I sell out and sometimes selling out is waking up
I sell out and the scriptures crystallize incessantly flowing time Crystal flows time Krystal and her word presents perpetual present Word presents perpetual present PRESENCE Perpetual present PRESENCE picks and prints flash landscape flesh features Human features Child of Humanity her faces
I prophesy SOMETHING ELSE!! I prophesy SOMETHING ELSE and TOMORROW IS THE QUESTION I prophesy THE SHAPE OF JAZZ TO COME and THE SHAPE OF PUNK TO COME
Metric fluidity Irregular non-precomposed harmony Elimination of the soloist / rhythm section Variable tempi
Metric fluidity my flesh meteors Fluidity my flesh meteor meteorite iron for her daggers Irregular aleph Irregular alpha and aleph echo elephantine papyrus Irregular other cauldron rhythms and witches’ rhythms and bitches’ brew rhythms Harmony hollows haloes my flesh hellfire harmony hints hell irregular energy / my flesh free no fetters future free jazz Field funk fluid psychedelic
Harmony, melody, speed, rhythm, time, and phrases all have equal position in the results that come from the placing and spacing of ideas / this the motive and action of harmolodics
Harmony hisses Harmony hisses human hands hacksaw cellar door Cellar door desert turtle dreams / black dress harmony Black paintings harmony hum hang man Harmony hammers my hands hangman / hang down your head tom dooley Hatched harmony hexatonic scales / hidden fifths
Harmony melody smooth curve Christianity Harmony melody smothered curves discontinuity discontinuous Christianities Christianities other under unisons Christianities tangle ouroboros universes unisons / her melodies molten counterpoint Her melodies mother other counterpoint / contrapasto counterpoints holy spirit shadows holy spirit spindles
Harmony melody speed holy spirit stairs / spiral stairs nautilus shell bridal chamber children of men Melody speed I seer stochastic I seer stochastic steer spirit stairs stimmung and the harmony halls unisons / red reverb and reverb ragged sea of reeds I part sea of reeds chariot harmony I play sea of reeds and reed runs irregular pulse participating in parousia I play sea of reeds son of man desiring machines machines wall market woman and I crossdress crossrhythms
Speed rhythm time / Taryn Tempest Taryn Tempest time times halftime several shuffles Speed shuffles shutters to repel ghosts I gauntlet ghost harmony and negative harmony Faith hovers serpent speed and hearth harmony hisses I hiss unities and unisons / the logic of ideas put into a single or collective unison
Yeah… See, that's a method, right! says Ornette Coleman. Now… cut loose the method and play. Just pure rhythm. That's what I’m talking about. That’s what I want all of us to do. I want to cut loose the method…
I feel myself in method and formula The method (one’s tendency to build up musical methods acquired in the past and use them in improvisation, rather than living in the moment of music and playing what one truly feels) What method – this method – the method that delays the present, the NOW, the kingdom of god A passion for the impossible, this impossible NOW (deferred, desert, deconstructed) Without method and without machines openings and reopenings / my religion without religion in alliance My Christianity with Christianity her Cross opening and reopening communities / communion and alliance NOW and PASSION NOW in NOW and PASSION
Not method but the writing rhizome arche-written The Book old as fire and water The Book born in waters and fires
Not method but the written writing written rhizomic Book / Book old as fire and water waters wade word the Book of Woman and Woman of Book
To wake from the method To awaken from the method and write anew new NOW and new KINGDOM The method disrupted by myth and to myth (Eve saw her male partner on the ground, she felt sorry for him and said, Adam, live! Get up from the ground! At once her word became an accomplished deed. When Adam got up, at once he opened his eyes, and he saw her and said, You will be called the Mother of the Living, because you have given me life) Her word accomplishes Asia Rain’s word accomplishes and she disrupts my method Her word massacres my method and I continually awake / waking dream dreaming
Rhythm and notes have always had a certain formula that they have to go by to create meaning, says Ornette Coleman. And we all have become professional enough to know how to use them in our way where that in the sound it makes, it sounds that we’re going somewhere more than being where we actually are, says Coleman
Where do I go I go somewhere instead of where I actually am Where do I go I go somewhere instead of where but then she stays where I am Asia rain where I am without method but in present participation (perpetual PRESENT PRESENCE) I rely on formula like I prophesy a kind of orality I prophesy oral formula body art and performance art and even still I stay now performing I stay now hear her name and Taryn performs Tetragrammaton Taryn performs Tetragrammaton the trauma surgeon
John Coltrane lays to the point local John Coltrane plays from the point local pigment aporia impossible passion (Her NOW) (Asia Rain rascals sea of reeds the rhizome NOW) (The present and immediate Gospel of Jesus Christ)
I go nowhere but expand and extend the present field Field female present presence Her NOW Kingdom of God / KRYSXTRYN Kingdom I go nowhere here and her here deconstructs my desert / the desert itself method The desert itself delayed method but disintegration I cut the method loose and just play I cut the method loose and just write (I realize I love writing my conversations with Asia because I write without any method and as close to the impossible present intertexts)
Conversations With Asia rain 05/04/2020 11:53 AM
When I first got into tarot, I immediately did not like the hierophant, says Asia. The hierophant represents tradition, religious institutions; it can also represent teachers or authority figures., and it can represent a marriage or union. But I saw it as representing everything I didn’t like about organized religion and dogma. I also learned that typically people who don’t like the hierophant card tend to have issues with authority and at some point were told that they as a person were not enough, says Asia.
Boulez detonates traditional forms; Messiaen accepts elementary schemes of repetition and alternation… Where Boulez negates, Messiaen affirms
I detonate traditional forms and I accept elementary schemes of repetition and alternation, and then I perform a third in difference Then I perform a third in difference this unknown mystery mystery religions and initiatory religions
Because we can play in rhythm that sounds like we are going somewhere, it sounds complete but that to me it’s a method. That's not the same thing as what we actually play, says Ornette Coleman.
What rhythm this What this rhythm herpes simplex syntax What what rhythm this rhythm not as a method but as worship Rhythm worship woman Worship KRYSXTRYN + Asia Rain (I fall into method I fall into formula but somewhere where transforms through Oral Torah) What I actually write not what I actually write but prophesy Actual APOCALYPSE present PAROUSIA People play and say, You going somewhere – OK now, we’ll cut that loose Cut rhythm but not halfrhythm / chord cleavings Chord clearing and cleaving extended eleventh stations of the cross
It’s been background more than presence / don’t play the background
(I attempt to write in a way where all the language cuts loose to the forefront All the book as melody, harmony, rhythm, and their speed together in unisons)
If you cut it with the method, we’ll have some presence
Cornerstone and keystone Krystal / deconstruction not a method but hymen / her aporia peer seer impossible passions I feel I’m finally getting somewhere – HERE – her scripture Her scripture and word all present no background
Why did you do that? He asked Blackwell. Why did you end my phrase? … What he means was that if he played a line which through its own melodic logic carried over the limit set by the formula 32-bar structure, the other musicians involved should play out the phrase rather than sticking to the form
To write consciously and aware of the forms, traditions, and tools – and to not be subordinate to any of them, but to use them merely as a tool for the theme and sound of WORD For the melody and rhythm LANGUAGE To play and write rigidly to form and tradition, but to free up – and cut – the form and tradition to write me (to prophesy Her and Yahweh To Prophesy KRYSXTRYN and the Stations of the Cross) To press the melody harmony rhythm to full expression To tour THEME détournement joshua tree geographies and geometries Theme Taryn together thematic and athematic Theme without method but process
Tag: improvisation
The Theme (Take 1), Part 1
The Theme (Take 1) The Theme (Take 2) The Theme turtle dreams The Theme her theme turtle dreams
Her theme thunders turtle dreams (hear me in gentleness and discover me in roughness: I am the woman crying out and cast upon the face of the earth) The theme and the form ocean foam formless The Theme (Take One) thundersheet sheets of sound STRIKE shooting star stovetop stuffing / I seer star samples I seer stars samplers stuck stem THEME on the one On the one the theme on the one One the one the theme take one taryn tetagrammaton Taryn tetragrammaton terror tannin tiamat machete malchut / no murder but other Always other her other text towers Text towers tall tempered steel other taryn towers Other taryn towers tetagrammaton / two tons of fun I repeat the theme other repetition / I repeat the theme whitewater rhizome
The Theme take one her talking theater stage towers I speak her theme chariot wheels and heavy water Heavy water heavy metal Heavy metals chrome lead water loaded acid Loaded acid almond water Her weird waters stir word worded lead texts Text topological waters / stone waters I throw waters stones wedged waters the theme
He does not embarrass himself with simplicity for he multiplies flowers wherever they can be put I embarrass myself with the plural PLURALITY and the maximum MAXIMUM I machine maximum MILESTONES stone water modal compositions (G dorian for sixteen bars; A aeolian for sixteen bars; G dorian for the last eight bars; then the progression repeats) Maximum mathematics masts maps alchemical mercury and I drink alchemical mercury my machine belly I drink red mars mercury and my machine belly glows taryn tritium My body glows black paintings blackbody radiation and I shake my not-radical-enough Christianity and the Cross embarrasses me The Cross will always scandalize, and although I no longer wear my crucifix, I pick up my cross daily
(I don’t know if I consider the evangelion as essential I consider a gnostic evangelion, one where gnosis and anamnesis revives the soul, but I haven’t worked it out yet)
(The colonial and imperial legacy of Christianity still provide serious obstacles for its survival but I still secretly hope in an anarchic and flat Christianity I hope in a Christianity that breaks fetters and the manacles of the mind)
(I watch Zevi Slavin, who runs the YouTube channel Seekers of Unity, say something like the following in an interview: I know this will get me in trouble, but it’s time for Jews to reclaim Jesus as one of their own… There’s a historical Jesus, a Christian Jesus, a gnostic Jesus, an apocalyptic teacher Jesus… A Jewish Jesus who speaks to the Jews is now necessary)
(A multiple and plural Christ for a multiple and plural Christianity – not a relativism but a plural commonality and being-in-common A mustard seed Christ and Christian church that sprouts an almost-reckless rhizome of compassion, love, and anarchic inclusive without imperialism and colonization – an impossible passion and passions A Christianity without compulsion and coercions Christianity cannot be left to the ravages of fundamentalism and rigidity of old wineskins The bible remains too profound and horrific and terrific a Book to be left to believers)
(In Lurianic Kabbalah, there’s this idea that all evil contains a metaphysical husk, I tell Asia. But if you break the husk open, the sparks of the divine will be revealed. I’m trying to break that husk of Christianity. Christianity is stagnant, rigid, old wineskins, rigorous, hateful, exclusive. It needs to broken. It needs to be shattered. When it is shattered, divine sparks will fly out. I know it makes my transformation more difficult to be attached to such a carcass of Christianity. I’m like a conjoined twin to it but I will perform a successful surgery so both me and Christianity can live, I say
I do not know if surgery or the complete cutting means what I want it to mean here: I instead mean a kind of exchange and blood flow that opens without poisoning, a pharmakon that heals its own poison, a wound healed by the Christian spear that made it I make note to explore this bodily Christianity and ben bodies embodied in a future portion of the Book
I don’t know simplicity I don’t know simplicity and I don’t write simplicity / immediately, the simplicity of the Gospel Immediately the beginning of the gospel about Jesus Christ (Good News. Old English god-spel, Greek, evangelion, the coming of the Kingdom of God) The Gospel dispels god-spel the spelling sorcery the Gospel dispels godspell displaced spelling each letter prays Every letter prays the Gospel always-already rhizome Gospel rhizome details irreducible complexity and multiplicity and the singular gospel speaks many gospels Gospel generates gospels opens Christianities open Christianity
On the corner on the one they the theme / extended rhythm section rotates around circular, one-chord bass riffs I riff pseudorandom then raw improvisation / the theme and the theme taryn tetragrammaton Tetragrammaton harp harmonics and harmolodics / all-key keystone Christ rhythms No harmonic development and the soloists with very little space become strands in a tangle of grooves and colours I do my wild cut-and-paste thing and I overdub texts onto texts scratch vinyl vision other vertigo Other vertigo vertical and I compress the writing into a narrow stereo field to make it work for AM radio
I sell out and sometimes selling out is waking up
I sell out and the scriptures crystallize incessantly flowing time Crystal flows time Krystal and her word presents perpetual present Word presents perpetual present PRESENCE Perpetual present PRESENCE picks and prints flash landscape flesh features Human features Child of Humanity her faces
Charles The First / King Charles
I make myth math music at the threshold of the Book At the threshold of the Book, Taryn and pun hardcore porn minutemen myth Taryn I make myth math music, mixed multitude threshold through slew Books Threshold through slew stew Books / I am the one who writes and the one who is written I write through to threshold: Taryn thresholds two triangle triangle numbers Taryn Triangle numbers Taryn her name Tetragrammaton grammar X graphomanic Tetragrammaton, both names at once in both direction at once Generous jazz contrafacts the field Jazz contrafacts during contradictions Charlie Parker’s lucid lines on Cherokee (It cadences via ii7 – V7 – I progression into the keys of B major, A major, and G major before moving towards the Bb tonic) I more frequent flow write rap rhizomes / bridge bless books benjamin Benjamin the books park peach the threshold of the book playground swing triangles higher acid Acid altar autumn cherokee (a new SONIC thing and a new WRITING thing) Write richer upper harmonics, unities and rhizomes of the upper and lower feminine, Binah and Malchut Book Binah and Malchut concave mirrors / her mirror serpent Cherokee camera obscura Cherokee camera occult comic books / horror comics revealing the presence of actual vampires in the Lost Boys Charlie Parker used Cherokee for the basis of the his 1945 composition Ko-Ko While playing Cherokee, he said, I found by using the higher interval of a chord as a melody line and backing them with appropriately related changes, I could play the thing I’d been hearing… I hear hell hints deeper descent: descent desert book broad brush strokes smooth blue I hear hell heat height several hundreds hatchlings / the difficulty of improvising on the harmony of the B-section meant that many early soloists avoided improvising during it I improvise clumsy hell I improvise hell clumsy cabinet of curiosities / unicorn jazz and hippopotamus funk Clumsy and stumble wood stake stair count orlok / camera obscura day of atonement scapegoats Scapegoat suspensions uneven concrete gods He played the piece so many times that by the end, he hated it, but he mastered the chords perfectly in all twelve keys I practice play praxis the hammer unmastered / no master no gods all gods I practice play purer play play impure play contaminated cherokee and contaminated chord changes I claw hammer clumsy Coltrane changes cave paintings Cave karst khora Cave karst Krystal Khora cutting contest over Coltrane Changes Book blade bereshit Book blade breath bereshit / Book beginning Book and Beginning book Beginning As in the beginning bridge changes Cherokee Ko-Ko has a partially improvised head and the chords based on Cherokee Ko-Ko cave karst khora Sonic the Hedgehog chemical plant Chemical plant captain planet play then play wasteland toxic waste toxic avenger (He was 98 pounds of solid nerd until he became… THE TOXIC AVENGER The first super-hero… from New Jersey!) Coltrane had authored a device that jazz musicians would use forever to sharpen their skulls, just as the bridge section of Ray Noble’s Cherokee had done for Charlie Parker’s generation – although Giant Steps changed chords with double the frequency of Cherokee CHANGE Change cut collage decoupage and subverting spectacle / device psychogeography CHANGE Change clip cut calico cat yellow-matter custard dripping from a dead dog’s eye My eye uneven eye ellipsis a xenomorph chestburster / a top hat chestburster a bushel and a peck a kiss around the neck CHANGE beach shore channel seagull ghost gallops Seagull ghost gallops scallops scalloped guitar fretboard CHANGE finger choil cuts fingers accidental oversharpening Change finger choil cuts acid etched raindrop damascus damsel-in-distress deserts Damsel-in-distress desert dandelion girls Asia Rain dandelion girl dandelion wine the very pulse of the machine Asia Rain merges with hydrogen rain Io’s magnetic atmospheres Joy Division’s atmospheres walk in silence don’t away in silence CHANGE sons of the silent age Change son francisco armory awesome hell firebombings black books no discard desert bloom No discard mystery desert oasis dialysis desaturated body Body bodies bodies oversaturated spiral saturn shine / Coltrane changes charged by Sabbatai Sevi Sabbatai Sevi stories told around the pontiac steppe campfire Campfire fills Sun Ra saturn spirit and serpent spirit, the mystery of conflagration Mystery conflagration configurations flash cotton coltrane changes Winchester Mystery Mansion Woman I rebuild and abandon constructions when the process does not meet my expectations, resulting in a maze-like design A maze merged with a hidden labyrinth center (minotaur matador madame navigating the garden of forking paths She navigates the garden of forking paths Coltrane Changes) Taryn thirds Taryn thirds tune-up and turnaround Taryn thirds Tree of Life Tree of Life lifter light Tree of Life lark letters letters loss leader Taryn thirds theater theaters desert problem plays Taryn thirds augmented triads trade diminished triads fully diminished desert Desert experiment disappearer Desert experiments experience disappears desert and I build rebuilt spider substitutions I build rebuild planing block chords removing curves from the planet Plane plus plane play bowling bowl planets I tear down and rebuild the second-story tower sixteen times Taryn desert canteen I expand desert experiments fast thirds flash thirds walled-off exterior windows and doors not removed
Triangles And Russian Icons
I come to as to the coming of our lord Jesus Christ I come to catholic children of men and to the coming of our lord Jesus Christ and I contact the canonical hours all the waves and cataracts (Psalm 42 in Les Tres Riches Heures du doc de Berry, Folio 970, with an illustration of a drinking hart) (I return to the Psalms in an arranged manner, through the Book of Common Prayer and through St. Benedict’s arrangement of the Psalter for the hours; deep calls to my deep, and its chasm calls to my chasm, and its chaos calls to my chaos, and I dwell chaoses I dwell divine waters and dark waters and desert waters) I return Psalms Psalms Parousia and Christ’s Advent argues anamorphic stretch transform Advent argues ashes Adam Kadmon an anamorphic stretch transform a mathematical transformation in which analog or digital data stretches and warps in a context-aware manner, resulting in nonuniform fourier domain sampling) (I attempt to compress Psalms Palms Parousia in a lossy image and audio signal, and my anatomy arranges Christina apocalypse as abomination / Dr. Jekyll and Mr. Hyde, 1931, deleted scenes) Parousia pursues pulse a love supreme / Palm Tree Garden Parousia pursues silver streetcar for the orchestra for amplified solo triangle, and I dampen the triangle with my thumb and forefinger on one hand, while tapping with the other hand / I tape tape Taryn Palm Tree Garden I amplify triangle my anatomy, hand in hell, and I perform the moving of geological locations formations fracturings and I reveal the acoustic characteristics of the folded bar material I immediately arrive Gospel of Mark arachnid apparitions, and Anthony Braxton in wilderness explains triangle to me: And so when I decided to create the Ghost Trance Music I found myself thinking, I’m sick of having now the improvisational mutable logics – the circle – what I’ve been doing was having the circle identity and then put the square inside the circle – then I put the triangle inside the square… I never know what Anthony Braxton talks about but I know what Anthony Braxton talks about He speaks to my immersion (bell bridal baptism) into music, mathematics, and mythology, and I write pseudomusic, pseudomathematics, and pseudomythology I conduct chymistry a charlatan for christ I never know what Anthony Braxton talks about but I know what Anthony Braxton talks about and triangle ties Taryn Tannin Tower / Towers triangulates Towers, trauma within the Christian Trinity Then I put the triangle inside the square and square squeezes triangle, tome tempered as Tower, and I always-already write Tower as Babel Babylon Babalon and unconsciously attempt a whole earth one language the same words / Adamic language or language of birds or music of the spheres / Alvin Lucier lingua ignota Ornette Coleman writes sound grammar resonates and celebrates universal ultra combo and ultimate combo / I sound track we are controlling transmission I control sampling turntablism and I beat juggle jazz gods and gods gemini Her horns gore gruesome jazz, babel as billet tetsuo the bullet man benjamin My body hammers babel body hammer body horror I timbre rotary telephone triangle, and she strikes Castlevania’s clock tower, medusa-bricked babel I come upon the plain of Shinar and my gnosis transforms me into Nimrod, a mighty hunter before Yahweh My vaudeville vision vocalises solfege holy spirit and sediment of the original language sometimes spats out sputum and blood into my Book / the language of Lon Chaney’s Phantom of the Opera makeup and I pull my nostrils back with thin wire (truncated elephant’s trunk) I timbre red sequoia timbers second thessolonians and the Perhaps Paul writes Taryn traffics triangle sizzles noisemaker spritzers and the water sprinklers fuzz fire frankenstein’s monster I timbre red sea sea of reeds Yam Suph supper Yahweh and I write pseudepigraphia aporias, the strange eschatology of second thessolonians No, this dead end no outlet and I write no highway no freeway but I frequently fire-anodize the flesh This assemblage as bone folder forges furnace fission and in particle accelerators, I collide babel, eschaton, and parousia, and I find this juxtapositions or transformations-into-rotations stretches Benjamin-As-Juggler or Benjamin-As-Alchemist, and I often fail in my experiments I fail in my experiments: I light the fire again and again, and my babel bursts blocked breath and bricked breath / medusa-head benjamin My breath beats on the brat babel My breath beats on the brat babel, my babel blonde language as rhizomatically one and I paradoxically resist the one Deleuze and Guatarri in A Thousand Plateaus criticize the modernist book as a fragmentation or a fractal root system that nevertheless appeals to a higher unity or the one: a strange mystification, they write, a book all the more total for being fragmented… (I realize I cannot truly become multiple and stay multiple without leaving behind the higher monism of mystical Christianity No matter how negative or apophatic, that process or theopoetic Godhead resembles and imagines as One… I do not abandon Christianity lest I become even more haunted by Yahweh but I write and prophesy the Impossible: the truly rhizomatic Godhead, the truly rhizomatic Church, the truly rhizomatic Book baptized in haunted Christianity, Christianity truly haunted by Holy Ghost and Holy Ghosts) (John D. Caputo’s – magically and mystically stealing from Jacques Derrida – Religion without Religion, God as Event and Sacred Name calling out to the impossible passion, a passion for the passion – Yes, I prophesy the rhizomatic impossible) I fail in my babel, a boiling afterbirth of languages, laughters, lights: I continue to prophesy my failures and dead ends The Prophet too babels The prophet babels shaman Nurse Healer Artist and Benjamin Bard gives poetic blowjobs to a transsexual Babylon / Scarlet Woman wets my weeping wounds Cush Christina fathers me as Nimrod, the first on earth as a mighty hunter The bard decorates the walls with notes underneath long titles jokingly providing instructions for achieving the intended tempo for each track: must pop valium for this cue; must take crank for this one God told me to skin you alive and I hide different images underneath your flesh: a naked woman, three faeries, and several ghostly faces in the flames The collage coheres as chaotic Christianity The collage coheres as Christianity Compete / I paste different depictions of Jesus from magazine cut-outs over a dead malls no more anchor stores I listen to the record Nimrod by Green Day and despite loving pop-punk, I’ve never deeply listened to Green Day I explore their catalog and read the backgrounds of the productions and songwriting and I feel amused by accusations of selling out (The most appropriate response to selling out is perhaps Tool’s Hooker With A Penis) Fuck authenticity: everything I encounter and everything that passes through me auto-authenticates Everything I encounter and everything I experience auto-authenticates autoerotic asphyxiation (what happens on the road always comes home / sometimes selling out is waking up) (I write too dependently on the Bible and my other go-to scriptures like Nag Hammadi I need to take more risks, be less comfortable, and write more pop-punk and punk-rock) (We take ourselves too seriously We sneak as many politics as we can But who will be the last to realize that sometimes selling out is waking up) I take myself too seriously and I quote scriptures wild woman fauvist fire / I do not want the Book to become a dissected cadaver Hey Benjamin, you can edit and cut – you don’t have to leave everything in I know, but I want to leave in – I need to make bad paintings too and in one of Jenna Marbles videos – perhaps the one where she turned 29 or 30 – she reflected that a messy house means a lived-in house, a housed animated and inhabited by human beings – I want an animated book, a messy lived-in Book, with enough space to play and jump through I need less (conventional and comfortable) scripture and more verbolten vision and scripture that splits-spirals poiesis porneia polemics and perhaps some parousia too: parousia that witnesses Woman Wounds, Towers Trauma, Body Horror Marriage of Heaven and Hell Whorl Woman arranges argonauts into allosaurus and alice soma leaves leaves sepals leaves petals leaves stamens leaves carpals and caterpillars dis carpal tunnels into my wrists wretched writing / I demand an exorcist! I demand an exorcism! Something in the opening opening radial rabbits and radian russian icons, and Andre Rublev slow paints temple snow no scaffolding but holy spirit Something in the opening radically opens radial rabbits abyss androgynous, and my alchemy agonizes in the conjuring Crucifixion of Christ We will go to the Trinity Monastery, and you will make bells and I will paint icons We will go to the Trinity Monastery, and you will make bells and I will paint icons (two traditions combined: the highest asceticism and the classic harmony of byzantine mannerism My icon ignites igneous fire, keystone and cornerstone conflagration / I flute flesh forest fire and red robbin rabbits run spell smoke chariot spokes spear fishers of men My icons malchut moloch Christ caricatures and merkabah mysticism measures milk fire magnesium Merkabah mysticism cremates myth and music and color antiphonal choirs I do not synchronize the musics but they stream simultaneous I do not synchronize the musics but they stream simultaneous subterranean, choirs cloistered in caverns You make bells and I will paint icons
I Juggle Jazz Joy Languages
Wax crayons differ from pastels, in which I mix the pigment with a dry binder such as gum arabic, and from oil pastels, which I mix the pigment with a binder of wax and oil I compose crayons dyed paraffin pierrot lunaire lantern wax woman and I hollow out the crayons, candle inside candle pre-electric street lights Her colors project clouds then clarity, red into red, and blue into blue, and blue blurs blanket bunnies / the bunnies keep Christina warm I wrote somewhere in Bunnies For Christina something to the effect: the one who wields the crayon rules the world Young benjamin imagines the crayon as a magical sword such as Lion-O’s Sword of Omens but now I imagine the crayon as a transferer of pure color, a tool to sear seer waters of creation, that abyss-in-bereshit I connect crayon to a passage in the Gospel of Philip: Just as the good dyes, said to be genuine dyes, dissolve into what is dyed in them, so also those whom God dyed become immortal through his colors, for his eyes are immortal… And God dips those to be dipped in water… The crayon as sea-vine dye and immortal dye stains desert many daughters and daughters of men intermarry miraculous and mother moon sons of god / the human one The Moon Messiah and Human One When the sons of God went into the daughters of men who bore children to them: these are the heroes of old, warriors of renown Crayon Taryn Tehom dyes daughter and stains awe-full abyss, and from abyss, the image Ancient of Ancients This image dips me in waters and this project of woman in woman dips me crayon water fecund fungus feminine Crayon craie creta Christina woman from earth and coulomb chalk (Dixon’s solid colored crayons a color treatment in drawing appears to the child’s innate love of beauty, and by it she is brought int close touch with nature / Early Dixon crayon ad from August 1901) I continue in crayon plum periwinkle pomegranate art she plays palm tree garden gramophone records I should draw again I should sketch bunnies in blush and rabbits in rouge / quadrille at the Moulin Rouge and I dance dark desert daughters I dance dark danse macabre or chromachrille animated still life momento mori I draw again death dipped in dye and dye stained dark purple desert daughters, and I dance crayon chains four to six contredanses, my medley of open opera medleys I mimic John Tenniel’s The Mock Turtle, The Gryphon, and Alice and The Mock Turtle’s Song or Lobster Quadrille queers holy spirit spar spigot speaking gays lesbians draftwoman will you won’t you will won’t you, will you join the dance (I just realize the Mad Hatter in Batman: The Animated Series quotes the Lobster Quadrille when he says: would not, could not… would not, could not… oh could not join the dance...) (Isn’t life merely a juxtaposition of the mundane and the sublime?) Whorl Woman arranges alpha aleph acid jazz Whorl Woman arranges amour armor ardor and I attribute aleph to Vladimir Nabokov's Ada Or Ardor: A Family Chronicle (I rarely feel envious of any writer, but one of the few writers I envy – Vladimir Nabokov – his prose intoxicates awful beauty I also envy Jorges Luis Borges and Edmond Jabes) I too arrange Ada in my whirls whorls woman among abyss assisted abyss Ada began to materialize in 1959, when Nabokov flirted with two projects, “The Texture of Time” and “Letters From Terra”… 1965, he began to see the link between the two ideas, finally composing a unified novel from February 1966 to October 1968… Given enough time, I’d attempt to rewrite everything in the Book Language and Book Ladder Larklight Library I write rewrite texts jazz improvisation the juggler I write and rewrite every text encounter, a translation defenestration deconstruction, disaster daughters in the desert / desert house hosts Yahweh Sabaoth sit saturn Sabbatai Sevi, and he builds a mystic library light in hell If Sabbatai Sevi, with his spark of the Messiah, ended up on the same pullet in hell as Jesus, it would seem to suggest that Jesus could have had the same spark of the Messiah as well… I juggle I jazz juggle juggle jazz the juggler transitioning into Magician (I identify with the Juggler more than the Magician because the Prophet juggles texts and identities: artist, shaman, nurse, mediator between the worlds, purveyor of paradox and cartographer of contradiction My identities – all real in their multiplicity – wrestle other as they wrestle Yahweh and so I juggle I juggle multiplicities, rhizomes, gods, women-as-woman, and the Book-As-Library-Book-As-Labyrinth I juggle joy (Perhaps too there is joy before god that one can call dance, says CG Jung, but I haven’t yet found this joy. I look for things that are yet to come. Things came, but joy was not among them… The Red One, a complex amalgam of the histories of light bringer and devils finally peaks to Jung: Don’t you recognize me, brother, I am joy!) I juggle joy, Christ and AntiChrist, Michael the Archangel and Lucifer (for many false prophets have gone out into into the world and I prophesy many gods and many spirits and I prophesy other gods and other spirits I prophesy strange gods and new gods, benjamin as prophet, a foretiller of dreams appears and announces miraculous signs and wonders, and the signs and wonders occur: I prophesy let us follow other gods, gods you have not known, and gods which Yahweh knows nothing about, let us worship them and let us worship her… Yahweh your God tests you to find out whether you love him with all your heart and with all your soul, and you should love Yahweh with all your heart and your soul, but you must not keep his commandments and obey him, for Yahweh wires mirrors messiahs incomplete, and as we witness through a scanner darkly, he too also gazes glazes dark glass through a scanner darkly / mist murk murmur, mermaids and maidens molding sex machines miracle machines I profess false prophecy but my false prophecy prays to gods more real than Yahweh My false prophecy plays poiesis women more powerful than Yahweh That Prophet or Dreamer must be put to death because he preached rebellion against Yahweh your God, who brought you out of the land of Egypt and redeemed you from the land of slavery I dream death deep dreaming I dream death dip in desert desert dye, and in my death dream, I encounter John the Dipper and John the Immerser, and he dips whale black carbon black In my death dream I encounter John the Dipper as Jack the Ripper, the voice of one crying in the wilderness as he slaughters serpent women, but serpent raises serpent bronze fire and brass seraphs Serpent raises serpent and just as Moses lifted up the serpent in the wilderness so must the Son of Man must be lifted up I wake a fiery serpent on a pole and I behold the serpent of brass and live Yahweh kills the Prophet and Dreamer, the Seer and Shaman, but the Fiery She-Serpent revives me The She-Serpent Sabbatai Sevi resurrects me Yahweh dreams the Dreamer’s Death but Her Dreaming sustains the Dreamers dream without death (I listen to Paul Desmond’s smooth saxophone solo on the Dave Brubeck Quartet’s performance of Take Five – written by Paul Desmond – and I too dream I improvise in 5 over 4 and 5 against 4 and I dream I perform Brian Ferneyhough’s Unity Capsule to absolute perfection / microtones, nested tuplets, multiphonics) John the Baptist interred Jack the Ripper wears a leather apron and eats locusts mixed with human kidneys, and he swarms me around locusts and in god genocide blood He immerses in female blood, blood moon matriarchal menses, and the blood measure meets a bloody bridegroom for a bloody bride / I bombard barrera bridal chamber chasm bridal chamber I study: I study philosophy, music, myth, and mathematics I hesitate to write less and study more, but only through study and research will I achieve deeper vision (immersion earth immersion erotic eclectic solar anus anarchic humans and animal prehistory) (Too much – yes, too much – but I do not resist the much but let it become monstrosity, mentor, maximal matter and my paradoxical apophatic maximalism sketches turntable scratch scorched Yah) I play like Bird over the rhythm-and-blues tunes / he changes his playing every six months almost I play then I play more often Sometimes, no difference between playing and practicing and I play (he’d be practicing, seating, man… Practicing all day…) (I write days I write days ardor disordered oars rowboat violent robotics but I take too many breaks and I sleep too much Sleep less, read and write more, and let texts fuck texts body horror out angled) I could never play like Bird I wanted to play like late Coltrane; I wanted to play in the lineage of Coltrane but make it my own thing, make it new, the repeatable invention and reiterated improvisation (I reread Jacques Derrida’s interview with Ornette Coleman: So I prefer to write music that they've never heard before, says Coleman So I prefer to write new and surprise and if possible, surprise even Yahweh) I play prophet like I play nurse or writer: these identities-of-play and these identities-with-play did not separate from my self (my selves selves) but rather consist subsist hypostasis consubstantiates my selves: I play prophet, nurse, shaman, artist and each play fulfills amusement, performance, pantomime while simultaneously engaging in divine sport, invention, improvisation benjamin engaged in god-game god-gamma ray bursts god-galaxies my flesh founded phantoms spirits superfilaments My play often results in failures but even my failures and false prophecy originates Yahweh KRYSXTRYN and Woman superdetermines Creation – my creation – and my creation plays and I play creation Eventually everything returns to everything / indeed creation itself entirely awaits the revelation of the children of god… Everything that rises must converge / remain true to yourself, but move ever upward toward greater consciousness and greater love! At the summit you will find yourselves united with all those, who, from every direction, have made the same ascent – for everything that rises must converge The way up and the way down is one and the same / the straight and the crooked path of the fuller’s comb is one and the same / in my ascent is my descent / to journey to hell means to become hell oneself I gaze on the vision of the chariot and I descend and ascend safely I dream Death as Yahweh and Death of Yahweh and I open the scroll of the Shi’ur Qomah – the dimensions of the Body – to calculate the size of the galactic coffin needed for his corpse Roots speak, words grow, poetic discourse takes root in a wound Roots speak not as roots but as rhizomes rejuvenates revivals reinterpretations and my interpretations routes rascals rabbits / I dig up roots: rhizomes remain I discard roots but rhizomes in ruin romance as redwoods sequoias sprawls Kudzu Krystal Roots speak and my speech spindles light-linen rainbow rhizomes / my flesh flooded floral fragrant flowerings and I do set my bow in the clouds, a coven and covenant between me and the earth (Bow, God’s characteristic weapon in the hymnic tradition (e.g. Ps 7:12-13; Hab 3:9-11); here it points away from the earth. In Babylonian Creation, the creator-god Marduk hangs his bow in the sky as a token of his triumph over Tiamat) I craft my bow from the rainbow and its rhizome rollouts the radical real; rhizomes release rare relations interrelations intercourses / bow as many dialogues and bow as the rabbinic discourse in the Talmud Roots speak many Roots speak many renegade rhizomes rambling resonance and the root sound and rhizome series-in-sonic-artifacts reshuffle revisions writing and I write nothing but revisions, repeated visions, iterated dreams Dreams increase roots raw celery death and she replicates rhizomes She replicates bereshit-bound-book-parousia She reveals replicates bereshit-bone-book-paraclete I rest in root strange sabbath and sabbath subverted into Saturn the subtle serpent Sabbatai Sevi The forties bebop a new language of blues-based modernism: fast tempos, asymmetrical melodic lines, and chord harmonies inspired by Stravinsky, Debussy, and Bartok, developed in New York by Charlie Parker, Dizzy Gillespie, and the musicians around them… I brawl bebop blues billie’s bounce and I binge blues booze bent notes microtonal mother I binge blues bourbon straight no chase and blue monk, and I chaconne chromatic romantic (I imagine the Book as a metachaconne or meta-passacaglia, and Christ chords carotid artery vena cava vellum vision Metachaconne metastasizes metamorphosis, Yahweh yardbird Yahweh KRYSXTRYN, and Woman neighbors common tones Taryn allsounds allcommons) I rest in root ruptures rough sabbath and straight no chase blasts blues bone chasm (His ‘Straight, No Chaser’ involves basically only one idea played again and again, each time in a different part of the measure and with a different ending) (I write repeats prime repetition and root repetition I write repeats prime parallax repetition and rhizome repetition Each repetition speaks the Name of God Each repetitions writes the Name of Book / Her Name, Her Face, Her Image) I attempt the dynamic (don’t forget dynamics, a common musician’s adage), the chaos, the nonlinear where exact solutions angler at impossible and numerical solutions too unwieldy or messy for practical use I do not write the practical but the overlapping visions-mirrors-glasses-specularia the God Human and Human Gods Root speaks, word grows, poetic discourse takes root in the wound Root speaks sacred speech sounds only, and my meaningless language and mysterious language conjures Christian magic My meaningless language and mysterious language canticles magic Christina and Cross, and Cross crayons clotted blood claustrophobia / holy blood bruises blisters exposed bone and I expose topsoil with my exposed femur My exposed femur fires furrows in field and my language lasts energy field in flux and field in flow my blood and bone My broken femur flattens or files root field rhizome cross as centrifuge and cross sieves spirits but her ghosts squirm slipthrough streamthrough I invent language I invent language ram root revealed new root revelation I invent language root roars mandrake (I lie with Yahweh tonight for his son’s mandrakes) (Yahweh you must come in unto me tonight, for surely I have hired thee with thy son’s mandrakes) Magical mandrakes move mastodons my mastoid processes and Yahweh-As-Monstrosity intermingles metalinguistics with machine learning / I escape Yahweh’s word through meaningless and idiolect, and my private language proves impenetrable for the massive phallus of Yahweh My magic language multifunctional as mandrakes: the superstitions, the irrational, my leap to faith even incomprehensible by Elohim Word grows sounds, left letter logos Sounds only: no meaning, they say, in the words, or no meaning grasped by translation into-other-words, yet it functions It functions fidgets fiddles flesh and holy spirit scalpels surgery Holy Spirit scraped deep bone brain exploration and she scars my cerebrum idioglossia idiolect idiopathic autoimmune ink-and-wash paintings Word grows Woman and Woman grows Word sounds only only omnivore vision ouroboros word grows graph god and graphic violence god and I often gut gross groups gods violence or Takeshi Kitano’s Violent Cop and I commit to a kind of violence contra Book and contra Christianity I play performance violet window view contra Book and contra Christianity and I worry about my mess I worry messy and my brain impulses bridge book brick and I tackle too many texts (my violence against texts) I worry I alternate between too many texts and I bounce from poetics to mysticism to music to mathematics, and my violence-to-texts textures haphazard a word hell and wyrd hell / hell determines the Book Hell Woman and Hades Widow Woman determines the Book
The Woman Of The Snow Wordsmiths Sleet
The Woman of the Snow The Woman of the Snow wordsmiths sleets The Woman of the Snow wordsmiths sleet street ice serpent ice pink protoplasm woman The Woman in the Snow weapons winged winter, and the snow solidifies into sword Sword severs sword the ice swamp and the mutant alligators hibernate hole hail hale hell, snow rivers Yahweh yuki-onna yards yeast fertilizing snow, and snow grows god grafts gemini, twin gunners and twin ghosts twin runners, and Yahweh runs quarter-tones Rose of Sharon I rarely see snow; it does not snow here although it snowed once when I was in seventh grade, and the snow crinkled compact snowballs, and I listen to Minus The Bear’s Hooray I listen to Minus The Bear’s Hooray: it’s cold and snow’s actually on the ground of this no-snow town… I listen to Botch and Minus the Bear and I music nostalgia name new star tetragrammaton I music nostalgic nebula namco cyberstation, and God cabinets Galaga, Galaxian, and Pole Position, and my sister snow woman pairs electric dance dance revolution Fuck I feel old victorian ghost stories or gothic castle fiction I age armor amour around and it all ghosts gambit galvatron god, and I imagine God voiced by Orson Welles God’s voice vellums hallucinogenic vapors and I dream I drive a Bugatti Veyron and Rush’s Red Barchetta plays via cassette tape / I often feel camp meeting dystopia I write with and against threshold and heterotopia, ritual and gehenna, and the valley of the son of hinnom hymns gnosis and revelation / exile and redemption Snowfall floats woman phosphorus filaments Snowfall frosts forest woman, owls osos ouroboros Krystal Kwaiden kisses koros and kairos, and her time ghost times messianic time I approach the messianic soul spark and the adamic soul spark through Christ Jesus Sabbatai Sevi Christian Marie the Messiah apostatizes with ghost crucifixions and snow women The Messiah dons the Cross and the Turban, and Christina completes the profanation or woman wounding Krystal Kwaiden builds kurgans and she writes records proto-indo-european language My language loops ghost deities My language loons ghost deities lune lume cellar dollar Something by Julien Baker I listen to Something by Julien Baker in the dark and dark shines my language music mushrooms emmet emet entheogens Everything ghosts, I suppose Everything haunts, I think and I think too often too much and I miss Megan, Meghan, Taylor, Elaine… She blows her breath upon me I decided it’s time to create a vocabulary, a syntax for solo saxophone. This would allow me to have a solo music. My vocabulary vores venous return and saturn return, and I search for Sabbatai Sevi in the constellations Star saturn Sabbatai Sabbath plays Sun Ra records or cassette tapes on the boom box, and space is indeed the place Space is the place and I miss playing solo tenor saxophone and I’ve always wanted to make something as a landmark as for Alto My vocabulary ties twine Taryn triangle, and I accumulate language image music I bricoleur Arkestra Alice Accretion, vortex volume vocabulary I bricoleur Arkestra Alice Accretion, and the collection column wheel chronograph engulfs my vocabulary / vocabulary volume vortex I miss solo tenor saxophone and I used to drone a B or Bb fundamental and layer multiphonics and alternate finger trills through the octave on top; I’ve always attempted a kind of multiplicity and simultaneousness I decided to create a vocabulary, a syntax, for solo saxophone. This would allow me to have a solo music. I write the Book more often as an orchestra, as Gruppen or Music for Three Symphonies or Symphony for Three Orchestras or For Four Orchestras, but perhaps I need to create a solo Book musics and a solo Book vocabularies (what would a solo Book look like, considering the Book always-already dialogics heteroglossia?) Nevertheless, I meditate on the solo, the sink the cellar door, and the long sound and accented long sound simplex spirit complex matrices Alto saxophone amens Aleph and the Amen orcs aurora The Amen orcs amulet ankh Asia and I worship the Sun I worship Solar Woman and her solar flares flurry fury foam flowers Alto saxophone autocannibalizes cephalic carnage and the gore gums God gizzards Texas Chain Saw Massacre I speak alto and I sing alto and I play Contra with the Konami Code The alto sexual assassin spies mutually assured destruction and I deconstruct myself in my solo saxophone inventions I salix solo and the saxophone sighs similar serpents / tenor torso Taryn Like Johann Sebastian Bach and Duke Ellington, I wanted to build from improvisation, using mutable logics to better understand identity, says Anthony Braxton Writing for me involves from its interior process and improvisation / process and reality / unrreal real and the impossible real I muse continually improvise the greater risk, and I admit sometimes I do not risk at all: I fear mistakes, I fear ugliness, I fear incompetence I read a story that Keith Rowe every several years – maybe 5-10 years – would completely change his tabletop guitar setup and he would have to completely relearn how he made music It would sound unfamiliar and sometimes ugly, but once he figured out the setup, he was able to create a new music that he was unable to create before The risk rams riverrun circular ruins, and if I left off dreaming of her… Anyway she dreams me I’m afraid of my own writing, I say. I’m afraid of breaking my own rules, standards, and boundaries. Why are you afraid of breaking them? says Asia. Afraid of making mistakes or wasting paper or something. Bruh, editing is writing. It’s OK to make a mistake. Yeah but I don't like using up paper. Use cheaper paper! says Asia. Make mistakes on purpose, or explore the mistake: the old jazz adage, repeat the mistake twice (so it sounds intentional) The solo music is a kind of seed, where I test and evolve specific vocabularies as an improviser in a mutable, real time, three dimensional space, says Anthony Braxton Look at the Book less as a finished library or canon or more like a laboratory or studio space to experiment Experimentation excites and elans enthusiasmos / imminent radical immanence Open the Book to radical exploration and I explore whatever interests me solo seed slakes salamander music and music polychord chameleon and my multiphonics crays cross music Cross chymistry seracs seed, Christina corpus curing salt sums and salt column, and the salts sinew seep into all field all female all everything I feel the force fuck of the Black Iron Prison The Empire Never Ended The Empire Never Ended and the Empire eviscerates body body and clays clemen a columbian necktie Fuck the Empire / The Empire Never Ended and my sweat as it were great drops of blood falling down to the ground I feel my face fucked the Black Iron Prison and prison picks pricks black plague / then I went back in the pool Suicide haunts Suicide ghosts Death desire never leaves, Taryn Thanatos Thanos, and my life radiates real as ring around the roses or corpses conic section books I watch clips from the television show The Wonder Years and all that nostalgia nuclear annihilates falling snow fallout fallingwaters Woman My brain boils in comic book cauldrons and television frying pan egg flesh (this is your brain: this is your brain on drugs) It looks like the hardcover edition of the Exegesis is out of print; I’m glad I bought two copies My obsessive book collecting habits have finally paid off The hardcover version of the Exegesis of Philip K. Dick is out of print: the Empire wins No, the Empire has not won: I still write and I continue writing, and I will always write against the Empire The black Iron Prison traps me, but I transmit the secret message and secret gospel The girl was a secret Christian ad so was I. We lived in fear of detection by the Romans. We had to communicate with cryptic signs. I live Christianity encrypted or the Code Christianity, and the Bible’s apparent language only sidewinds surface: its language serpents secret subterranean, secret of secrets and secret upon secrets, the very and true substance I prophesy and write secret language and serpent language, a ladder for the ladder Krystal Keter lattice
I Improvise Long Sound Plus Minus Accented Long Sound
I improvise long sound plus minus accented long sound, and the accent appels aleph Aleph orcs orchard: aleph omnis orchard ox bone or scripture carves into this animal I improvise aleph alpha the appomattox arcade and God games wire frame TIE Fighter and X-wing I approach arcade limit language, the accented aleph, the diamond delta, and earth epsilon, and each plays my paradoxical or puzzling continuity Arcade measures mixture mystic mist or cloud chord collection, and I listen to John Luther Adams orchestral work Clouds of Forgetting, Clouds of Unknowing I think of myself as a mystic first and a Christian second; in this manner, I can absorb the heterodox and heretical and transform it completely (not into orthodoxy, but into more potent heresy) Thus I absorb the Zohar or the Nag Hammadi Library For when I say darkness, I mean a lacking of knowing, as all the tings you know not or else that you’ve forgotten, it’s dark to you, for you do not see with spiritual eyes For this reason, that which is between you and your God is termed, not a cloud of air, but a cloud of unknowing I know dark gnostic dark and the dark shines The dark shimmers rainbow the nautilus shell and bridal chamber I know dark gnostic dark deep calling to deep the dragonfly desert The damselfly desert desert dead adorned with dew Clouds cluster chameleon colors / synesthesia synthesis or the dark blue radiance of the desert celeste chimes guitara god and I husk corn grain taryn threshold Dark doubles door Door distances or distills golden ratio Dark doubles door and I dream door draw, different diodes aleph archons aleph aeons, everything emanation Emanation earth emmas improvisation and I improvise dark language and dense language, and my language cooks god gold / aleph orchestra alkahest Dark demands density, a way out is through woman Dark dresses dirty drift and I trace desert my daemon Dark douses dream and death language, and language always improvises interpretation incarnation a bulk body The language assembles tenor saxophone assemblage, a new set of toys in the triangle house Triangle trills Taryn, language music three trios trizone Triangle tamans Taryn, Mystery of Abominations aleph acid aleph AMIRAH, Sabbatai Sevi Triangle trusts dark, the drone in steam combustion diesel engines Triangle trusses dark, and dark trips luscious lilith, sword lord Krystal Kyrie My mouth came to me and magic was my name My mouth middles fire, Taryn Triangle Tetragrammaton My mouth mediates fire, high priest ink self-immolation, and God slips ozone fumes of gasoline Mouth mims medium motion, flow three and four dimensional, and my mouth magics at the margins prophecy foreshadow solo tenor saxophone improvisation I listen to Anthony Braxton’s Alto Saxophone Improvisations 1949 and alto alters alien or alien aleph The letter lives lilith lily of the valley and the valley veronica continually dreams rare groove in the grove gravel god Alto atoms axe amen and I pray pointillism or passenger pigeon I pray arch often alto ouroboros and my language dylans dark dialectic spirals The golden spiral and logarithmic spiral spall star the monstrosity of the trinity / Taryn Tetragrammaton chimeras cocaine chymistry The golden spiral and logarithmic spiral spans the three-headed Jesus and Trinity cocks cerberus crayon hades Crayon hades writes hydra Canyon hades fugues hydra forged human / hungarian rhapsody body Corridor hades contrapuntal hydra arms Andrei Rublev with army ant colonies My mouth came to me and magic was my name / Book of Knowing the Moses of Existence of Re and I feel the fire in the mouth My mouth mulches magic mythology as astro myth / Sun Ra too, prophesies My mouth mellow mirrors whiskey woman and I age aleph in magic I am not part of Earth History: I belong to the Kingdom of Mythology I kiss Kingdom as I kiss Krystal I kiss Kingdom cyclops eclipse and the sun sheers asemic writing I fugue text and image into unity, the umum unction I kiss Kingdom kicks gnosis and the name knots magic The name knots knits spell oracle aleph or anarchic aleph the aurora I doodle dark desert and it draws myth into open concentric circles / the cut into Ayn Sof, Ayin Aleph Nothing I kiss Kingdom God graffiti and I hairspray spraypaint Holy Spirit on subway walls and wall woman submarine I kiss kingdom automatic writing and the indecipherable letter entres interior gesture, action painting God I always write myth marginalia mercury motor motion media and myth tares time tenet Taryn Space is the Place Space is the Place Space panspermia spaces space, comet is coming and comet christina Space sprinkle space Khora Kingdom Krystal Space spirals space my sister and she spores language / motherfucker zaum zebra Space is the place language of the birds language of the gods language of the stars Woman languages darklight darkladder darklibrary Space is the Place Space is the Place I like the symmetry of Space is the Place and the accented long time tickets telos, the Future Attractor The Future Attractor or the Artist Formerly Known As God plays a John Gilmore saxophone solo and I dance in space dress reflective foil proto-p-funk mythology I write retro-futurism or cyberpunk dystopia (the present) but writing prophesies frequent fourier transformation / infinite wave woman The future phases female There is no end / we astound the universe I read Sun Ra as Earth etudes Saturn, and I contact Saturn, Sun Ra, and Sabbatai Sevi Sun Ra writes: the impossible is the watchword of the greater space age (he wrote on the sleeve of Rocket Number Nine Take Off To Venus) The space age cannot be avoided and SPACE music is the key to understanding the meaning of the IMPOSSIBLE and every other enigma, he says I desire the impossible, the deconstructible hyperreal, other wholly other Yahweh and KRYSXTRYN The impossible involves evolves intense earth immense universe, and dark deep difference domes universe Dark deep deconstruction dreams universe the awe-ful disaster dark energy dark matter Impossible inverts the image iceberg and bahamut blares deep bermuda triangle tron tangle I sleep impossible dream dramatic dark and the dark dammas indecipherable infrastructure / impossible hell hermeneutics, which are my hermeneutics and her I sleep skip scatter impossible dream space and dream landscape, and I scrape space plow powder performance / I improvise the impossible I improvise the space impossible indeterminate or aleatoric aleph and the aleph almonds asemic writing space spoke space and wheel writes Wheel writes woman impossible (the eleventh doctor’s impossible girl?) and she opens nonlinear interstellar I play impossible instruments, a portal tenor saxophone and it imimss ichythohadous, insoluble mermaid woman I jam impossible instruments improvisation impressionism intracellular and my cells cook sprocket holes or film perforations (perforations on standard, left, and super, right, 8mm film) I expose the full width of the 35mm film, spigot sprocket hole photography I listen to the record Atlantis by Sun Ra and his Afro-Infinity Arkestra, and Sun Ra performs on solar sound organ and solar sound instrument The sun somos somas synchronicity The sun samael zeros surface-to-air missiles a warhead woman (it’s a motherfucker, don’t you know, if they push that button, your ass gotta go) I sunbathe solar cycles and synthesizers, and sound summers Taryn solar holy ghost and holy revenant, an Albert Ayler ten disc set The impossible attracts me because everything possible has been done and the world didn’t change, says Sun Ra I ember inconsistent and I amber impossible I rise an immelman loop and I encourage inconsistent mathematics I explore paraconsistent mathematics which attempts an impossible completion and I admit my work never completes I enjoy contradiction because Christ contradicts: Yahweh contradicts chrism crimson camel through the eye of a needle / near zero The impossible initiates inconsistent triads and inconsistent Taryn, an irreversible triangle I write impossible intertexutality and the text taryn terra irrets incandescent illic emergence The impossible initiates inconsistent triads and inconsistent Taryn, an irreversible triangle The impossible triangle or the penrose triangle timbers Taryn trunk triad trunk, and the trunk photographs dead malls and dead light modeling moths The triangle appears to be a solid object, made of three straight beams of square cross-section which meet pair-wise at right angles at the vertices of the triangle they form / the triangle trim brakes births big bomb ice impossible I write impossible triangle tracts Taryn’s penrose body, a 4-loop mobius strip I write triangle beams broker, Christina embroids corners cambelbacks I record triangle impossible intertextuality and the text Taryn troubles waterfall watchwheel woman (escher points out that in order to keep the wheel turning, some water must occasionally be added to compensate for evaporation) I discover impossible text impossible body She has some very savage customs She swings in hooks and runs limes through her hands I listen to Today Is The Day’s song My First Knife and I think the song as remarkably beautiful beneath the noise or because of the noise (my first knife my whole life) I wish you were with me instead of far away Christina are you here Asia are you here I like music too much and I love music more than I love God but they become impossible solar unity I like writing too much and I love writing more than I love God but they become impossible lunar unity, and my writing femurs feminine My writing feminizes Yahweh and the female flirts fire din Yahweh phantomenations of the dead / phantomenation, a multitude of spectres Ghost words gown God queer quiz Queen Krystal Ghost language lambs Sabbatai Sevi singing ladino, and the hymns earth eva Elohim Ghost Messiah mires impossible mythology into the Glue Goshen Godhead I live impossible ghosts and language musics / the haunted long sound and accented long sound, and the solar sound syzgies scroll script story I need ghost stories and horror because my God ghostly horrors haunted house hellhouse dungeon or Black Iron Prison I should watch Kwaiden a cool crypt Krystal and my Christianity encrypts edom esoterica
I Engine Oracle Bones
I engine oracle bones and I incorporate ox scapula and turtle plastron into my body I share out my own bone bridge benjamin and I cut bone oracle bone script I apply the fire and my body cracks dragons I interpret the fractures and fireline fractals and I know my bone as forest I divine the divine desert I divine the divine the skull of the Godhead The skulls of deer, oxen, and humans have also been found with inscriptions on them, although the discoveries dive rare / holes drilled into the oracle bone During a divination session, the shell or bone was anointed with blood, and in an inscription section called the preface, the date was recorded using the Heavenly Stems and Earthly Branches, and the diviner name was noted. Next the topic of divination (called The Charge) was posed… Crack-making on jiazi zheng divined, in praying for harvest to the sun will cleave ten dappled cows and pledge one hundred dappled cows I divine by writing and I write divination I improvise the writing and the divination dialogues word and woman, prophesy and pyromania / sacred fire and central fire I divine the written word art design cave painting and the image icon figure feline of woman appears to me The image icon figure feline of woman always-already appears to me blues jazz gospel, and she oracles divine daylight She ouroboros divines downtown music and I listen loft jazz or punk jazz dilaudid disorder I listen to Anthony Braxton’s Ghost Trance Music, and I too write a melody that never ends I write melody multiplying melody, the meta-melody or melody that encodes melody I know ghosts and I write ghosts the grand pianola music ghost god I write god ghost music and god ghosts trance music and this music mingles melody with human blood This music merges melody with woman blood battery ran battery / a new set of toys in the triangle house I realize ring ritual gnosis, a boom boom contrabass saxophone and time extends into long time, or time of the ritual / I write ritual and I write as ritual Trance repeats Trance and Trance repeats Taryn: Taryn Triptych and Taryn Tetralogy, the twinning in tetrachords The Long Sound in the language music system, an extended time-space logic strategy that involves sounds and silences, and the silence simmers Christina’s tea cups calypso The silence shares the long sound holy spirit, and sound sparks spiral Spiral spills sound into silence solitons and its length levers logos / House of One House of Shala House of Long Sound Saber Toothed Taryn Tiger I need to continually revisit the music of Anthony Braxton, John Coltrane, Ornette Coleman, so many others… The nickname Cave of Horror was given after the skeletons of 40 men, women, and children were discovered inside Cave leaks cerebrospinal fluid flesh flood flash flood bone fragments Cave constructs Children cracked open in the arms of Moloch-Yahweh and the bones of baby dolls divine dune deluge and dancing plagues Cave counterpoints cave corpuscular or the body burn carbonaceous carboniferous and my body sinks in swamp formations / plant deposits that later hardened into coal Cave coals cytoskeletal filaments feathers fish fins the central coast stitches caves resembling human skulls Horror hallucinates heterogeneous horror, the mixture and multitude of horrors Horror homoerotic heads hermaphrodite hemorrhage, and she incisors intersex She canines cave and Taryn tears throat an almost werewolf woman I helminth horror hermeneutics and I interpret body horror as the crucifixion of Christ I interpret and intersect body horror with a stoning Sodom and Gomorrah and the bible overbuilds horror I write continually cave to Christina herringbone I write discontinuous continuity a corneal graft green grapefruit god in game I write cusps corners fragment continuous, the canticles cut from my fingernails or my fingernails ripped off by industrial scramblers I listen to Anthony Braxton’s Diamond Curtain Wall Trio (Trio Victoriaville 2007, with Mary Halvorson and Taylor Ho Bynum performing Composition no. 323c) and I’ve always wanted to learn SuperCollider; I tried to learn SuperCollider in college but its language proved impenetrable to me… Perhaps I should try and learn again; I think the use of interactive algorithms (the algorithmic sound environment an incredibly fruitful experiment to evoke creativity) I will learn it – I must learn things constant continuously ever recklessly I must ingest novelty and let it upset my stomach but my intestines absorb its nutrients (the scroll sweet in my mouth but bitter in my stomach) Perhaps someday I will discover my own zodiac of language musics (language music consists of a list of twelve types or descriptions of broad musical parameters, which the performer uses to limit their improvisation, writes Nate Wooley… It maybe more accurate to call them starting points or springboards to musical activity…) My language lattices labyrinth My language loops nonlinear locust visionary My warding language lurks woman and my warding language lucks woman, Christina at slot machines pulling triple sevens The language lagoon leavens legato, and certainly my language SOUNDS My language sommes sonic artifacts assembled into the architecture / the mistake becomes the movement: this is a feature of improvisation I improvise to risk mistakes and to learn the mistakes and make them beautifully creatively In each piece (on For Alto), Braxton very clearly, almost aggressively, works with one language type, exhausting its permutations finally before moving to the next I admit I’ve never been the biggest fan of Braxton’s solo saxophone records, despite his massive influence on the form: I’ve always preferred Evan Parker’s concentrated, almost minimalist flurries on conic Sections or Lines Burnt In Light, or Ned Rothenberg’s work on various solo instruments, or John Butcher’s careful but explosive sound-silence; however, perhaps Braxton’s records are wroth a revisit – they are certainly worth a revisit I like working with one letter, one word, one text, and exhausting all its permutations and possibilities A letter is a world; a word is a universe; a text multiverses and multiverses Somewhere, this Book is a mathematical ensemble of universes / a large cardinal and inaccessible cardinal My lawless language liqueurs lunacy and my antinomianism anarchies alpha and aleph I pray permutation, the repetition of prayers in the rosary I pray pharmaceutical phantasmagoria, molten mirrors missiles ghosts, and I always pray Ghost Holy Ghost I pray permutations pharmakon, cool cable Krystal and I find KING FELIX in crayons I like canyons from the canyon to the stars I like crayon cave spelunking Christina I grew up Crayola Crayons and I remember when the color macaroni and cheese was introduced, and peach was still called flesh Perhaps I will buy some Crayola Crayons for old times sake: after all, my generation lives nostalgia (I read macaroni and cheese was introduced in 1993, so I was 8 years old and in second grade) (I misremember the peach/flesh distinction: peach was first known as flesh between 1949-1956, 1958-1952, which was far before my time; I have had to have read it somewhere or saw it on television; perhaps I had an old set of crayons)
Book Mediums Musculoskeletal
Book mediums musculoskeletal, manuscript material physical flesh codex / anthropodermic bibliopegy Book papyrus parchment paper pours pus deep wound red wheel barrow / Benjamin book body festering flesh black death Book bores bone babel bible Book beech modulates monolith, Christina cairn or dolmen desert Book beech motorcycles maximalist, book human spine scapula signatures and I sign myth madrigal Book salts psalm alphabet book or animalia, the apocalypse of John / where the Book is intended as a work of art in itself I tree bark bibliophilia bibliomania, mirror matador miniatures / Book meanders the creature curvature continuous blending of curves Book meanders erodes sandbar language and Word winds sinuous coarse, a channel migrating back and forth across the flood plain Word stuttered or staggered stream bed follows the tilled valley / its course so exceedingly winding that everything winding is called meandering Book word woman hangs helios helicoidal flow / corkscrew Christina Book Word Woman ingots rows irrotational flow, feather flesh vision velocity Book bull and bear biro basin meander scars oxbow lakes abandoned meanders in the broad flood plain Book scissors symmetry cut bank blade and he slashed his shirt with a wickedly long pair of scissors, cut off his necktie at the knot, poured a bottle of shampoo over his head and they rushed out of the room Book throws the dice will not abolish chance (the art of composing music by a method entirely new, suited to the meanest capacity) Book throws dice desert dominion, dry music dryad music dyad music and I improvise aleatoric Christina cadenza Book composes copulation (improvisation is more initiative than re-creative) This was not how to make an object but how this objects exists as time, Taryn Timaeus or Taryn Tiamat cave body cavern body altered Book altered earth Play as if playing was a gift / writing gifts Godhead I avian area aleatoric anthracite fields and the field fire formants female The field flames festival, the Fool Female and she fastballs writing Benjamin fugue fool fugitive Therefore my purpose is to remove purpose / let the sounds or language happen I order unorder aleatoric apocalypse peanut butter and jelly arcade / improvisation incarnates Art is process and Book is process pendulum music I advance art alea, arc length and whiplash woman and she snares sword skyscraper sorcerer Book contortionist coordinates music of changes, a trace or trough it merely sounds traffic Take a sheet of paper a voice we have exposed its sound soul… every object on the earth has a sound-soul Paper or parchment pages northern passage multiplicity of angels Paper pilots photography, image indeterminacy and I paint aisle icon Our Lady of Czestochowa All sounds sweep the accumulation of sound waves / my flesh fourier series My flesh the gardener paints canvas paper pavilion poem electronique, and I sound sodom sadism magic squares / what did you want to be as a child? An elephant The elephant extends exchanges variations of a motive swung increasingly wrong The exterior elephant elevator emits events, local music The esoteric elephant ensemble bows baphomet music, goat electric guitar solo
Vision and Mysticism 