph at the soundcheck for a concert of his works in the World Music Institute “interpretations” series at Merkin Concert Hall, New York, Thursday, January 17, 1991

I gesture desert drone and desert hymn     I gesture desert drone beats resulting from the two engines running at slightly different frequencies     I gesture desert draw tone Taryn drone: beats seats sheets of sounds sum salts     Sound salts create silences images produce the river banks

I love them! I say.  I told you you pick such cool fashion.  I like the rose pattern a lot.  Very beautiful purple too.  I picked out the skirt, says Asia.  The shop owner started running around looking for things that would look good on me and picked out the dress.  She said it looked fun.  That’s cool! I say.  I love random experiences with people who are passionate about stuff.  It’s fun meeting people like that in the wild, she says.  It reminds me too of the story you said about the older woman helping the younger woman out, I say.  I think we forget sometimes like there’s all these pockets and communities and kindness itself is a form of revolution and revolt.  Yes, says Asia.  I’ve been thinking a lot about community and service and reciprocity in relationships with beings around us.  Not only have I been reading Braiding Sweetgrass, but my daughter was watching this documentary about the ocean and it discusses how much ocean creatures rely on each other.  Not only is there very strong codependent relationships between species on a day to day basis but they rely on creatures to be clean and enjoy being clean by creatures they could easily eat.  There is a type of crab that like ride on a jellyfish until it’s big enough to take care of itself and a medusa fish that is similar, but later in the documentary it shows that they all release their eggs together so that the little crab hatches, all small and translucent, just a tiny thing in an infinite ocean and he finds a newly hatched jelly, and they travel the expansive ocean together, starting their journey together.  I’m starting to cry thinking of the little crab and the little jelly joining together to face the vastness of the ocean together.  They seek each other out.  The same with the medusa fish. I was thinking of all that then I saw this fucking TikTok where someone's mom was hunched over on the beach scraping barnacles off horseshoe crabs and almost lost it.  What an act of service for absolutely no personal benefit.  They saw a need, they filled it.  They helped because they could, says Asia.  That's really beautiful, I say.  I need to figure out how to practice that more.  Like “useless kindness”.  Kindness that lacks capital utility and financial utility or whatever else drives our world (cost benefit analysis shit) and just kindness that makes the world better outside that.  I think about how we domesticated pigeons because we needed them, says Asia.  Changing their chemistry and genetics forever through their relationship with us then tossing them outside when we didn’t need them – what a disgusting mindset.  I refuse to interact with the world that way.  Things have inherent value and don’t have value just because I can use them for something, says Asia.  I totally agree with that, I say.

I draw desert     I draw time desert     I drone draw desert time Taryn     I time Taryn gestures and a grand Taryn generalizing tune     I hymn her desert taryn time kairos: I her hymn messianic time fragments     I iterate fragments of time and fragments of desert: desert detours door dune sand streams from my Apartment House 1776     I draw desert composition and desert drones only vowel sounds     Desert drones vowels only without vibrato

I gesture a generalizing tune swing sing swung bone     I gesture desert sketch sketch melody lydian mixolydian lighthouse     I draw desert lighthouse lysis lysol limerance / liminal limerance lighthouse

I follow the melodic rainbow line and line with the nonlinear gog and magog breaking sunbeams     I follow the melodic rainbow line Jesus don’t want me for a sun beam (don’t expect me to cry for all the reasons you had to die   don’t ever ask your love of me) (I listen to Nirvana’s MTV Unplugged in New York and I often chant sure char in the pines / where did you sleep last night     I sing to the Absent Christina and to the blue ghost glue Christina: my girl my girl don’t lie to me tell me where did you sleep last night     A young Christina steals the corpse of Kurt Cobain and in Antarctica, she revives his body and reassembles it as Frankenstein’s Monster)

I follow melodies emergent melodies melodien: harsh hymn fragments scattered by the rosary     I hymn her desert hem: I hem her desert hymn my skull revives Christina Fragments     I hymn fractal desert what a friend we have in Jesus all our sins and grief to bear     I follow her melodies acoustic aleatoric act melodies

I am working on editing an excerpt and I came across this, I say.  “I do not want my metacommentaries and meditation to close off and define a certain hermeneutics, but to open up a method, methods, or methodless method analogous to a religionless religion that necessarily invites one to participate and invent new texts in dialectics and conversations…”  I think the power of creativity and creative thinking and kindness is: it invites us not to be separate from the world but active beings and belongings to the world.  It opens rather than defines, I say.  There is no hierarchy, says Asia.  There aren’t creatures below me that don’t deserve dignity.  Here, here is a fun thing you could try, she says.  Put some instructions at or near the end of the blog posts.  Even if its’ all for fun, or an artistic expression like:  “First, take your grandfather’s favorite glass, fill it with moon water, and pour it slowly over your head while listing things you have broken free from.”  Anything but in one way or another inviting the audience to participate in something, says Asia.

(The Desert instructs me to instruct the desert:  Desert, draw the desert     Reader, draw the reader drawing the desert)

I follow the melodies emergent melodies melodien (their polyphonic weave, by contrast, is more reminiscent of a labyrinth, allowing individual melodies to emerge only fitfully… The contrasting kinetic element forming a single continuous structure in a perpetual state of flux, flowing along like a river, each of whose meander differs considerably from the next one: within this continuum, there are sudden inlets and even fissures that disrupt the calm and gradual transformation of the musical material…)

I follow the short melody and the long melody both directions at once     I follow the short fragment desert hymnal and the long melodic desert drone both directions at once     I follow the short melody machine melody and I gesture a generalizing tune     (I follow the washing machine melody and the diamond sea melody)

I listen to György Ligeti’s Melodien and San Francisco Polyphony, and although I respect Ligeti’s micropolyphony and even feel inspired by its intricate and dense melodic sprawl that twists Taryn twists writing, I rarely listen to those early works with pleasure.  However, his transitional middle works, from around Clocks and Clouds to San Francisco Polyphony more than inspire me and I feel pure joy and pure pleasure listening: that mixture of intertwined dependent melodies and emerging independent melodies, and I hope a flexible and intuitive approach to micropolyphony rubs off on the Book (Book interpenetrates Book desert dense micropolyphony)

I follow melodies emergent melodies melodien     I follow the melodic rainbow line meanders meanders tyrannosaurus rex rex rhizome     I follow rhizome riddim rhythm riven flowing along like a river     Rain river rhizome rhythm continuous sum tyrannosaurus thrak thrak textures     Taryn thrak thrak tesseract textures: the textures here remains fluid yet shaped by the progression of events

I’m really inspired by the Fluxus movement, I say.  One goal of the movement was anyone could make art and anyone could participate in art making.  Maybe a future project would be to “mad lib” the book and make spaces for people to insert their own words and experiments into it, I say.  I don’t think art and artists should be put on a pedestal for a special person, says Asia.  I think all people should participate in creativity in our way or another everyday, she says.  Completely agree, I say.  I was writing a conversation last week where we talked a little about this.  You were saying how schools are designed like prisons and how public art was so inaccessible.  This is partly on purpose because art is the opposite of the prison and the rigorous discipline of children and prisoners: art opens up, art questions, art frees the person to become the full person, but schools are designed to create laborers, I say.  Art doesn't even have to be all that, says Asia.  It can just be beautiful, and the person who made made it to make beauty and others take a moment of their time and look at it and see something beautiful, says Asia.

I gesture a generalizing tune     I hymn my flesh melodies fire fuguing tunes     I follow melodies emergent melodies melodien     (The Desert instructs me to instruct the desert:  Desert, draw the desert     Reader, draw the reader drawing the desert)

I Work Her Letters To Break Up The Space Differently

The matrix of all earthly phenomena unfolds as a network of coordinates and fractions and multiples

Matrix machines figure with meat: matrix distills a philosophical mercury and pours the quicksilver over my queer body. Ben bodies bathe in mercury matrix body without organs. Matrix machines body archive and archival bodies pulse angles and angle grinder gods. Archival bodies grind the molten matrix of libraries. Archive bodies pulse angels and anglers gut grindcore distortions. I meet matrix figure with meat and I bisect my body into two books and two hooks, and the books hocket matrix bodies. Matrix nests and itself becomes its desert distilled mercury and I drink the mercurial desert matrix as radioactive quackery, and my jaw develops pockets of pus.

Matrix as earth hangs car and disturbing crucifixions I compose crucifixion in bone matrix and bone bath Earth matrix unfolds melodic actions and acts harmony unearth earth Matrix earth riots night train and space field: my field body unfolds blade fuller My field body unfolds fresh meat and the flesh meat recalls the lavish arrangements of fruits, meats, and confections of 17th century vanitas paintings

My body unfolds blade fuller full the bisects halves of a cow

Taryn ten ten Taryn tomorrow train terminal Taryn long tone terminal divines the chord pantonal (Ellen Fullman’s Long String Instrument tunes tenor tabletop games in just intonation I rub strings with rosined hands and produce longitudinal vibrations: vibrating map slipping vibrating map)

Taryn ten ten fingers fuller space field floating point tonalities Taryn ten new tonalities: Taryn ten tune ton ten tonalities in deserts Her matrix mixes tonalities Taryn sonata or sonatine

I listen to longer vibrational musics and I listen the longer longitudinal musics: these musics tine Taryn trine copper mine emerges Taryn matrix minerals Her musics mer matrix mar car call chaconne matrix musics I listen to a mercury music and a matrix music and I repeat the music fragments late Morton Feldman

I listen to an industrial music and a suburb hubcap haunted house ambiance I imitate melody mode ten dream industry I mean or mode imitative melody and I dream imitation imitative melody and I dream imitation initiation industries I idle industry imitation big bomb blonde Edmond Honda thousand slaps In immediate industry I get up and eat excessively I eat excess earth industry and I dream matrix Matrix meter maximum city of industry

The verb of the matrix myth Taryn music Three verbs in my mouth between my teeth teeter industry Verb herd earth matrix night train Taryn Verbs bus Taryn music rubber neon lead looser lights liminal / I draw her dreams on water I draw Taryn water drift vision melted verb paper sculpture Taryn paper music

Matrix musics match hack matrix figure with meat Meat blurs ben body borrowed bodies deformed Matrix deforms blue desert glassbox torture chamber Matrix strata strews stone Taryn sonata and sonatine I repeat matrix sonata-allegro act tonalities repeat tonal matrix

Repeat verb matrix tone clusters

Repeat cluster body matrix meat body without organs / I repeat the verb verb and I repeat the matrix matrix. I experiment the verb s vision wormhole or tipler cylinder. I repeat the rotating infinite cylinder and I traverse the center cylinder matrix sonatas. I repeat the verb verb narrative music and music myth. The music narrative repeats matrix: music narrative repeats figure with meat. Matrix repetition match rhizome matrix and I make matrix into multiple verbs.

Verb forest architecture form forest Verb first forest matrix architecture form forest Verb first forge forest matrix architecture matrix fire form forest

Verb revives Book forest fierce matrix architecture Verb revives Book of leaves of grass stalk verb matrices myth narratives I narrate verb forest forum irregular architecture irregular conjugates Forest verb narrates form forms float formless armageddon / architecture matrix manipulates apocalypse Verb forest flowers Taryn blade fuller serpent apocalypse

Multiple matrices act multiple matrices Multiple matrices meat Taryn ten fingers new ten tonalities Pantonal Taryn coordiantes twelve-tone row Taryn matrix Taryn scratches matrix tonalities I tune hues Taryn tonality of the deserts

I look a certain slant of light and her light torches multiple matrix narrative. I look for the narrative she lights the lights but also her speech which spills sonata spirit. I admit a difficulty trying to integrate anarchic fragment-constellations, myth narrative, and the conversations I have with Asia, Taryn, Krystal and Ghost Christina. I either imagine myself as Igor Stravinsky’s Symphonies for Wind Instruments and I juxtapose anarchic fragments against narrative, no transition. Similarly, I work like that great juxtapose Olivier Messiaen. At other times, I desire control and complete syntactical and semantic integration of my developing variations like Pierre Boulez’s Le Marta sans maitre: all transition, all development, even if it’s a mystery to everyone but the composer. The fragment floats in my brain like ant antennae and I feel my way through the earth in the sentence fragment. I’m a brutish monolingual: I’m only a polyglot in the Finnegans Wake sense, thunderwords in a dream.

James Turrell, Dividing the Light. 2007. Dividing the Light gathers visitors in benches beneath a canopy that frames a window to the sky. At dusk and dawn a lighting program bathes the canopy in changing colors, from goldenrod to turquoise, altering the viewer’s perception of the sky. One moment it’s a dreamy lavender, another it’s a ominous table of black. A shallow pool center beneath the opening to the sky mirrors the daytime sky and reflects a dark echo f the night sky… That sounds really cool, says Asia. It goes to show you can never exhaust art, I say. There's always more mediums, more ways to explore. Art is never dead, I say. Stuff like that shouldn’t just be in art museums, says Asia. It should be in bus stops and libraries and schools. Soup kitchens. Public parks. We should be enriching our public spaces and not putting art behind a paywall, she says. Yes, you are 100 percent right, I say. Art is life and life is art. It’s human and we need to make art as community. Not think of ourselves as not artists. This is what I’m talking about when I say I am doing creative anarchy: this communal art aspect, this community art aspect, where it’s available for everyone to participate in, observe, and enjoy, I say. I hate so many public structures are ugly, says Asia. Like schools. Not just ugly: they feel and look like prison. The prison feel is on purpose, I say. Same with why military barracks look like that. It’s to train bodies and discipline them. I agree, says Asia. Art invites questions, I say. Art invites independent participation. It’s contrary to the prison-school, I say. So we change our physical structures while also shifting the non-physical ones, says Asia.

Desert matrix detours Taryn figure with meat desert midnight meat train Matrix as desert multiples paints matte meat Taryn tomorrow train terminal Taryn as a flock of arctic terns migrates over the matrix and it teems undifferentiated nude Taryn bodies Taryn teems bodies matrix bodies verb and she possesses the verb language

The visible world with its teeming creatures, is none other than the word transpired: all things arise out of the combinations and rearrangements of the letters

I slice blood visible the matrix of the letters I slice high hole whole blood teeming with platelets, plasma, and red blood cell pornographic bodies I slice letters longitudinal tone clusters and crisp bacon clymenestra Slit eye surreal myth marbled figure with meat

Letters light mystery Letters light mystery first mystery and last mystery and the twenty-fourth mystery (twenty-four hours to go I want to be sedated)

Lepidopterous letters wing word and word membrane of mystery Letters leap sermon: letters leak sermon lesser lights and greater lights Letter lithograph simultaneous combinations combination station of the cross Letters line low lavender greater lights sponge speed Sponge speed light letters coral filament or air-conditioner filter Letters roll verb using art objects / my ugly writing pulsed pimple pus from the bruised purple craters of my face

There’s a difference between boring ugly and interesting ugly, I say. Schools and prisons and office spaces are ugly boring. Interesting ugly is like those steel monstrosities by Richard Serra. I don’t think they are pretty sculptures but they are interesting. They break up the space differently. School space is uniform space, boring space, unadorned space. The right type of ugly can change the mind too. Richard Serra in the 1960s and 1970s did a whole group of sculptures based on verbs. Verbs like “to prop” and “to splash” were made into sculptures. (Another pivotal moment for Serra occurred in 1969 when he was commissioned by the artist Jasper Johns to make a splash piece in John’s studio. While Serra heated the plates to splash against the wall, he took one of the large plates and set it in the corner where it stood on its own. Serra’s break into space followed shortly after with the sculptures Strike: To Roberta and Rudy (1969-71). Serra wedged an 8 by 24-foot plate of steel into a corner and divided the room into two equal spaces. The work invited the viewer to walk around the sculpture, shifting the viewer's perception of the room as they walked. Around that time Serra wrote Verb List (1967), a list of transitive verbs (e.g. cast, roll, tear, prop, etc) which he used as directions for his sculptures. To Lift (1967) and Thirty-Five Feat of Lead Rolled Up (1968), Splash Piece (1968) and Casting (1969) were some of the action-based works with origins in the verb list. Serra used lead in many of his constructs because of its adaptability. Lead is malleable enough to be rolled, folded, ripped, and melted.) I think the results are aesthetically ugly to me, but I find it invites me into the process: I am interested in the process and that process inspires me. It inspires me to be OK making ugly things if it causes a change in perception. I get really obsessed with making my writing BEAUTIFUL, not realizing it sometimes traps me in the limitations of my own making, I say. Kids love ugly art, says Asia, so I think it could work for schools, especially if it was done in a fun absurd way, she says. I need to change my perceptions on ugly, I say. I’m too concerned with consonance in my writing but enough dissonance.

Verb resolves verb and I perform verb violent action I act verb and Teo Macero invades my membrane I act Teo Macero machine verb matrix and I sculpt text from hours of rough jams long language I listen verb long language duplex longa verb desert Verb body desert bolt salt soda pop language / pop soap bake body verb Versions viscous vellum invade membranes brawl palimpsest

Verb letters resolve verb letters her desert door hinge

I glue verb to verb and I stack the verbs verbum and logos. I glue slut logos verb verbum harlot and its sex plays mascara happening and lipstick shamanism. The animist verb valley spirits letters and cicada animation accumulations. I glue the verb collection into and onto the verb collection, and its archive usurps lepidopterous letters logos. When me they fly I am the wings and I whirlwind new verbs and new combinations of previously verbs.

Ben, be careful at your work for it is her work; if you leave out but one letter or write one letter too many, you destroy the world.

I careful my work and I create worlds and destroy worlds through letters: the sayings of the letters and the writings of the letters I careful my work large letters and small letters legerdemain magick cursive slate serpents (successive utterance of the divine names produce the four worlds / Taryn Tetractys)

Repeat verb matrix tone clusters and cluster the letters Her letters cluster her work at your work

Experiment Excrement

What is painting trace human body     She uses body folds and endlessly explores a model when zigzag and v-shaped geometric forms connect with the architecture     My body paints camera Christina cunt cataract calls to cataract

I paint and nail crucifixion canvases     I incorporate found objects into the crucifixions     I incorporate found angels and angels irradiate my eyes islands spiders spinning

I paint aim ox ochre oxide neat nitrogen     Paint aim them blight electronics tonic clonic khora     Electronic elea kraftwerk khora / comic section circuits     I paint pale patterns play experiment     I experiment eye intensities insect intensities (I want to write more explicit experiments     Write explicit pornographic activity active insect experiment)

An experiment     An experiment: a body  a boat  a book     An experiment ben body adam desert suicide with supplementary sources and redaction layers     Ben adam blood blood accumulates geologies and archaeologies     An experiment in terror: an experiment in terror interior tugboat tetragrammaton     Grammar jaguar galaxy experiment     Unmade machine matte paint meat languages     Unmade mixolydian jazz loft matador bebop

EXPERIMENT EXCREMENT

EXPERIMENT EXCREMENT escape slate surf sleet sulfur EXPERIMENT EXCREMENT     (Would you like to hear my new writing motto I came up with yesterday? I say.  Sure, says Asia.  EXPERIMENT EXCREMENT.  It has multiple meanings.  First meaning: make shit.  Second meaning: explore and in the exploring it’s OK to make shit – bad – writing.  Third it makes me think of the movie Holy Mountain, which is a crazy surrealistic movie using astrology and tarot imagery.  There's a line:  You are excrement… You change change yourself into gold… So transform my shit into gold.  I like it, says Asia)

I paint and nail crucifixion canvases     Paint pane park pigment / path plath plink plank pigment park punk     Punk pan parade park brook splatter pigment     I paint corner and light from the corner crucifixions     Crucifixion combines constellations configurations / black flag film noir posters false flag operations

I paint a series of angels aggressively protruding into a room largely painted white     I smear white light lamp space spear speech angels     Light light redaction layers comic stone

What is writing     What writings written what write     What write this painting / collective assemblages of annunciations twist stake machinic assemblages     What writing my body written paint assemblages / collected crucifixions     I make the multiple mixed multiple crucifixions crane crossbars barre chord chaosmos

What write Asia among rivers written written     A kind of noir a kind of blue blues and the abstract truth     What write gestural god gold abstraction     Gesture writing Raymond Pettibon paint black flag bone bronze orange noir / crucifixion contrasts     Crucifixion contrasts chicago window     Window worship whip zip zebra worship     What write los angeles lacks all colors but I paint an aggressive assemblage of angels spherical angels mow membranes

Do you sense how all the parts of a good picture are involved with each other, not placed side by side?

All awl all parts bone witches     All awl all all bone ball witches watch     Watch watch word part     Part path path strata parallel pictures dark     Part dark park parallel pictures dark     Part dark park pictures: side by side human bodies (a beautiful woman by day – a lusty queen by night THE WASP WOMAN)     Wasp all awl are word rip: awl rip are word witch in parts     Part witch advances cardaic life support protocols     Wind wasp toy parts: light emitting dioide desert picture     I do not play the part but I place part part: part wasp woman windows     I paint this picture plague wasp wings

What is painting wasp water     All the parts of a good picture play page     Play page plague page part part     ben body part picture part witch: witch wasp wing micropolyphony

I try to write this new thing     I try to write free jazz new thing: thing thought tetragrammaton white light     I try to write something new places side by side white light     White light side by side white light rhythm rough blues body (the unorthodox corpse / the velvet vixen)     I try to write Christina voluptuous sex kitten     I squeeze the paint directly from the tube sculptures black and white tendrils     I write tall taryn tendrils power drill unorthodox corpse / head like a hole black as your soul

Velvet vixen triptych varnish vellum / side by side flesh palimpsest     Flesh scrapes slate new watercolour     Unorthodox corpse exquisite corpse dead picture     Chalk shock imaginary pine clock picture     I collect chalk cord sword witch weave     I weave velvet vixen bone matrix     Velvet weave chalk window wide word was wharf meadow

What is painting what is writing side by side serpent sequences     Serpent sur sequence street art shark salt shaker: what writing ben bereshit

Art is a creation for the eye     Eye appears to me bullfighting images / torture icons     I obsess eye: inner eye escape eye extract     I express eye obsession: an eye ostinato pulse source impulse     Eye impulse escape eye extract (The video talks about how difficult it is to exhibit photos of W. Eugene Smith.  He was so prolific, it’s impossible to exhibit his work in a cohesive way… I feel a similar challenge.  I don’t know if I updated you on this but I think there’s like 17 volumes of the book now, and over 2 million words.  I will be egotistical this once and say it’s good stuff.  It is stuff no one else is doing the same way, it is always interesting stuff.  I think it’s true Book stuff.  Obviously, I am having you helping me make it better, but I still feel my past work I have vetted is great american novel shit.  So I do find it a challenge to get this stuff out there… I think it’s common for creative to be both egotistical about their work and also very self-critical about it.  I find that’s part of the creative process.  For me being bipolar I think it exacerbates it a lot.  I still contend I’m writing stuff that’s visionary…)

My eye eddys eye abscess cinder insects     My eye eddys eye ire abyss slide sorcery     I injure my eye ein ink ejects eye intensities     I scrutinize my eye as a picture blind pint painting     Eye idea iridium error / a nocturnal anal eye     My eye enters my eye at the summit of my skull horrible erupting volcano     My skull summit eye dazzles sun necessarily on fire     My eye links sun fire to son of man logos

Art is a creation for the eye and can only be hinted at with words     I hit ship hip-hop many words holy wounds hitch knot apostasy     Art apostatizes anarchic and my eye schisms split eye / eye split silent hill mannequin nurses: her nurse creeps spectrogram spiders all ways wings wasps     Her words hints allways wings wasps sharp     Spider sharpen web camera head biotechnical tentacles / doctor octopus platypus possum children shouldn’t play with dead things

Carve cross multiple canvases     I hang the canvas     I hang canvas canvas various struck wooden items – log drum, wood block, violist’s skull     Canvas cut cross taxicab multiples / the orchid does not reproduce the tracing of the wasp it forms a map with the wasp, in a rhizome)

Various canvases strike animated mannequin words rhizome wasp languages     Canvas velours vertical: the knowledge of the cone     I imagine the eye differently so I write new: cones unorthodox corpse queen cataclysms     Cone quiet but intense eye     I eye a specimen of Psephurus gladius preserved at museum of Hydrobiological Sciences

Eye cone eye myth multiples machines

Eye conic sections secretions eye myth: in the eyes constantly the eyes flaring little stories little forms and scrapes     Eye myth mouth multiplicities     I paint the images directly onto my eye     I paint images flesh feedback through the physiology of the proximity of the eye and the brain     I make a myth that is just vision (I think I’m always going to struggle with the feeling I’m not creating enough, I say.  I hope you won’t be too harsh with me because of that.  It’s OK to struggle, says Asia.  I just don’t want you to be harsh with yourself, she says.  I will do my best, I say.  I stand by what I said about my writing: I think it’s visionary and it’s important.  I would hope you agree but I have to keep doing it even if you don’t.  I do agree with that, says Asia.  Now if you excuse me I have to share a dumb cat meme with you, she says.)

My eye experiment interest knowledge of the cone     My eye experiment / yet another day alone I wake up in these chairs

Yet another day alone I wake up in these chairs

Yet another day alone I wake up in these chairs / I chew the chair certain continuity     I chew chair chewing tobacco tetragrammaton     Chair swivel sword of moses glossolalia grammar / seal sex syntax     I chew chair chisel gristle fat my face fat flow furnace harness horses horses horses     Chair harsh horses horses horses hellhole happen happier panic     Panic porch light torchlight largo locusts     I chomp chair confusion composite cigarettes     I smoke chair plastic plague doctor hood fume / I control the frequencies vertical horizontal fusion of horizons we are controlling transmission     Transmission smokes tetragrammaton fume flame flash fiction     Flesh flash fiction physics furnace     Flesh fume fidget flex hex runaway horses

I swim horses stranglehold languages     I swim languages water horses strangle ocean distortion     I swim shears glow horses word sea     I sign sweep gorgeous gospel gospel and I see     I see eye myth what did you go out into the desert to see a reed swaying in the breeze (I want to write an experimental and new language and a beautiful awe-inspiring language simultaneously     I want this new languages to loosen light nonlinear light John Coltrane sheets of sound     beautiful beautiful     I still have to figure it out)     What did you go out to the desert and see: eye myth multiples intensities yet another day alone I wake up in these chairs     My chair twin table sea a reed swaying in the breeze: breeze slice sleaze my eye sorcery     breeze slack slinky desert dress kiss to see a prophet     I prophesy much more shaman-prophet: look I am going to send my messenger in front of you to prepare your way before you

I follow the melodic rainbow line and lie with the clouds in breaking sunbeams

I follow the melody camera bloom apocalypse and resurrection

I follow the melody and I follow the melody language musics / broadway musical Christianity (This is Julien Baker.  She writes and plays music.  I listen to her album “Sprained Ankle” a lot when I’m sad.  I was reading some interviews with her and I wanted to share some snippets.  These are collected from two interviews [“God, shame, and redemption: how Julien Baker wrote her best album yet, written by Marianne Eloise, published February 04, 2021 on Louder; “Julien Baker ‘I saw music as religion’” by Ellen Peirson-Hagger, published February 17,2021 in The New Statesman]

....

While she finds the zealous dedication of that child funny, Baker views her past self with sympathy. “I look back on that kid with genuine mercy. Not pity,” she says. "There’s also something so absolutely pure in how I was like, ‘if God exists, how is that not the most interesting thing in the world?’” She explains it to me, a heathen, like this: “Think about if you thought that by reading books or meditating or praying or doing any kind of religious practice, that you could better know the thing that invented you? Yeah, I would devote my whole life to that.” 

....

That drive also extends to her music. “Even something like, ‘I’m going to reach a point as a musician where I can do enough scales fast enough or I feel like I’m the best musician I can be.’ That point doesn’t exist. It’s a disappearing horizon, and so is being a good person.” 

At first, Baker felt devastated by her idea of "good and evil and god” changing. "The bottom fell out of everything – 'I don’t even know why I do any of the things I do anymore, so why continue to?' – it was very nihilistic there for a minute.” 

Now, though, she says the realisation is freeing.

...

Worship, for her, has taken on new forms. “I just really think about human beings. I sit around and think about my friends. I think about my behaviours and I try to do better things with my time and with my energy, that will serve a body – not the people in my church, but the people in my city.”

....

"That’s something that’s taught by church: this prodigal and reconciled nature. But when you stop thinking about that ultimatum, it’s really helpful. I don’t want to think of ‘old’ and ‘new’ me; I’m the same me. I have the same tendencies and personality traits – I just changed the way that I thought about God." 

...

Sorry I know that's a lot but I am feeling something for it right now) 

I miss God     I miss God my breathing grows weaker and the gravediggers gather for me     I miss God suffers are my only comparisons their harshness haunts my nights     I miss God because I prophesied God and in my anguish I pray all the more earnestly and great drops falls to the ground like great drops of blood

God gorgeous guillotine brings blood languages linger body length     God gorgeous guts human body slit juices (Skank strips pisses at Karl Marx’s grave!  Public slut desecrates holy rest!)  (I piss skunk skank razors blood nudie-cuties and roughies) (I dream myself in St. Peter’s Basilica and its walls shimmer cave walls     I let loose loudest human fart biologically possible and it echoes with increasing reverberations solar anus vaporwave)

When they reached a place called the skull, there they crucified him and the two criminals, one on his right, the other on his left.  Jesus said, Father, forgive them; they do not know what they are doing.  Then they cast lots to share out his clothing.

I follow the melodic rainbow line and lie with the clouds in breaking sunbeams     I follow the cross crucifixions or catastrophes

On Being An Angel

I punch paint

I punch paint paint pale horse pigment     I punch paint apocalypse     I dream of painting and then I paint my dream     I dream drip painting and action painting pale horse my desert body     I undress desert dead deer din ben adam

Punch parse pocket partition: partition pigment     Part sea of reeds pigment reed red pigment feral pig rudiments     I photograph the punch palm cell god: god slow shadow solar anus     Punch against god ferrous photograph     Photograph ghost aghast backdraft body huddle

I play pigment crowded bodies     Bodies crowd loud beach surf stochastic (linear polyphony destroys itself by its very complexity)     I play photograph bodies bundled counterpoint hell pockets     My body mutates metastaseis stimmung striker matches     I mallow meteor mass photographs   mass photographs mass petroglyphs   glue body griffin or stations of the cross chimeras

I like the first part [of I Just Do It And See What Happens 03/09/2024], says Asia.  It’s very rhythmic and cohesive.  The part after you reflect on the Cage problem and how you think your work is illogical feels like a separate segment though, she says.  I think that’s a fair point and I did think about breaking it up into two segments, although not after the Cage problem.  I was thinking of breaking it up after the Past Asia conversation but in the end it felt like the whole reflected my psychological state.  A collage and an assemblage and a hodgepodge of things I’m dealing with creatively… I think future writing will be more assemblage, unified by repeated quotes or entangled ideas, I say.  [I send Asia some combines by Robert Rauschenberg to show a visual analogy].  I don’t think the mixed medium art is the best analogy here, says Asia.  It’s still confined to the space given to it on the one canvas.  Yours would be more like multiple canvases hung next to each other, she says.

I hang multiple canvases next to each other     The butcher’s shop picture emerged on the canvas     Butcher ben adam adds blood axeman of new orleans     Butcher body broad broom brush: broom witch word bone a bird of prey landing in a plowed field     I hang accidental accumulation of the irrational / abstract body gesture     Abstract body gesture gestural abstraction aggressive bullet body

I hang multiple canvases hauntological photographs (their lips are moist… and very, very red)     Stations of the cross crow hauntological bird body body widow / some disorders interior geometries

I paint a peculiar geometry     I paint panel particular geometry picked pig feet photograph jazz fusion     I fuse language with image fucked up ben body     ben then body tin shrill drill desert canvas deep time tinted photographs    Canvas cartoon stiletto: stiletto dagger vampire steak stiletto high heels   high heel hodgepodge hell   severed head hell high heel body horror (TORTURED IN THE BRIDE’S BEDROOM for three days he planned the sadistic murder of the Columbus, Ohio brunette)

Ben bride body abstractions bright red     Bride bright red brilliant blue gangrene green / photograph field ben bride body pornographic fat (Just take off your clothes… The photographer will tell you what he wants!!! THE PHOTOGRAPHER’S MODELS)

I model gangrene geometries / blue dyed desert some disordered interior geometries     I model geometries glamour photography     Glamour photography terra toad mode model tetragrammaton     I model modal canvas grammar naked women whose scattered parts appear in all four corners of the canvas     I photograph here an eye there an ear     I photograph over there a hand / a foot on top a mouth below     I photograph bride bridge body ben bare and I dissect my flesh insect selections     I paint or photograph five women all hacked up but their limbs somehow hold together     I bombard my body brutalist concrete california clay movement early lunar bombardment / my eyes wander negligently above my ears

ben body blurs ben body     ben body blurs ben body bride beetle     Black beetles brood in my body bedroom rotor rhizome    Rotor motor modal modes body machines     I machine blood book alchemy camera (First of all, you have to have a bad camera… If you want to be famous, you must do something more badly than any body in the entire world)     I photograph my body badly / bride room rough body     I camera bad distortion tortured bride / dynamic dragonfly distortion

Then at one point, I did not need to translate the notes; then they went directly to my hands

I repeat hands house hallucination     I repeat hands the hands that write and the hands that are written     My hands hermaphrodite red king and white queen / my queen queer hands sun moon child of humanity     My hands haste harsh from angels     From angels my hands in series     From angels my hands series serial angels     From angels again my hands ajar with angels against angels     Hands from angel series serial dodecaphonic desert from a series on angels

I mean my hands     I mean my hands hold hosts holy ghosts     Holy ghosts many hands cathedrals     Hands son of man harrowing of hell     My hands go go hold go photograph hundreds hands thousands     Thousand sound tetragrammaton towers towers     Towers sound musics womans

From a series on angels annulus on being an angel     On being an angel number one space squared     I cut the space spectral and spectre angel cedars of lebanon     On being an angel house number three house numbers four: I occupy the house haunted     I occupy the house angel four fork flesh house number four     Angel three Taryn tans leather chromium   chromium chromatic vegetable   chromatic continuum hypothesis     Large cardinal sinew hand word aluminum

On being an angel number one only ben bride becoming     Again my hands angel analpholipoproteinemia (high-density lipoprotein deficiency   deficient angels obscure with occult   occult obscene angels   ocean desolation angels   angel aft amok apes bread branches hatches huts zoo habitats)     Angels ajar jam my hands ajar occult orgasms     Angels ajar join hands and I match mulch metal: metalwork mind and midnight in my mind     My mind mind margin mineral deposits / desolation angel calcium exoskeletons

My hands scratch shock skeleton mumm-ra sun ra / mumm-ra the everliving     Angels alloy axes my hands axehead rawhead rex     Taryn T rex cuts a haunting in connecticut

Anatomicopathologic angels asia colonies cure cloister creatures (Would you be offended if I wrote you as various types of monstrous beings? I ask Asia.  I would like tow rite some of your ferocity – frightening powerful aspects of Asia.  Not at all, says Asia.  The gender expression I strive for is creature, she says)

Asia angel atom anatomicopathologic pray aporia     Asia porous angel angel asia triangle     (I grapple approximate angels     Angels anagram wrestle true vine what’s opera doc viking helmet)

I argue angels apocalypse autobiographies / I graph angels audiocassette spectrum electrum     Tremor thermometer tetragrammaton Taryn polymeter

Asia archeaopteryx angels hunt cloister creatures / crawling colors     I crawl color helicopter or helicopropion     Crawl color column helix colonies solar flares

I witness haunted angels angels abortifacient poltergeists     I photograph angels monochromatic canvas bare ben body model

In this colony, cave mouth cloister creatures     Creatures coalesce Christina's cunt angel allosaurus     Allosaurus alloy assorted ZFC axioms     Axiom messages angels: axiom clamps american alligator angels     I open aquarium up ben body alligator clips / clips clutch calypso how the sausage makes sausage shrouded angel

(Savage angels study anthropology     I study a savage skull stop sign stone no new architecture     Skull audio cassette cues Christina’s cunt for cave necromancy) (So numberless were those bad angels seen, hovering on wing, under the cone of hell)

I watch my body bride woman horror word     I watch long wall blood word battle     I battle body ben bottomless pit: pit punk pierce anatomicopathologic motorcycle angels

Torture garden gethsemane slides glyphs into my body grammar blood graphomania (And there appeared to him an angel from heaven, strengthening him.  And being in an agony he prayed more earnestly, and his sweat became like great drops of blood falling upon the ground)



I’m really digging it, says Asia.  Each piece really flows into the next very well like someone lucid dreaming.  I love the random lines that surface like trees being one organism mixed in with the bit about frost giant gelatin and bloody roots.  It really keeps you on your toes and makes you wonder what’s coming next, says Asia.  I’m really happy you like the excerpt because I want to go more in the direction of playing with pure image:  Like rhizome flat writing that interconnects images to images in surprising ways – 


Root ribcage korakoram assemblages / assemblages elephant khora and khora in aleph     Assemblages acid appendages asphalt aspen multiplicities

Roots fun from rear neon new number less new annihilation     Roots rudder robber fly frequent blood floods     Roots rise rich into blood human rhizome interzone jungle gyms


These lines specifically.  I want to explore this more, I say.  I like this new direction a lot, says Asia.  I start and stop it a lot so be aware there will be a mixture of styles for awhile.  Another example is from today’s blog post.  I odn’t think this is as successful as the khombu icefall but the idea is still there:


I write asymmetrical within an even number of bars     Bars barre chord coro bodies     Body builder pumping iron iodine lydian improvisation

Blue bonnet bluff bebop     Blue bonnet boxer blonde bitches brew     bitches brew blonde bow burnings / smeared watercolours     burden bebop blonde sheets of sound belle bell blowfish ballroom     Bebop blooms bulk beach breach bebop     Bebop blitz bebop     Bebop blitz bebop blitzball bebop brake drum liturgical dramas


Bebop blitz, says Asia.  Yes, I say.



I improvise angels     I improvise abstract angels erased de kooning drawing

I improvise aeolian angels and my styles and congregate as Igor Stravinsky’s Agon     Agon angel arson asia     Asia agon gesture god agriculture revolution     Improvise impossible assemblage angels

I assemble Book as an angelic skull     I read my burrowed brow like braille: my skull extends book brawl dead mall     Dead cell dead mall metal gear solid cosmic slop sinusoidal desert / desert nerd and desert node     Node mode mixolydian nude model large whale light: lighthouse house angel anticipation     I anticipate angel anvil Christ hammer horror / I pray so fervently my sweat becomes like drops of blood falling on the ground

I read my furrowed brow braille bash blood mud     Mud soap suds strike blood broad sheep rod horses

My skull scraps scribe angels with peano axioms / I add worry asphalt mallet arithmetic     I trace angel numbers through the soft circumference of my canvas eyes over here my photograph ears over there     My skull stabs inconsistent / sutter sitter solar anus     Stutter terror lucid dream dresser / they’re back from the grave and ready to party!  THE RETURN OF THE LIVING DEAD     Skull steel star stone rise rhizome resurrection resurrections

Astral assemblage ground gambit: ben bit skull body or blood braille

I assemble awkward paintings of angels, outsider art oxyacetylene outer darkness     A kind of noir, a Los Angeles art scene / Raymond Pettibon blankets streets with Black Flag and hard punk posters     Skull post plaster angels a tinted noir contrast black and white and skull lurks no color los angeles     Los Angeles lacks all color curious columbo columns clouds soda pop cirrus     Cloud cock column Taryn taint turrets

I paint angel addition: I paint monster multiplications     I paint the pink panther imitates nothing and reproduces nothing but revive human skulls     I paint angel archaeologies los angeles surreal number noir     Pink panther polar bear pigment blood and pus paintings / canvas return of the living dead     I paint her panther pink on pink its world its color

What is painting     Do you sense how all the parts of a good picture are involved with each other, not just placed side by side?     Art is a creation for the eye and can only be hinted at with words

Camera keeps klang cane corpse los angeles     Camera keep knit notch klang crane corpse third floor apartment compartment camera     She turns the camera against the geometry of the room and she arranges and shoos her body into the corner of the architecture space     Architecture carves asia angels god gargoyles crag camera

Painting Is No Problem

Painting is no problem – the problem is what to do when you’re not painting

I do not not paint     I do not not paint and I paint all the time     I paint pure cinema     I paint cinema pure desert documents / look at the illustration carefully     I paint all the time look at the illustration and you’ll never see it again     Paint again against paint / paint against again paint

Paint projects pixels / illustration parallax     Paint plays collage parallax london cologne / solo soprano saxophone forests

Look at the illustration carefully for it cuts canvas paint stiletto     Paint divisor theorem stiletto pointillism illustration structures stinkbug stimmung stresses     I stack stresses illustrations / printing press accents

Look at the illustration carefully / look at the harlequins

Look at the illustration carefully because you’ll here – see it again / Book of Sand because neither the book nor the sand has any beginning or end

I swim sand involuntary scherzo

I listen to Brian Ferneyhough’s Liber Scintillarum

Score suggests succession of fragments

Fragments body freak Book Fire / fire assemblage extracts of gospels and church father maxims

I fear the fragment but its aphorism architects quartz sculptors / Krystal condenses sand

Brian Ferneyhough’s music always bewilders me and I nevertheless enjoy its energies

Painting is no problem: the problem is what to do when you’ve not painting

I repeat fragment as flail and flail as fog fire     Paint sneers in smoke sheer fabric / sheer fire unfocused flesh     Pale paint picks ben silhouette sweat blues and gospels (nobody’s fault but mine nobody’s fault but mine   ff I die and my soul be lost nobody’s fault but mine)     Flesh fucks fragment fire / fire fractals body horrors

Body horror burrows insect colony bodies     Ben bodies dance dense horror nobody’s fault but mine / sinners in the hands of an angry god     Dance drone ben bodies body horror chorea / desert difference movements     Dance bodies dense repetition     I repeat bodies ben body movement body dance dove hug horror     High horror body hide higg’s boson bulldozers     Hanatarash body horror / nobody’s fault by my own noise

Museum hoods body horror most mirrors and mirrored bodies     mar bodies paint again aberrations     Mar hard bodies horror pornographic      Group pornographic graphomania      Graphomania mall aquarium

Aquarium algaes dark magic book ben body theater     Theater immerses paints projected repetitions

(I work with a more intentional repetition      Mixed aleatoric and horizontal repetition     Repetition real rhizomes no home but rapture     Son of Man has no place to lay its head but rhizome ragged repetition)

Museum mouths hooded cobra mirrored columns within mirrored bodies / rhizome ballrooms

Museum mouths menses lunar mirrors mirror serpents     Moon meanders meadows a mother: mother cobra and mother mongoose fast mop bodies skate movement     Mop body ray rotation museum sketches

I sketch bodies quickly nude fragments

Bodies ballroom make room for more desert     Bodies ballroom rhizome homeless deserts / room raw human     Room raw human mushroom / cloud desert human     Room raw human prayer: let the unfixed prayer     Unfixed a flexible prayer open bodies     Open prayer bodies caw paw open ocean     Open ocean bodies prayer cat eye open (Prayer fixed?  His supplication bears no fruit… What is fixed?  Whatever blocks the will from making NEW)     I taste body trace retrace text textured NEW and NOW textures / texture nude body prayer     NOW textures turtles new now and NEW NOW: well new desert and NEW medium     Now desert medium museum / tortoise mosaics (I rescued a turtle today, says Asia.  We were driving and I spotted it and screamed “a turtle!”  My husband swerved and pulled over.  I hopped out of the car and ran full speed in the turtle’s direction.  The oncoming car probably thought I was a lunatic but I picked up the turtle and carried him to the other side… The turtle hisses at me when I picked it up.  I didn’t know turtles hissed! I say.  Yeah, they do.  I rescued many turtles in my days and they are almost always indignant about it.  One time I took my raincoat and threw it on top of a snapping turtle to get it out of the road, says Asia.)

Desert tortoise snaps soft snorkel human skin medium     Tortoise tunnels Taryn tinfoil / dented objects for gathering water     Turtle meridian bit in the mouth / human mouth mad museums

I myth mud and I mud myth     I smear mud on my body swear worship     I worship not mere mud but myth: woman myth and woman medium

I paint woman medium never not painting

I approach painting in the same sense as one approaches drawing – that is, it’s direct

I draw direct desert     I make mud myth raw human body motion     I make myth direct mud maw human     My human paints desert partitions     I drip desert painting / the dead shall rise and walk on the earth THE GATES OF HELL     Dead dress direct desert draw / mud applied to decayed bodies     Mud undressed nude dead bodies

Bodies clans hang hum mud     Bodies clang sang shaar sheer char     Char clang claws ash bodies broad gospel     Gospel broadway wears brash ben bodies     Ben bodies pulse rhythms and suspended continuities

Ben bodies clang close cave mouth matchstick: stick fire slags slate bodies slick     Slick bodies matchstick stomach fire (my stomach riots body boils cave barge)

Ben bodies clang blood clot cave mouth / her mouth chews my stomach fragments flagella     Ben bodies tailwhip word worms crawl cave mouth (worms crawl in worms crawl out worms play pinochle on your snout)     My stomach snouts spasms / stomach strange sprouts cave mouth     My belly blimps open cave mouth motor oil and spasms spray paint my stomach action painting canvas

Ben bellies blimp cave mouth length: length deep undressed desert     Length deep dressed black canvas black coffee

Her cave becomes long, deep; she widens, extends, narrows     ben bodies book a constricted place, a narrowed place, one of the hollowed-out places     She widens word: she widens weird     Word she widens word weird she widens weird human wrestle register     Widens weeds Book wedge / I worship weird

My belly burns bandages cave mud mow mouth mosquitoes      My belly bursts darkling beetles / ben bodies devoured oratorio     I have at my disposal my own recording code / desert dry fat drippings     I parody the public code a mockingbird mimic private code

Long clock song body length / my belly bloats blue death-feigning beetles     My belly blankets long song and long sound desert stink beetles

Longer louder sound sudden soft gospels / cave mouth corpus human carcasses     I collect carcasses bell cave cicadas and insects canvas coo jazz (a canvas is an arena in which to act)     Arena air aleatoric acid jazz (the word air and its immediate propositioning) (aleatoric cave alchemy / tarot spelunking)

A canvas is an arena in which to act / a cave is a handaxe in which to asp

Cave mouth cottonmouth maps fangs onto fragments / human flesh flirts in aphorisms

(How do I approach all these notebooks and different texts?  A possibility: to mimic Vladimir Nabokov and use index cards to use John Zorn file card composition methods     I copy texts from notebook to notebook, and the process births more notebooks, and notebooks dig deeper long length melodies     Notebooks clove clearing chaos / kaiju khora     Notebooks dig longer deeper she extends desert     She extends dialogue decalogue desert heather heteroglossia     Dialogic desert death valley sailing stones)

Cave clouds ben body clusters bodied notebooks     Body notebooks embodied desert: sailing stones living stones stone notebooks tadpole tablets     Cave clocks and clouds clover ben bodies / bodies tadpole tablets frog furniture argentium silver fastenings     Stone speaks stone and notebook deserts notebook     Notebook beguiles notebook birthstones panchoronos and pankairos

Her mouth cauldron cooks deeper longer and in dark beetle chasm, I see a gold pillar from earth to heaven

Gold pillar plays paint (I do not not paint and I paint always no Shakespeare problem plays)     Gold pillar plays peak pigment then pink light / she lights the lights cave dark     Pillars play palm parallel / parallax pink pigment     Pigment feral pig pipe bomb

Gold pillar plays gold god golden calf ice calving     Gold pillar planes flat anarchy anarchic flag human bodies     Human bodies her names as numbers

Her cave calves human names numbers Book of Circumcision   Book of Elijah  Dreaming  Desiring     Her cave names Christina mixed multitude prayers: prayers point pink aporia

I pursue her language aporia or aperiodic parody / my body without organs erupts delirium desert desert fluids     bodies flow windshield wiper fluid or check oil light


Conversations With Asia 06/27/2020

So many things happened at once when I was in college, says Asia.  Classes were stressful, my job was stressful, I was struggling with some of my classes, some of the professors were jerks, I started doubting my faith, started fighting with my family, and struggled with anxiety and depression, says Asia.  That sounds overwhelming for sure, I say.  I remember when I was in college, I ended up going through the nadir of my depression and I was hospitalized and I ended up dropping out.  I think that was one of the abysses of my life, I say.  That sounds rough, says Asia.  College is overrated.  Definitely, she says.


I often survive: Christina and Asia too     I will not survive this Book but perhaps my body will (I imagine my book spontaneously going up in flames after my death, as if we have some uncanny ontological dependence     a dead body, a book in ash, no difference – all materials)     I do not survive this bad writing and I do not leave any transition or connection between this connection or the next      Painting is no problem: the problem is what to do when not painting     I paint – good painting or bad painting – I create to survive and make myth to survive     Cave mouth clutches and shallows past college classes      Cave mouth cracks teeth ben bodies / blood hood hold her     Her hips sway with my hell holy holy holy     My exposed head holds woodshed short antlers / deer seer holy holy holy

I see a gold pillar from heaven to earth and earth to heaven aethers feather earthquakes     Gold grows doe gods and my antlers shed beach shore holy spirit

Earth cave empties unordered open them open anarchic     Open anarchic against then with     With else other earth (terra and anti-terra)

Painting is no problem – the problem is what to do when you’re not painting

I do not not paint     I do not not paint and I paint all the time     I paint pure cinema     I paint cinema pure desert documents / look at the illustration carefully     I paint all the time look at the illustration and you’ll never see it again     Paint again against paint / paint against again paint     I paint earth cave empties and earth survives either me or Asia / earth bursts into flames after our passing

I Begin Below Bereshit, The Abyss Woman and Book Woman

I begin below Bereshit, the Abyss Woman and Book Woman     I begin butcher and bullpen Bereshit, the Oracle Woman and Burden Woman, and Woman continues tissue texture Torah     She sorcerers source the text, Taryn terminus ante quem and Taryn terminus post quem / the limit of the limitless lighthouse     The narrative is always net, stars neptune stars, narrative as nursery rhyme and newborn     Narrative God Genesis duck duck goose and runs the gradual grammar circle chase stretched symmetric, and I grow geode     I gallery geodes gallery black paintings pi pigment and the black bedrooms boysenberry blowfish     The Fish Fragmented or Fish Figure permeate flesh strawberry fields forever     The Fish form appears apparition to Philip K. Dick and the empire never ended     His wife finally appears as the lizard, languid and anchored to the earth, and we slowly turn into dust, the desert of Torah / Sphinx and Reclining Buddha     The forbidden fruit is the mushroom, the ice cream sundae, the primordial flower, the thermonuclear explosion, and in the mushroom cloud, Cross of Christ     I can’t help but feel Christ or write Christ or speak Christ through every text, every myth, every narrative / Christ across the Cross and Christina covered blood then water     The Desert doublets and the Desert doppelganger show sail lied lighthouse     It is a lighthouse or a tower / Taryn Tower of Babel and Lighthouse of Babylon     Bereshit blades birth Babylon and Babel between begins beach Bereshit     Bereshit blends black on black Babel and Babylon bursts blues Bereshit     The Empire Never Ended / The Empire enters as the Origin     The Empire entrance entrances at the origins and the original trances or traces interior-exterior enter-exit Christ contaminating Christ / the Cross couch swell shores she the beach     Shells saddle point shell discontinuous Babylon in Bereshit

Chaos khasko and khaino chrates chasm / yawn of Yahweh     Chaos cross carcass the dark dungeon deathgrind and Chaos commingling Christ circus carnival the Tarot Taryn Fool     Chaos Was, and Chaos was Woman: Chaos Was, and Chaos was Word, the laughing language magma multiplicity     Chaos cords origins apeiron, the rattle of ouroboros, and origins open Krystal Khora / a receptacle of all becoming – its wetnurse, as it were     Chars materials mist, rain rabbits erebus ether aether red ochre and I paint the body deep red     Chaos chrisms Abyss, Tehom Taryn at Tohu Wa-Bohu Christ-Woman and she displaces as a Desert     Chaos chooses cleft the God gorge chasm and I caravan the house heaven and hell / Chaos magnum prima materia    Chaos waters magnum opus, the cosmic egg chimera or chrono trigger, and the Spirit of Elohim moves upon the face of the waters     She light of the soul, by the will of the Triune god, made all earthly things appear from the primal Chaos / a crude mixture of matter of another name for materia prima is Chaos, as it is in the Beginning    

The Groundwater God winters the guerrilla gorge, and water floated from one of the grounds and watered all the surface of the soil the Groundwater – God gaps genealogy, multiple human histories, and she serpents subtle seeding Eden     Groundwater God enters exits inyats eylyps springs seanasts and I sleep water woman the bed of Abyss

I paint the mammoth molar in red ochre / two red ochre fragments, I engrave the bear     I worship the Bear as Woman and I worship the Deer as Yahweh     I mix animal and human skeletal remains and reindeer resonate flute femur and backbone brass     I break the long bones and march mills medium, the written muscle     I break open human skulls and serpents swim in the cavity     

Triple burial of an adult man, in-between two adolescents of male and female sex     They were covered in ochre and weaving seashell, tooth and bone ornaments     The grave goods appear in the form of various stone tools     The man in the middle was lying on a pillar of bison bones

Triple burial, all three skulls and the pelvis of the middle person were covered in red ochre

A rich male burial     A sculpture made of ivory was found, as well as over 600 ornaments made of tertiary shell, stone, and ivory     Two large pierced silicon discs suggest the man buried here was a shaman

The Grave God or Ground God gobbles human skeletons and ritually mutilated bone banishes Yahweh the Threshold Guardian      I bury bones the boat bandwidth and the grave grindstone graffittis god spell and magic at the gates     I bathe bone in brine and I blast black paintings or pigment the charcoal Christ     The bone heals and I hallucinate bone: the bone heals and bone nests hest the human horn or wail woman     Visionary cave art, as shamanic art it referred to, is characterized by unnatural imagery such as animal-human hybrids, and by recurring themes such as sex, death, flight, and physical transformation     I fly in my bone chariot, the Christ-Crucified-Chayyot Wheel-on-Wheel and Chariot pours bone fragments over canvas, jewel free jazz jam chaos     I traverse the Chaos sprawls Taryn, and I marry her Book Abyss half-bear half-christian     The Bear breaks below and I converse with the Desert Dead / know your dead awake the dead     The bone chariot joins male and female in the underworld or Bridal Chamber and chamber charis climbs cuts of Chaos, the chewing canyon     I marry her animal and the animal eats my torso and I walk wolf woman     I wonder wolverine woman the heather hunting magic and she haunts the heat of the plains     The transformation terras Tower Taryn, the cosmic pole on either side of the sawed sphere, and the canvas cave envelopes earth     The canvas cave surrounds earth human skeletons and half-animal shamans (This model, the Mind of the Cave conjecture, sees much cave art as produced in altered states of consciousness as a tool to connect the artist with the spirit realm)     The cave canvas caimans page book or word woman and I write the trance tower taryn tiamat     I write my torso in transformation, the torsion or twist into the wading wohu bereshit, and I awl ate awe arche     The Book and cave carve the same bone, oracle pythia prophet and I share the spiritual space of the shaman and ecstatic

The Fish Forest Flesh Body Hyperbolic

Strings of fish shoot up like rockets from infinity far away and then fall back again from whence they came     The fish forest flesh the body hyperbolic     The fish pharaoh ferrous, the (6, 4, 2) triangular hyperbolic tiling     The white curves bisect the fish moving perpendicular to the boundary, and I swallow large fish reverse Jonah     My stomach is the grave, a swallow sheol / She was wearing a gold fish in profile on a necklace     The fish forest flesh this is a sign worn by early Christians     The fish sign rotates rotunda a rock and roll recon     The fish sign at the circle limit luminescence liminal and I drink the limit lavender honey     The Fish sign foams fragrant and I have the vision of early Christians in the desert, gnostic Desert Fathers and Desert Mothers I know gnosis the saint who wrote the Gospel of Thomas and the sayings seer Shaman and Witches (one such arrangement was used to build up multi-layered textures by sequentially recording sounds with the eraserhead disconnected)     I record the sayings of the Gnostic Christ and Mystic Christ corner to corner tape taryn tehillim     Do you remember where you were the night of Paul’s disappearance?  God… I guess I was probably returning videotapes / out of control on videotape and the camera captures Christians     The camera course cords kaleidoscope valley videotape vice versa ariel or urizen     It was built from the sound of a single drop of water, using a variable-speed tape tape recorder, tape loops, and just 25 splices     Water Woman wails whale: whale road whale fall killer whale     Water drops dozen desert devil desert damsel-in-distress / femme fatale the flood     Water drops dreams the immersion of early Christians and I baptize male female androgynous spirit and non-binary spirit     In that instant, as I started at the gleaming fish sign and heard her words, I suddenly experiment what I later learned is called anamnesis     The Anamnesis names unnames Yahweh; the Anamnesis names renames Christ and secret christian name     Anamnesis auroras anthem and agent, the animal Christianity in stratified impulse groups and choral swarms     Anamnesis algebras actual artist actual author, a primordial It Is Written     The primordial time lag accumulates acid mescaline mix, and I hallucinate the marriage of heaven and hell     The ancient Christians camouflage two chameleons in a polyhedral cage floating through space     The gnostic Christians cordovan cataracts chordal space and the chameleons concave the caves in Nag Hammadi / they cling by their legs and tails to the beams of their cage ans it swirls through space     For now we see through a glass darkly / a scanner darkly and the aspaklaria leavens lighthouse     The specularia species spectrum, a fourth degree counterpoint contra     The specularibus lapidus spans the clearing a polished stone or window / window wings woman, Christina cardinal charismatic     All the prophetic had a vision of God as she appeared through specula while the Son of Man saw her through one speculum / All the prophets gazed through a speculum that does not shine, while the Son of Man gazes through a speculum that shines     Through a speculum darkly and the dark drafts desert     The dark amasses mystic mass the open apophatic or apophasis / a passion     The passion peninsula pikes purgatory or perhaps hell and my hell is her heaps columns     Hell hacks holy hadron or the dense baryogenesis / matter     material     mother     Matter mother material writes universe and universally     Matter moth material writes macrocosm microcosm and universe ungulates her grand unction / the dip or pour of the unicorn horn     The horn is Hers Hell the hallowed or curved speculum and space spawns and sprawls solar serpent     YOU ARE THE ONE WHO WRITES AND THE ONE WHO IS WRITTEN calls the Voice of God (the many-voiced God sotta voces female or PKD’s Woman artificial intelligence)     You are the one who writes, Who Holy Woman     Who Owl Woman     Who Lilith Woman     She inscribes the screech of my soul and my soul sequences or surrenders the She-Woman or She-Spider / I write the web     I write her web the wash woven     

The door opened but the god that came out was a spider… He crawled up and tried to force himself into me, and I defended myself… When he couldn’t penetrate me, he continued up my chest up onto my face and on up the wall… I have seen God…     The She-Spider inscribes transcribes and penetrates her ink aether aerosol capsule, the iron ingot in my bloodstream     The She-Spider translates or reflects strange loop symmetry and scripture always engages a Garden of Forking Paths     You are the one who writes and the one who is written, and the who waldrops helicopter noise / noise nests     nests-in-nests and nested tuplets irrational rhythm     My rhythm writes raw     My rhythm writes rock, rock within rock Waste Land but Woman     My waste land rhythms rowl rose Woman the month of mary / month of marie     She kisses krystal crystal chained symmetries     She collettes charlottes camille chromatic kissing multiple colors     She columns cannons cosmic strings, the kiss symmetry-breaking / Taryn topological defects     Defects drone the Desert, erotic matter eros ego Woman cylindrical / Taryn Tipler Cylinder     You are the one who writes and the one who is written     One outlines outside the overlap ambiguous dimension / Desert one originates multiplicity-at-the-origin the spinor split of the Gospel     One Gospel generates the illimitable number Gospel, an inaccessible cardinal Christ     One Gospel Benjamin Bereshit battalions sea battle: primordial ocean tehomic chaosmos and chaos rhizomes     One overwhelms and outnumbers the numeral letter and alphabet obscures bereshit / Son of Man begins the Human-in-Hundreds     I write one ocean octahedron opera and one outers as octopus the apophatic desert darkness     I write the Gallery Gods Girls, an annulus bulge and cyclic expansion without beginning or end and the God Girls Guts writes me / hands drawing hands     Hannah drawing Hannah     

The Art Gallery depicts and includes the painting, pearls pages patterns     Page is Palace or Painting, Castle Crayon Crayola covering the rainbow canopy     Benjamin brigades betanzos zebras the lighthouse vision cyclops cycles hypercycloids / page pigeonhole principle includes all pages     The page opens hyperlibrary / clearing or cleaving     I write the page open cut into the impossible closing and the page draws the pastels Christina conte     You are the one who writes and the one who is written and I sleep sound environment and turtle dreams     I sleep Book-Closed-Then-Open or the Book Never closed by cliff light or taryn tendrills or obsidian strings     Book opens four orchestras or three symphonies from points to groups sonic strata structures stratagems and I write It Is Written     I write the record It Is Written vinyl raw maw versions, the language as high-pass filters low-pass filters the written music as text blurring the roles of listener, performer, and composer     I listen to the Word / I perform the Word / I compose the Word     I listen to the book / I perform the Book / I compose the Book text trapdoor detourment    a snapshot     a press clipping     an everyday object which draw all their meaning from being placed in a new context / text context canticle     Text context grotesque carnival and I candy hypergraph (a paradigm is introduced into the system and iterated upon until all possibilities are exhausted, at which point the only path forward is to deconstruct the system down to its most granular elements)     I’d like to think I’m involved in a constructive and reconstructive process rather than a destructive or deconstructive process; however, I also cannot deny the influence of deconstruction on my thinking     I attempt to use deconstruction and recontextualization as a text to reveal the Whole Word, Whole Book, Whole Library     Every technique and every tool can and must be utilized to open this Apocalypse of Alphabet

New Directions / Sextant and Crossings     New Directions / Text     Context     Alphabet sound and vision     I navigate new directions negative null nothing the nascent language and the language bootlegs or scratches samples street art / mini-manifesto massacres     The dismembered body of Body Grace blue is found in a town museum / bodies below is the bodies above the marriage of heaven and hell fuses dance beats, distant backing vocals, and Easter-influenced saxophone cadences

I River run Microtonal Ramifications

I river run microtonal ramifications, and water woman divides dizzy drop draft / river ram river     I river or stream spirit in stalks SCRAMS skull structures and bone breaks brook bloodstream, valley vessels vicodin     Bone basks bibliomancy bibliomania brook stream rivulet rill Book rotors / watershed woman witch woman at the Book and Blood     Woman mouth monster     I eat or edit estuary, exact flow microfilaments exoskeletons, and the writing rivers over shell and hard bodies     I aeon aestuarium and aestus, tide Taryn tiller / flux find finish subterranean     I sing subterranean homesick blues and subterranean homesick alien and Christina onscreens castles coy drawn hanged and quartered Benjamin     The river rithron tags at the dragon’s threat, beast from sea or sirens wail skinwalker the liminal body     Book flows flood body barrierless barrier no borders but the flat plain / spread or sprawl floods serpents

Noise nests body labyrinth, circle cicada circle vestibule valerie     I balance the bone outer wall, Woman from the west migration     The bony labyrinth is studied in Paleoanthropology as it is a good indication for distinguishing Neanderthals and Modern Humans / I hang bone and web river Woman, the meander that masts bone clipper ships shortening canal corridor lighthouse     The Lighthouse is Labyrinth river red rover red rover I call Christina over     The Lighthouse is Labyrinth solar symbols sprinkled on the spiraling conic, the marriage of heaven and hell halo     I cycle sun cross and solar wheel, amber ombre oculus     I sync sun and rivers syzygy, a human body photosynthesis, and I sign sun signature or scripture Son of Man     Sun shards shrills archimedes spiral and I stretch solstice streaming streams simultaneous     I strop Sun Gods a razor solar barge on subterranean river, and sun cuts earth other orgasm, the solar anus annulus

Leonardo’s unique equilateral triangular design applies on a world map / an octant projection puzzles piecewise a triangulated ouroborus     Triangle and map tetras meridians / diagonal division     I curve triangle Taryn, body map world map woman and the projection panels purple      I curve circular triangle Taryn, her body brachial ray tracing tent revival, and her body maps world map woman wails pentecostal     I wail woman glossolalia and xenolinguistics, god grammar gossamer meridians crisso-crossing my body, and the map shakes maracas straight eight notes four organs     The map minotaurs Woman, minimalism and post-minimalism     the ap mazes woman maize, corn dolly desert or I motor the mojave     Woman mallets malleable mappa mundi and World Tree / ouroboros opal opus     World map margins multiplicity, multiple Son of Man or master of the animals / anarchy animalia     I arche antipode antithesis (Yonde in Ethiopia ben the Antipodes, men that have theyr fete ayeast our fete)     I armor absurd antipode pan antipode, the triangle with circular arc edges and immelman     Carbon convex circular triangle trilobites circular horn triangle, chain quarters chassis or cobra     The triangle teep kicks the braided river, aits eyots ralliendo and the sediment saucers map maps moment of symmetry     I antler amassona, benjamin boat destroyer or map deconstruction     I riverrun natural rubber, bayou chaos (everything connects to everything     everything follows everything) / chaos crisscrosses my body chaos chords across circle, map monster magnet     Map membrane skins human, body blizzard or kickball backstop and map plays bridge body multiples     Map plays dream the oneiric ouroboros, and I see circle colors melted crayons sleeping     The circle oaks anaconda, serpent tonic Taryn spiring spectral fish schools     The circle alvs anaconda, the curl climb cartoon compositions, and I compass map maverick material     Material matadors the Amazon basin, rainforest riot or the shaman rattle     Material rifts rabbit, guise god to underworld and I travel soil subterranean     I cat cadillac underwater cave system, criminal catacomb     I cat cadillac underwater cave system and jazz jagged saxophone stalactites stalagmites lemon honey limestone / cave scratches self-similar cameron or camera coastline     Any arbitrary part contains an exact replica of the whole figure / Book homunculus theater watching theater infinite miniatures     Book selves symmetry asymmetry spin spokes the rare emptiness within emptiness its wheel     Wheel wagons river map chaos basin, the whole delta daniel water wart woman     Wheel registers rivers in octave equivalence, Nile null number Nile no thing but its mirror polygon

It has been taught: The Book of Concealment, a book balanced on scales     The Book bends or the Book blends apocatastasis and apocalypse self-similar, and the language limits language     The language laughs its own language layers light litmus lamina     book adles apokathistemi, Alphabeta in the beginning and with beginning, Book     book antapocatastasis stems stamen starlight / flesh flood flash flood flood forceps     Book blades elephantine ekpyrosis, circle catastrophe circle kataklysmos     Book bodies conflagration, black smoke flesh oily ouroboros     Book clades solar cycle siren and the cells scream compact overlap, nevada valloton or variation     I prefer structures to sculptures and Book styles sterling the rush of motion / desert dante dynamic     I book paste-ups, mechanicals and photostats spiral staircase and the paper extends towers, pyramids, and geometric progressions     The structure stands strands Book as cube and I move through Book open modular     I decided to remove the skin altogether and reveal the structure ; my body and Book skeleton     Book the radically simplified open cube creeps wood and canvas / cobra roll woman and cobra roll Christina     I draw wall Book, graphite then crayon then india ink eyelets     I draw wall whalefall woman, the female binding Book and Book hours House or Hospital Hellmouth     Book voyages Black Iron Prison Vision god geometry: vertical, horizontal, diagonal left, diagonal right Rosy the Riveter as God     I do not write Book but I draw Book, all combinations of two lines crossing, placed at random, using arcs from corners and sides, straight, not straight, and broken lines     Each person draws a line differently and each person understands words differently / difference     recursion     deconstruction     Book     I like wood and I like paper, so I work: my hands draw the angels that appear bookwise and booklength     I decided I would make color or form recede and proceed in a three-dimensional way, Book peninsula and archipelago     I enjoy the physicality of the object: I enjoy the physicality of the Book

I Machine Writing

I machine writing     I sculpt writing solid spheroids angles edges violet or indigo vertices / door is an illusion     I ramrod rib writing, black powder perihelion / sonic sun dogs     I rabbit writing press brake stretch press wrought iron and I write Richard Serra / Tilted Arc axe apex mechanic     As I move, the sculpture changes contraction and expansion / to remove the work is to destroy the work     To remove the work is to destroy the work Christ is context     Christ is context / There is no Taryn outside the text and I sculpt vortex     Vortex elastic laces visionary woman raw steel / twisted spheres     I write continuous tension discontinuous compression Christ cross chronos cronus I eat my young     I eat my Yahweh material matter cursive italic     I paint play dynamic maximum tension, Taryn wire tightrope tower to tower     I go outstairs and instairs, spiral spirolina spiral / Taryn tetrascroll Torah     Taryn tents twin shell structure, Holy Ghost revival in line elements and surface elements     I construct language line elements, earth beam pillar post curved concrete / House language hyperboloid benjamin     I document or build structure a saddle roof rowboat     I dream rut and record rare groove vinyl and sample psychedelic soul, machine music masters     The Book sargassos surveillance and I voyeur vision camera catalogue Christina     I like boring things / the notion that life could be captured simply by aiming a fixed camera at subjects usually regarded as boring and later projecting the unedited footage     I write I film I project without any cut at all objectivity fades away     Archive / the secretions of an organism     Archive / anchor arular library     I admire archive and Book berserks branches I begin archive library Benjamin     In the actions I had a synthetic existence as Shaman  / Shaman slates serpent sidereal and I kiss serpent psychosis art ayahausca     Shaman slides time sweet, kairos krystal lattice and action hydras many medusa several serpents circles     I cross circle and I circle cross coptic California / PKD seeing Rome superimposed on Southern California     Cross creeps code and cipher, Shaman zone zero and Shaman zero zebra (He used shamanistic and psychoanalytic techniques to manipulate symbols / my myth migrates music)     I study a carrier wave attempting to swim off my own species range of semential and the sounds I make     I steal from the animals     The greatest composer here is the thalidomine child (every human is an artist     I shaman space that sees     I apprehend light, the event shaping and containing light     I stain struck red stuck blue battery shaman, viewing space sensing space     The space speculum shines dartlight darklight or superluminal darkness, event act apophatic     Space spiral jetty juts primordial sea / Taryn Tov Tiamat     I spin space additions subtractions alterations, environmental elephant estuary     I divide the space language partitions and curtains / body woman wall and ritual     I displace space I move the object from one side of the room to the other     I space dialysis, a game an adventure a number of activities engaged in by participants for the sake of playing     The space plays space language Book environment and I edit Earth witches’ coven camera     Space happens and the event happens Book closet language corner language     The happening allows the artist to experiment with body motion, recorded sounds, written and spoken texts and even smells / my body blurs body bright blue bathers berry blue bathers entrance into water     My body whirls or whorls space of water and woman shuttles between     My body always spaces between body or body the liminal happening and my body always approaches threshold theta Taryn antelope archetype / I dreamt I was in a happening in my maidenform brassier    

I return to the Exegesis of Philip K. Dick: I saw as an active agent, a gold and red illuminated-letter like plasmatic entity from the future, arranging bits and pieces here: arranging what time drove forward…     The doorway there is no doorway only desert     Desert drips darklight lunar ladder landscape the dunes and red repetition restructures desert / the shape of jazz to come deconstruction     Desert Doorway Desert and Doorway space diagonal division, and the superluminary dark delights gold and red rectangular     I play free     I pay free and spraypaint gold and red ubik free improvisation, and I dip dark desert dopaminergic the free full fall forest     The Letter Logos landmines light: dark-light desert-light daemon-light     photo fractions suites Ornette Coleman     The letter lydia lambdas light: dark-light dense-light light-dionysius and I etch the letters glow god abiogenesis     Lady of the Lake letters liminal house hospital heterotopia and I arco ambiguity     I bow vibraphone resonates letters and I raga slow ritual: my body sway swing quiet movement ava attacca     The letters lambs liminality, Benjamin between Book and Book     The letter levants liminality, Library lego Library     Myth minx liminal an oval letter laboratory, and I experiment alphabet     Alphabet rituals difference desert separation transition incorporation and alphabet ebows ambiguity     Alphabet arrows hermeneutics exegesis eisegesis gold grammar / no desert no doorway     No desert no doorway but passage the forest of symbols and I myth betwixt between becoming     Christina coagulates communitas (for the fluid, ethereal substance is none other than AIN Suph AUR, the universally dispersed, living loving liquid ocean of super-conscious light that assumes a static of corporeal density into the alchemist’s physical body)     Communitas coros Cross anti and I chymistry commixtion crucifixion, blood body broth     I immerse body in body bourbon alchemical alcohol     I brass body in body / bog body boil the twins permanently liminal (Shaman serve as liminal beings, mediators between this world and the other world; her presence between the human and supernatural)

The Body Is The Grotesque Body

Content Warning: body horror in the first section

The body is the grotesque body: the body is the crucified body     Body belly burden slits disembowelment, a fallout of radioactive guts and intestines     The intestinal strangles incarnation     I obsess body the Christ body a male body sodomy and I sow sodom and gomorrah gehenna     I burn body brimstone, martyrs son of man and mary     Body borders borderless bottle body blood body body bride to bridge body / the body paint palette videotape vision     Vision is Vision of Body and Body branch borons beyond     Body vinyl envelope mails male the nude warhol or mapplethorpe body and I bicycle bondage / tied up Taryn silk sadism     I obsess body and I love body (the bizarre sentence anecdotally strengthens yam arthroscopic play modulo a awake revolve economic, military block)     I obsess body and I love body the robotic and prosthetic body the artificial-into-organic body and all I have written is body     The Book is body and embodies, flesh depths surface     Book is body butchering body, flesh slicks sections segments     I paint body and I paint with body: I write body and I write with body, dragging Christ crucified body across stage mage page     Body at the balcony brushes porn pigment / Christina canvas     Much of the work features distorted flesh, high-caliber brush strokes and patches of oil color     Flesh distorts dispels darkens, scar shadows and scalpel     I cut into Flesh dolly distortion, a loud light white noise      I dice Flesh for Desert and the dry heat mummifies and poses body polaroid mystery plays     Body always plays     Body always games     Chess chest breasts blanket body, checkerboard body     In her most recent work, she employs graphite, charcoal, and pastel to explore overlapping forms suggestive of underdrawings, movement, hybridity, and gender ambiguity     Body overlaps body, outline inside-out outline and borders blur     Borders bend and blend body, and I sketch the scratch spine skeleton     I scarab skull or I clean skull with flesh-eating insects, and insects skim skirt bone surfaces     I skate or bone surface feeble grind or fifty-fifty grind and bone dusts desert     I overlap the body disorders the body disordered, Christ chaos cryptids     I overlap body borderless body ouroboros, skull eating skull and skull devouring femur fog forest     I draw the body circle and conic, pelvis parabolas     I draw the body ellipse and hip hyperbola, curves intersecting curves and bodies intersecting bodies     I collide body, a body meeting a body in the rye, and the field folds flesh camber Christ graphite     God graphite smears carbon Christina, a pencil shadow black-and-grey     god graphite gulls gills the fish sign / secret Christina secret gnostic the desert city body     Graphite body glints gulls granite, an interior K-Pg boundary / I date body by its sediment layers     I date body by charcoal calico cardboard, book balance book     If I draw through previous bodily forms in an arbitrary or contradictory way, it gives the work a kind of life force or eris: destruction, regeneration, a cyclic rhythm of emerging forms     Body circle body no centre     Body circle body interior and exterior     Body annulus body concentric circles bicycle bipolar polar bear mauling body     The body are angles angels, an atmospheric alchemy     Body circle circus circuit cuts chord body, Krystal Krikos and Krystal contradicts Krystal contradicts desert God the gesture Yahweh alien to Canaan     Krystal body contradicts kuklos krikos concrete, skyscraper flesh fencing skyscraper flesh cavalcade     Krystal body contradicts     God geometry planet overlap planet bizarre orbits / three bodies into three bodies     My body works wave woman chaos / destruction deconstruction desert     My body red wagons radio flyer flaying flesh destruction deconstruction dracul and dracula     she is more interested in the raw and vultured female form (I photograph  Taryn nude in circles cycles kleptomania     I photograph Taryn naked circumference no center the breasts of El Shaddai Ashely     The female form fellates the circumscribed circle and circle cums Christina cosmic     Circle climaxes Christina area aria irrational, pornography and pulp in cartesian coordinates     I paint flesh because I’m human: if you work in oil, flesh is the most beautiful thing to paint     Flesh folds cut flaps origami ouroboros / paper airplane ouroboros     Flesh smooth contours curtains caskets     Flesh floats fountain, the spray of bodily fluids / Christina covered in sweat or semen     She paints skin with all the subtlety of a swedish massage: violent, painful, bruising, bone crunching     Skin sleeks solvent, a film dissolve     Skin shivs scapegoat, god sacrifice god / the book body divine     I concentrate skin body circles circlets interlacing interfacing flesh     I like flesh I like body all circles sinister similar     I like flesh I like body straightedge-and-compass construction / girl gallery geometry    

I contemplate Rachel Whiteread’s Ghost and ghost grips God possessed in the negative / negative numbers nested numbers knurled or gnarled line liminal line     Ghost garbles God gallium a melt of silver serpent coiled negative space negative room the interior of body     Ghost always loops light liminality, a between topology and I stretch or distort its ghost not-quite-there circle     Ghost between mummifies the air in the room, raw shapes shadows slinking invisible inches     Ghost between adders air room fumes flesh shapeshifting slime or mushroom woman / Eucharist is Ghost     The Eucharist spindles Spirit flesh fata morgana wyrd witches     Ghost is language, inverted circle void negative     Ghost grammars abandoned building, the empty body room ravager Torah alphabet     Ghost edges hedges house, organ room orgasm / liminal lovers allspace nospace spectacle     House hangs ghosts, god gallows hollows heavenly horror     House became a popular visitor attraction with thousands of visitors a day; Graffiti was later added on the side reading “Wot for?” with the enigmatic reply “Why not!”     All I have ever written about is House, a book body god living space     Living space always ghosts, god liminal at the walls witching woman and she spells magic circle skyclad the orphic serpent     Ghost graffitis God: why god and why not, the knot gnosis anamnesis and House trunks Tree of Knowledge of Good and Evil     House concretes monstrosity, a twisted god body cartoon contortionist chainsaw massacre and I bury body parts nobasement     no ceiling empty room     Book is House Ghost of House and House of Ghosts, haunted god and haunted labyrinth circling inside circles overlapping circles     Book harbors House ghost maze music and the sentence jumps ghost god crucifixion     The sentence sandwiches ghost shadow God white concrete and House harvests ice: lymph intestine serious fluid formant / sound round spirit     I have mummified the air inside the boathouse and it stalls baseball, a bedroom with play     Boathouse blends room and body, building building building, and the boat sketches catches skin     The Boathouse colors camera ghost pictures or photographed Yahweh and I photograph the frame inside frame-and-flesh     I frame myself as I frame the other corners compasses catalogues archive fever     I frame my body doorway front entrance to the House and I live with ghosts women goddesses     There is a recurring pattern in her work where she plays and mocks the idea of the artist as anthropologist (I am the artist as archivist     I am the writer as its own library / babel babalon beast     All I ever written about is the Library     Library liminal laces light labyrinth, maze mesa marauder desert     I photograph the desert camera library     I photograph Christina in the desert in the valley oracle oranges the library citrus cinnamon     the camera collects / each photograph is a number     The photograph is body human body animal body ghosts     The photograph is body doll body articulated body and I move house slightly off at its four corners     I find objects / photograph and they frame my face Christina face-to-face and we kiss catastrophe     We kiss revelation (your lips my lips apocalypse)     She cut up his bondage trousers and heated one of his sex pistols vinyl records on the cooker to turn it into a fruit bowl     I find objects Wyrd Woman Wild and I cut paper Matisse jazz circle compositions triangle improvisations     The Wyrd Woman sisters serpent and every sentence snakes library     Every sentence shadrachs sculpture, House fire frankenstein and the sentence sings scrap parts scavenging skin and skeletons     Sentence sharks the found object as archive, the human body byzantine serpentine     I find the sentence shark and sheep arching the human body byzantine serpentine scaffolding art noises     The fluidity if the paint is so gorgeous I felt like I wanted to conquer it and control it / I control nothing but photograph fluid flesh     I control nothing, not even the sentence     Sentence sprawls a book swamp library, and I swim black ships the shape of apocalypse     I swim the library hexagon the Apocalypse will blossom     I paint houses hospitals be my husband and I’ll be your wife     I paint play or I play paint sonoran desert dust devil avalanche, and its snow upsweeps waking whorl woman     Saguaro cactus cocktails talon Christina and the desert doovils weevils     Alice wonderland alice underground and I play subterranean nuclear explosions     The desert rhythms all fucked up, two fucking and two watching, and I rot ringed rivers rattles, the trance thrak dance     I play paint pantonal pulp or pornography     I god game gonzo pornography pivot pitch pathogen / language is a virus     Language reel-to-reel magnetic tape archives architect brutalist benjamin, concrete concrete chevrolet and my body plays     My body plays bagatelles always webern vision compositions, a cartoon opera odyssey     My body plays Carl Stalling, quick cut acme orchestra metamorphosis / word painting pavillion     I play fourth grade four square no corners no hitbacks fry your eggs and bacon and the street games ghost cellular phones foam the camera triskelion     I play House hopscotch white chalk chassis torso tremolo     I play House symmetries trees spirals meanders waves form and stripes / that the flat leaves have them in regular series     House haloes spiral growth patterns of animal horns and mollusk shells     The shell sheldrake mandrakes orchids ouroboros / hummingbird and peacock tail     The shell shoulders shimmer the glowing ghosts body starfish sea urchin sea lilies     All the branches of a tree at every stage of its height when put together are equal in thickness to the trunk / Benjamin bifurcation branches chaos Christina, woman reflecting woman reflecting woman (ad infinitum)     Chaos flows meanders mirror microcosm mirror / organs ozone ouroborus oscillation     Chaos waves wasker woman, witch medium is the massage recursion in language     Waves dune crescents rem long straight lines linking star dome parabolas into shaped serifs     I edit house exoskeleton, flesh fullerene     God goose geodisic dome     Exoskeleton excavates ghost town ghost mine even eversion / the long body burn underground     Antler ossifies flint flesh ouroboros obsidian and the curl circle hobbles skirts horn     Horn hacks hell hue rose rainbow weapon and I sprout horns and antler, acid aggregate animal alia     Antlers appear to replace tusks horn kiss casper crackles / beam palm bay royal