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)