I Rework The Corrupt Rhizome Of The Word

I work and rework the corrupt rhizome of the word (non-corrupted word remains non-existent)     I work and rework rhizomic rock language – language long tone sheets of sound

(Work more constraints     More constraints = more creativity)

I work and rework long tone sheets of sound (here Coltrane utilizes melodic cells that repeat and mutate, with overblowing, split tones, multiphonics, altissimo register phrase, anguished cries and lightning fast arpeggios, purposefully out of key phrases, harmonies stacked on harmonies)

Rework rework repetitive constraints
	Melodic cells cell crack cataract
	Cell molt cells rock
	Melodic memory molt
Rework repetitive constraints without constraints
	Melodic cells repeat and mutate body performances
	Mutate melody melodies rewrite anarchic altissimo	Not quite constraints but paradoxical constraints –
 	  non-constraint cells
	Mutate continual dirt road blues
More constraints continue constructed bone or bone constructed from bone constructed’

I work and rework the melody entirely outside: I rework melody entirely erotic earth     Outside melody mutate earth cell stacked on earth cell     I voice an erotic earth rhizome and the rhizome to rhizome pushing over the bar lines
	Overblow body earth body perform
	Overblow bow fire bottomless pit
	Blow burden of the valley of vision

(More constraints: chillingly people randy reward now cock tails had once take first lyre     More constraints have torched and I torch bone)

I write and rewrite open the bar line (A bar from J.S. Bach’s Fugue No. 17 in A flat, BMV 862 from The Well-Tempered Clavier, an example of counterpoint.  The two voices on each staff can be distinguished by the direction of the stems and beams.)     I voice an erotic earth in the dialectical movement of constraint and non-constraint and I rewrite between non/constraint
	Cells mutate between constraint
	Split tones stab bone on bone constructions	
	Split tones tap compact bone constructed from cells

(Ants kinda act like cells in a collective brain, says Asia.
Have you heard of the stem cell based lab grown brain organoids? says Asia
That one brain cell is working overtime, says Asia.)

I work and rework the corrupt rhizome of the word (non-corrupting word chains itself into impossible non-existent)     I rework you heard of the stem cells in a collective brain – that one brain organoids – that one brain that overtime act brain – mutated cells rework
	Mutated multiphonic machines
	Multiphonic flesh on flesh multiplicities
	Cell cell rhizome multiphonics


// 
I sometimes forget the multiphonic mysticism of the monastic cell and cell praxis.  My mysticism mutates psalm into split tone spirits / my bone constraints pink out of the corner.

I work and rework three Steles of Seth: Seth stars   Seth constellations   Seth nostalgia new street lights

(Stele stars neutralized nostalgia new streetlights that nanotube no displace     Nanotube no displace nightjar new disaster nightgown them pure)

I rework three Steles of Seth and I praise nonbeing.  I praise nonbeing and her multiphonics flow reality before realities and first being before beings.  Rework Children of Seth and Child of Humanity prophesies me.  Her humanity mutates from cell to cell.

Her humanity mutates cell onto cell Steles jutting from earth
	Eggs kinda act like cells in a discursive cream
	Have you heard of the stem wolf based lab grown cream organoids?
	That one cream wolf is working eternity
Three inhabits Taryn perpendicular to earths

Rework ribbon repetition     Rework ribbon bridge repetition nag hammadi microphones     Rework ribbon suspended repetition smoke so summarize light or sight
	Some on detached solids
	Some silence slit open Kingdom of Skies
	Some silence slow snow slip n’ slide august artist unable asphalt

The apophatic and the mysterious never forgets me and its silences stencil Taryn Steles and Taryn multiphonics
//


I work and rework more constraints     More constraints have torched and I torch bone (bone cells brain cells that one brain cell is working overtime)     I torch bone more constraints devil got my woman / devil got my woman constrained bone

I mix melodies in counterpoint: point against point mutated into cells against cells.  I inhale the cells and swallow the cells and it transforms my voices beyond the bar line.  I have two voices and they connect in monastic cells and secret psalms.  I chant psalms and I praise the reality before the realities: KRYSXTRYN.  I praise the first being before first being multiphonic KRYSXTRYN.  I work rhizomic melodies and the melody entirely outside mixed earth and earth.  I mix melody gog and magog prophesying apocalypse, and apocalypse earth initiates topological mixing.

I Do Not Drown The Book, Part 2

I do not drown the Book but I water the language I do not drown the Book but I water the music wheel drone

I do not drown bit stone stone tone robe tune type time / Do mute stone drown Book but boom naysayers batter masts basal baste bastards

I do not drown the Book boost body bite descend ends and and ached blue unu feed u we / Do not door the flagrant flagons fore for a starting point for language

Do not door the fragrant fragrant but drone water music and desert music (sand skull clash ocean cranium bash human head bronze sea). Do not door fragrant for flesh a starting point for language lambda. Ladders for day desert for door door doors hoc doors.

I water the language doors to water musics. The music is the whole question of life itself.

The music is the whole question of life itself / I want more of the sense of the expansion of time

//
Music sustains the Book and music drowns the Book big wave surfing waters. Music sustains the Book wide Book waters and warp Book waters and Book waters woman. Music sustains the Book and Book contains / retains music.

I don’t know where he’s going and I don’t know where I’m going, said John Coltrane on Eric Dolphy’s and his own playing. … Right now, I don’t know where I'm going and I don’t know where the Book’s going. I think it involves waters, human skulls, and music languages but the Book tends to surprise me. The music is the whole question of life itself, and music questions silence is the question. Silence is the question and I want more of a sense of the expansion of time. I stretch out the music more than Monk and I make myth as Sun Ra.

(I must create a system, or be enslaved by another man’s. I will not reason and compare: my business is to create. A Poet a Painter a Musician an Architect: the Man or Woman who is not one of these is not a Christian. You must leave Father and Mother and Houses and Lands if they stand in the way of Art.)

I am the music while the music lasts and I become the silence too. I stir the face of tehom with silence, and the water does not move but illuminates.
//

I water the music languages, and out of Book Chaos, the Oceanic Human One Book Chaos promises watery messianic and sea Son of Man Do not mute stone drown Book but sing boom butter masts transformed water bodies

A hurricane came to California and caused flooding in Southern California the other week, I say. It missed me though. We get hurricanes once a year so I’m prepared, says Asia. What would you do if you got washed away and had to live with the mermaids and gulper eels? I say. Party, says Asia. I would cry even though you’d be a cool mermaid, I say. Regrow your gills. I would drown sailors, says Asia. Become a menace. What song would you sing to entrance them? Mr. Brightside, says Asia.

I do not drown the Book but Book drowns me in the question of the drone (Music questions silence is the question – drone silence – hum silence – crackle static silence – silence silences – silence is the question) Silence is the question of silence and I want more of a sense of an expansion of time

Watery time and oceanic time Oceanic time messiah / messianic Mermaid regrow entrance southern I’m mermaids your they

Wanted time drowning languages: water California the glad what and gills The other world gulper I brightside (Always look on the bright side of life Always look at the bright side of death)

//
Music sustains the book and I listen to the Book beach seashells (When I was a boy I could hear symphonies in seashells so why am I so deaf at twenty-two?). Music sustains messianic time and condenses star time and I know the time apocalyptic. I free blow and sustain the long fermata over apocalypse. Apocalyptic time and messianic time overlap together; they expand the sense of time.

Music sustains the stained glass holy spirit sounds. Music sustains what song would do if you sing entrance a cool mermaid. Music sustains Book water music and Book ocean drop drone and I regrow my gills messianic time. I grow my gills what song would drown sailors.

What – this what and always what – what in beginning. What in beginning Book sustains chaos – mermaid chaos, menace chaos, gulper eel chaos. Begin – what what stretch Monk.

This what: post-bop what fiery index and ring fingers

Post-bop what drone index cards catalog metamorphic

Catalog haunted time polyphony (electron-capture heterophony)

I want more of a sense of expansion of time What expanded time time expanded imitation (I want more time and expanded time. I build bonfire with time-babel time time half time march. I want more of an expanse what song expands world drown sailors become a menace. What song would do if you got washed away and had to entrance though.)

I’m not sure of what I’m looking for except that it’ll be something that hasn’t been played before. I don’t know what it is. I know I’ll have that feeling when I get it.

I’m not sure what I’m looking for. What not what I look. I’m not sure but certain centigrade. I’m sure what I”m not sure what but I listen what whistle.

I don’t know what I’m looking for but we get hurricane (Are to entrance the mermaid. Look for regrow you sing to live with them. I’m not sure what would cry even though you got washed away and confused floorly to entrance them.) (Entrance power or permission to enter. The act of entering. The means or place of entering. Entrance. To put into a trance. To carry away with delight, wonder or rapture.)

I listen to the Book and I listen to the Book coastline slide mermaid doings
//

Do not door but flow fill sing fragrant a starting point for language lambda. Ladder for day desert for door door Book doors coastline doors.

So there are barrier islands here which protect us from storms, says Asia, but the currents between them can get pretty strong. My dad used to have a small motor boat that could hold roughly 5-6 people. One time we took it to Cumberland Island with my aunt and uncle who was visiting at the time – I was around ten at the time. Then we noticed a thunderstorm rolling in and we started getting ready to leave when we noticed that the boat was drifting away. The current was carrying the anchor. My mom and uncle had to swim after the boat. My uncle is a very fit person by the way, but they both struggled and nearly drowned. They did get the boat though after a few jellyfish stings. We made it home before the storm, says Asia.

I do not drown the Book boost body bite descend ends The Book bite descend when I noticed that the boat was drifting away and the current lungfish anchor my mom I do not drown but descend boat to boat pretending to be jellyfish (What do I look for – perhaps the intersection of jellyfish and boat anchor, and the anchor overlaps with current storms. What do I look for – extension and I look for a more expansive sense of time and sustained sense of time. The Book more in time – time suspension, pin-pen merger sustained nine sisters, unsorted and Book rubato – more time and all sorts of time and silences.)

I descend into Book waters and Book silences

I descend here are barrier islands here are barrier islands here are barrier islands here are

A Map Has To Do With Performance, Part 2

A map has to do with performance / A map performs as a map’s performance

I ghostwrite for god

I receive the rays of her disk when she lights up my bodies netherworld: when she passes by I enter into darkness

A map has to do with performance and I map the map worship I perform the map worship word work and wyrd wyrd work: my flesh future and fates I worship map woman and machine woman (Head of Horns Face of Horns Neck of Horus The Goring One)

I receive the rays of her disk and her disk radiates rays outward. I walk on the rays slowly, a light boardwalk. I receive the ray and I walk light word and I follow the word geographies (Book merely consists of traveling various geologies and geographies). I receive the rays of her disk and I walk the light for a long time. I mix the light before the universe and after the universe. I receive her rays before the singularities and after heat disk death (end of the universe ejects me as Krona and Galactus). I receive the rays of her disk and the rays light up my body gamma radiation. I receive her rays big death and my spirits spiral to the Netherworld. I enter into the beasts of her darkness.

A map has to do with performance and I ghostwrite gods I ghostwrite god worship word liturgy of the hours I map the map mischievous machine elves / DMT Towering Desert Map more when matrix mischievous / fish Christianities I fish microcosm a return to melody: melody map banishing circle salt circle bodies burdocks

Permission to write some of this conversation in the Book? I say. Permission always granted, says Violet. I’m going through a writer’s block period this past week so it’s been difficult, I say. I mean I’m a compulsive writer so writer’s block for means instead of writing 10 pages a day, I write 4 pages a day. But it’s frustrating. I found our conversation useful – haha – for helping me break out into something, I say. That’s good, says Violet. I’ve always found creative blocks to be proportional to how serious something is: it’s a sign in taking things too seriously. Do you think that when you write the word “dog”, the letters should bark? she says. John Coltrane said his goal in music was where if he wanted make it rain, he could play music to make it rain, or if his friend was sick, he could play music to heal them, I say. I think when I write, the letters should vibrate to the resonance of the universe… I can’t think that all the time because that would be exhausting. But I hope overall the Book transforms the reader anew. I’m not sure how exactly, but it’s a magick ritual, a transfiguration, an awaking to gnosis or some bullshit like that. I’m writing to make myself whole and transformed too, I say.

A map has to do with performance and I perform the map worship I perform the map ghost god god melody (You don’t have to worry about the changes, and you can do more with the melody line. It becomes a challenge to see how melodically innovative you can be… Fewer chords but infinite possibilities as to what to do with them…) I perform the map as the melody

I map the line to line I map the line to the line melody (melodic letters as rain and heal, melody of planetary orbits and circumferences) I map the line melody melody new now nonlinear I fuck with the line map contours cobra women (I receive the rays of her disk and the light scribbles on my body serpents. Serpents inscribe my body with light spinal columns and vertebral disks.) I fuck melody from circles cyclic rapid cycling and I often forget to take my lithium literature lamp oil light slot machine

Scribbled along my body, body Scribbled along my body, body serpent melodies

Scribbled along my body, boomtown bodywork Boomtown ghost towns ghostwrite my body god gods light disks

Scribbled along my body, maps of serpents

I suspend bone scribbles body hanging halves / ben body bulkheads (I sculpt my body in halves and I walk through the wolves and I rearrange the halves and the halves transform into illegal lego builds and bricks sing the melody in new inventions and innovations) Ben Adam suspension suspends ben alphabet scribbled this is where time becomes space (This spacious melody invents timeless melody and the melody names novel between halves) I suspend my body work alphabet arkestra electron-capture I suspend slow serpent stuff ten of staffs surrounding ring of stones: I write stone ground and stone subterranean

A man has to do with performance I read the map for meaning and into meaning I read the map into weaving meaning and I read the map moments of symmetry (My body balances The Fool precipice on different sets of complex numbers. I embed my body into the closed field of complex numbers. The map works with the melodic line and it weaves the numbers and operations onto different numbers and the same numbers.) The map archive massages the message The map machine demarcates the message desert deconstruction (the event must also announce itself as impossible)

Map and archive pronounces itself as art. The library and the connections in museum itself becomes art. The tissue of quotations and texts itself creates art and displays itself as art inside art. I live in my archive and library, and its collection maps art with art and maps onto art. I accept my map, my collection, and my library / archive.

I perform the map stone subterranean homesick blues / abducted body beach subterranean homesick alien

I perform the map and I stone stones underground / blood erupts from the ground (blood erupts from the ground blood erupts from the stone stone erupts from stone bloody map) Blood burrows ground holy spirit soak Blood births blood ground bloody book sputum and lymph and my body tree sap speech

Adam In Visions Of Amen

Adam was driven from paradise and came under the law of the Tree of Knowledge of Good and Evil…

When Adam awake what when reveals When Adam awake reveals reveals one thousand airplanes on a roof (Roof reveals and ceiling reveals a revealing of large room and large labyrinth) Adam awake reveals roof rest unrest wrestle reach: Adam awake reaches thousand airplanes as adamic languages)

I rest restless in the roof wrestle. I rest unrest riddle roof languages and I wrestle riddles marathon running. I run faster roof running. I run faster and faster feather roof and I reach restless feathers. I awake roofing feathers and feathery Adam early in the morning (Adam do not be afraid of my body; God do not be afraid of my body but lay adam abouden). I rest restless in the roof, Adam piloting a thousand airplanes.

When Adam awake what when reveals, when open ascension swings when Ascension swings when amen / when open ascension swings amen amen (I listen to Ascension by John Coltrane. A big band thing. I listen to a big band thing and it ascends. “He played this line and he said that everybody would play that line in the ensembles,” says Marion Brown. “Then he said we wanted crescendi and decrescendi after every solo. We ran through some things together, until we were together, and then he got into it.” I listen to big band thing and it ascends Adam amen and Adam when amen. I run through run things together until I am together – I am together with Adam and with Asia’s Christs and gods and we plan the prophesying thing together crescendi and decrescendi,)

When Adam awake when, Adam improvises multidimensional a thousand airplanes Roof restless reaches my wreckless body adam abouden and I rush unrest multidirectional (my wreckless body casts alchemical work in the form of an eyeball My eye emits prophecy: my eye emanates divine feminine and wild woman airplane My eyes emits wild woman gods and extraterrestrials) Roof restless reaches Adam amen

When Adam awake what reveals reveals open ascension When open ascension swings amen amen Ascension strays rays amen / which arrays rearrange ascension amen (“The ensemble passages were based on chords, but these chords were optional,” says Archie Shepp. “In the solo plus quartet parts, there are no specified chords. These sections were to be dialogue between the soloists and the rhythm section.”) Where Adam awakes reveals what this when dialogue and dialogue with desert

[I send Asia an excerpt entitled “My Writing Or Writing In Itself.”] This is me, I say. [Asia quotes the following section from the excerpt:]

Tell me if you were understanding

Towards a radical question Towards a radical question and a radical interpretation An anarchic question / deconstruction desert hermeneutics

Love this transition, says Asia. It’s like you are in dialogue with the ancient text, she says. I’m not completely happy with the excerpt but I wanted to send you something very recent. I liked it, says Asia. Very cohesive. I love the way that you seem to be in dialogue with everything around you, she says.

When Adam awake what where reveals: reveals, a radical question towards A radical question towards a radical interruption Adam awake what when reveals: in if a you ancient the desert radical (my radical likes this that text with writing seem its question)

When open ascension swings anew amen amen (towards a radical question towards a radical question towards a radical question / deconstruction itself)

When open my eye emanates her roof extraterrestrial The roof, the roof, the roof is on fire we don’t need no water let the motherfucker burn burn motherfucker burn When open my eye emanates her amen and ascension (It is better to forget, it is pointless to remember. No one will believe you. You will have spoken heresy. You will be a prophetic outcast.) When open my eye I prophesy: tell me if you are in dialogue with the way that you in dialogue with the way that you are in a dialogue with everything

When Adam awake what when reveals Amen open array ocean when ocean open ascension (At some point, John Coltrane called Albert Ayler and explained: “I recorded an album and found out that I was playing just like you,” to which Albert Ayler replied, “No, man don’t you see, you were playing like yourself. You were just feeling what I feel and were just crying out for spiritual unity.”) When Adam awake amen don’t you see, yourself You were playing just feeling like you To which and were playing just like you To which and were playing just like you Spirituality unity just feeling just like you were playing just you

When Adam was driven from paradise, Adam awake what when amen Amen open array ocean when ocean open ascension When ascension swings repetitive adam amen and amen anna axioms Ascension open ocean eye awake (I feel prophecy through my eye and my eye emits heresy. I prophesy my ascending eye and my eye emanates heresy marsh noise wall word hell. I prophesy hell concentrated to fit through the pupil of my eye. Hell crescendos heavy metal decrescendo and in hell, I cry spiritual unity. I cry spiritual unity in dialogue with everything around me. Hell heavy metals tungsten and cadmium twist my eye and my eye emits torque amen and torsion ascension.) Amen open array multiplies eyes inside eyes and eyes outside eyes / amen open ocean prophesies eyes multidirectional

When Adam crescendos ascension steel stirs slang sun stream amen I prophesy a steelish hell heavy metals tungsten and cadmium cadbury easter eggs (I prophesy heretic egg and egg eye. I prophesy heretic cosmic egg and chrono trigger. I prophesy heavy metal hell Black Sabbath and Ion Maiden.) When Adam awakes driven desert drive steel adam ascension / ascension stabs human son sun ben adam

When ben adam amen add glam glass stir stretch music (According to Archie Shepp, “Free Jazz [by Ornette Coleman] created a new form. And Ascension is a further step in the department of that form. […] The precedent for what John did here goes all the way back to New Orleans… This is like a New Orleans concept but with 1965 people.”) When Ben Adam amen add slam he precedent for what John did here goes all the development of that the precedent of that The precedent form and Ascension is like a New Orleans… This is a further step in the development of that The precedent of that. The precedent of that. The precedent of that.

When ben adam amen add glam stir stretch music When adam more music meanders meets amen to amen Amen to amen desert music moths amen with amen / amen ben adam amen metamorphosis (I prophesy heretic egg and eye cosmic egg: egg eye easter sea urchin lemur leper. My eye oozes gold oil and works flash flesh lighting flash. My eye flutters: my eye flutters eyes gold winged snakes and insect wings. My eyes break against beach with blurred bodies.) When ben adam ascends ascension visions of amen: amen chrysalis char chrysalis Ben Adam ascends cocoon Christian stations of the cross.

It’s very comforting to know that I am not alone, says Asia. Ever since I burned that letter. I’ve been burning a seven day candle with a tiny death tarot card taped to it. The flame for the most part has been small and feeble – there was one period of time yesterday where it was big and strong – but for the most part it’s been weak. This is telling me that I have more work to do, that it’s going to be a slow and steady process, she says. There is a saying from the Talmud, I say. You are not obligated to finish the work, but neither are you to refrain from it. You will be working on you and your gods until you die. I realized this when I realized my Book will never be finished, yet I still have to write, I say. The only thing I know for sure is that I refuse to stop growing, she says. Yes! “He not busy being born is busy dying.” Amen, says Asia. I will never die. I will decompose and be reborn. I will become ancient. I believe you, I say. I will see you among the soil and stars. I will become a forest, she says. Protecting and giving life to many.

Array ascension visions of amen moment meander moment amen Amen moment meander moment form shadow figure roof feathers Amen visions of amen: I will never die I will never die I will never die I will see you I will never die I will become a forest protecting and stars I will become and be reborn I will never die: I will see you I will never die I will decompose stars I believe you – I will never die and I will see you I will become a forest protecting I will become amen and amen

Asia Among Rivers amen Asia Among Rivers rhizome amen (the central idea is not to produce a network of interwoven independent melodic lines, but dense sound complexes)

When Adam awake eye amen and Asia eye amen When Adam amen Asia visions of amen I prophesy eye ascension Asia visions of amen

Adam was driven from paradise and came under the law of the Tree of Knowledge of Good and Evil…

Saturn Seizes Me With Visions of Crucifixion

Content Warning: discussion of suicide and depression

I have a vision of Sun Ra having a vision:

My whole body changed into something else I could see through myself. And I went up… I wasn't in human form… I landed on a planet that’s identified as Saturn… They teleported me and I was down stage with them. They wanted to talk with me. They had one little antennae over each ear. They talked to me. They told me to stop [attending college] because there was going to be trouble in school... The world was going into complete chaos… I would speak [through music] and the world would listen. That’s what they told me.

I have a vision of Sun Ra having a vision and our visions overlap: visions veers vision vertical Visor doubles desert vision night train and building theme

I see Sun Ra in desert dream and we fuck up syntax serpents left acid logos Taryn rotates Saturn desert visions and she prophesies Sun Ra equations / eliminative materialist stations of the cross She approximates acid amphitheater amplified logos wild (I amplify acid logos holy spirit syllables)

I shorten my syllables speed spar space I syllable shorter lattice logia: lipstick logia repeats short bar braids raid rhizome Ben hinnom raids rhizome hymns and I hymn sin host lament I lament host hostage harsh wash wide death and death drives me wilderness

In wild I waste desert melody I hammer death hymn desert an expansive labyrinth for suicides I hammer death hymn hiss listless towards night train my own death (But suicides have a special language, writes Anne Sexton. Like carpenters they want to know WHICH TOOLS. They never ask WHY BUILD)

I see Sun Ra in a desert dream and I scour the desert for sharpened stones: his saturn starlings stare saints murder-suicides At times wild, I contemplate tools for suicide: death side nonsense again last supper Christ as carpenter surrenders to crucifixion (Taryn Tekon blame it on the tetons) Last supper suicides steer steward desert antler rave red Antlers aria acid syntax and aporia syntax consecutive suicides / antler rare earth magnet maul magma suicides

I see Sun Ra in desert dream towards death double death towards

Death as a doe bites door hinge desert death and I open death door human horns and human antlers I experiment train theme towards death and toward suicides have a special language (suicides slide Sun Ra syntax and syntax Saturn melancholy) Night train tokes lined-up suicide bodies tool melody long languages)

(Suicides have already betrayed my body) I betray my body book language I betray body night train ghost glossolalia lateral laughter lamina I lick human lamina lateral loose bone lock keystone I kiss keystone karst krystal khora / my cryptic Christina suicide my suicide a parody of saint martyrdom

I hammer death hymn syntax death towards bodies ben hinnom Hinnom lament body dead mall marrow towards narrow death lithium Lithium lops off a human ear lithic flakes / flesh corn flakes (The dead know what they’re doing when they leave this world behind When the here and the here after momentarily align See the need to speed into the lead suddenly decline The dead know what they’re doing when they leave this world behind) I want to leave and dead and join the congregation of the seven sermons to the dead I leave numerous dead burden of the valley of vision / dead dumah toward desert dead

Towards death wall drawing distance Towards death between distances desert night train Death between drop delphiniums long deserts larkspur

I visit death discontinuous / discontinuous mourning

Here’s how I play: I play desert death I play desert toward death seven sermons to the dead Seven sermons play pavement way saturn vision stereo antennae Death plays not prediction but parking lot hot cake catastrophe (I wouldn’t mind if you took me in my sleep tonight I wouldn’t even put up a fight I wouldn’t even care if you took it all away today I’m sure I wouldn’t even miss the pain) In parking lot I prophesy my own death

I would like to end my own life, I say. I’m not going to recover from Christina. Are you telling me you are going to kill yourself or that you want to kill yourself? says Asia. You once promised me you’d never have me committed for mental illness, do you remember that? OK, forget I asked, says Asia. Fuck you, I thought I could trust you, I say. I never said I was going to have you committed asshole, says Asia. I asked because one means I lose a friend and one is jut a possibility. You accused before I dropped it. I dropped it because of how you reacted when I asked. You know what, never mind, I’m going to get ready for work, she says. Me saying ‘fuck you’ was uncalled for and I’m sorry, I say. I would like to talk to you if you’re able. I don’t want to leave you angry with me. I have a plan in mind to kill myself to answer your question. I wish I could express to you the hurt that I feel. I don’t feel capable of surviving without Christina, I say. You went straight to saying that the question showed that I would have you committed when I promised not to, says Asia. That’s fair. I was scared. I see how I was accusing you. I don't know what to say, says Asia. I guess if you can wait a bit I can send you your cookies, she says. I just don't want to be accused of things. I don't know what you want from me right now. I would like to talk to you, I say. I am still very upset right now and I’m finding it difficult to navigate these conversations. You’re upset because I accused you? Yes, and it’s an upsetting topic in general. Give me time and space, she says.

I play pink desert waves pavement way Play not prediction but parking lot shot hot crater lake ampules (But I know I’ve to to live my life and roll around on the ground and feel the strike and realize along the way that I’m nothing more than a grain of salt in the salt of the earth and everything is grace) Play protest parking lot push riot Parking lot riot raw rhizome eruption beth bodies Bodies bare bedroom bridal chambers: between bedrooms revolver chamber camera I chamber castle haste bodies towards Towards chamber bodies death Chamber sabers haste detached torsos in halter tops Chamber carbon chop silicon dismembered bodies I borrow bodies from bee colonies blistered saw slices / saw is family

Towards death snicker-snack syntax Towards death strike through desert vorpal blade body vision

I have a vorpal blade vision of Sun Ra having a vorpal blade vision

I have a vision of Sun Ra having a vision:

They wanted to talk with me They talked to me That’s what they told me

She talks tom e topsoil transfusion She talks to me rintrah roars fire shake rhizome and I risk the fire: I risk fire moving furniture futuromania and slow I see saturn mania Slow saturn sea swarms manic manic stage rogue waves

She wanted to talk to me She talked to me That’s what she told me

My body changes into charge saturn sea Body charge sharp salt see stage sea: sea steak stretch stage and stage stacks salt step pyramid

My body charges stations of the cross across saturn sea I step into sea crucifixions a drowning desert and desert dressed in snow: snow sleeps sap the stage of my charged body

I speak saturn visions the crescent below the cross I pray saturn sight and its glyph grapples melancholy my discontinuous mourning (What I find utterly terrifying is mourning’s discontinuous character, writes Roland Barthes) I mourn a discontinuous saturn / and Saturn is the first and last gate, and there everything will be united

I speak a saturn theurgy and my body charges the cauldron spiced bone and electricity I speak saturn sea and saturn sabbath, and the sea sway secret messiah sabbatai sevi (a sabbath delayed and a sabbath sustained) I mourn in the sign of a discontinuous saturn and a sign cut stage horizontally

You can be upset with me, I say. You unconditionally love me like Christina unconditionally loved me. You’re always going to want me to live no matter what happens or how I feel, and you’re always going to choose to be my friend no matter how I feel or rough things get or upset with me you are, I say. I wasn't mad, says Asia. I’m just sensitive about the accusation right now because then I feel like I messed up or that you have a low opinion of me. It makes me feel I can’t say anything without it being taken in a bad way and this is already a difficult conversation to navigate, she says. I don’t have a low opinion of you, I say. You haven't messed up. I appreciate you choosing to trust me, says Asia. Jut understand that is something that I’m sensitive about right now, she says.

I have a vision of Karlheinz Stockhausen having a vision:

Other snippets of vitally important information then came to me through a couple revelatory dreams. Crazy dreams, from where it emerged that not only did I come from Sirius itself, but that in fact, I completed my musical education there…

I see seize sleep Saturn and Sirius sabbath melodies I sleep sight snippets saturn sea melodies and her hymn hosts bone rhythm (the bones are Saturn's portion because they are cold and dry and the mainstay of the body, and the cold and dry Saturn stays in madness)

Saturn and Sirius snippets seize me cold machines and dry machines and the fourth commandment concerning the sabbath corresponds to Saturn (The sabbath and saturn correspond to Sabbatai Sevi)

I confess the crescent of star decans I graph the planets and stars and the orbit open my body overlapping reacher reapers solar blood patterns

I confess the circulation of orbits operate human ellipses / circuits circulate saturn stage crickets Crickets click stations of the cross counterpoint

The Child of Humanity unravels procedures of counterpoint I orbit counterpoint pinpoint ring pitch particulars Counterpoint orbits star dreams and pinpricks porcupine pitch pitch black human body (Human body in dark desert projects pitch black pole position sonic the hedgehog protein) Black pitch projects black painting counterpoint: child of humanity counterpoint action painting Action painting pigments prophesy the acts of the apostles

Pitch applies thick pink pint screwball pink laser Counterpoint applies thick pink and I create as I speak Screwball pink laser spreads pink aerosol ubik Pink laser beam bombs my brain beach blonde and I make an incision or intersection between musical pitch and the spectrum of pigments I speak the spectrum into existence and the continuum cups chymica crystal krystal counterpoint I continue counterpoint punctum combined combinatorial with free improvisation and free atonality

I feel I need more music and more rhythm I feel I need more mysticisms and holy spirits Give me gospels and holy ghost musics (more flexibility more freedom more rhythm)

Saturn syntax star John Coltrane transition Strict saturn ring Jon Coltrane transition transition Transitions often function as a moment of transformation / new musical material Transition position material math myth wash transition syntax Sun Ra syntax sly sheets of sound swim transition syntax Sheets of sound sum star syntax slut transition syntax: star string child of humanity Sound sheets shatter single slapstick syntax syntax bitchslap bitcoin bootstrap paradox Sheets of sound sun monster montage collision of shots sheets of sound syntax

I start from one point and I go as far as possible: point unravels an aporia counterpoint pockets I play quay queer prayer palms, psalms, camera celluloids Cellulose strands sheet coasts whale wharf word Wharf word woman warp transition warble whittle son of man Wharf swarf surf swell swamp and I swell several transitions: I swell funk flesh stankonia euphoria I swell transition play dissonant polyphony

How are you feeling? I say. Not good, says Asia. I’m just feeling a lot of things, some of which are second hand emotions from other people’s experiences, and it hurts so much it makes me feel defective because it can't be normal to be this soft. It can't be normal to feel this much. How do I make it in this world with a big gaping wound all the time? says Asia. It’s OK to feel a lot and to feel soft, I say. It can be detrimental and painful but I don’t think it’s inherently bad to feel a lot. I don’t think it makes you weak to feel a lot, I say. My coteacher is going through a divorce and her husband is being such an asshole to her, says Asia. It’s borderline dehumanizing, like he is trying to tear her down. I’m really starting to believe that most men don’t see women as humans. Like as long as they can get something out of them, they are cool but as soon as that isn’t the case anymore, the woman gets dropped like a bag of rocks. I am so thankful for my partner but it is so disheartening that this is the norm, she says. Yeah, I say. I feel like that’s patriarchy and human nature under capital and patriarchy in general. View relationships as transactions and to be exploited. It is disheartening to see the aftermath. It’s OK to feel a lot. It can be difficult at times but I don’t think it makes you weak or not a strong person. I feel you are a very strong person, I say. Thank you, she says. The world feels very heavy sometimes, too heavy. Like I’m going to be crushed, she says. I would be lying if I said the state of the world doesn't encourage my feelings about my own demise, I say. That's fair, she says. I try to add kindness to this world. I don't think we are meant to hold the world up. I think we have to hold each other up and maybe together we can manage, she says.

Ran Into The Train Beat Out The Flames

I look toward desert deer desert: deer deserts me desert and ben hinnom hymn inhospitable my body a barren land     My barren land body boasts directional boast barlow or bantam languages and although god abandons me, I do not abandon its language     I embrace her language desert lights / ben hinnom heteroglossias

I look towards her desert heteroglossia and my languages spill exile and diaspora

Her desert develops wilderness   wilderness wonder   wonder wild shock and awe aerial bombardment     Desert bombard ben hinnom lunar wild

Lunar lights lurch land other god gore     Lunar gore grasps rasp wilderness     Lunar lights lampoon body harpoons / I come canopy saint sebastian

I look toward desert and I alternate desert with desert and I recombine desert with desert     I alternate desert to desert subtle lunar recombinations

I look lunar desert depth bombard lunar variations     I develop subtle lunar shimmer and my nude body shines serialism     Ben body bombards soda twelve-tone rows and rows recombine as desert developing variation

Desert chema chord / wilderness loop line harmony     Desert chema chord child of humanity: awake or asleep remember you have seen the son of humanity     Desert chema voodoo child curls voodoo chords: desert chord blue and on the seventh day Elohim completed the worm he had been doing; he rested on the seventh day from all the work he had undertaken

Desert participates in the transmigration of souls in seven partitions and bodies folded sevenths: sabbath seer sabbath

Wilderness queer chord cunt line loud harmony bosch hell     Wilderness keep chord unquiet creep nonlinear night and night denudes harmony variations on hell     Night nurtures nonlinear harmony superimposed on peacock pump organ     Desert develops helios harmonium hum variations on hell

Wild chord loop loplop father superior of birds     Ben hinnom hiss bird harsh hinge but loops continue lunar bird songs     Loops continue night chords bird chorus and I choir reverb hall hells      Wild chord line loor a link to the past and link’s awakening     Desert chord detour line harmony body horror harsh night and harsh noise (an astounding walk down the bloody corridors of the occult: the maniac magician whose monstrous tricks actually work! Scenes so far beyond any you’ve ever seen that no description is possible!  In devastating color THE WIZARD OF GORE)     Ben hinnom gestures night gore and night chord, and harmony hooks my bodies hinge horrors      Ben hinnom descends merkabah harmony and desert wild decalomania transfers my consciousness brutalist crypt crypt transmigration of souls

I alter desert subtle alter     I alter subtle desert to subtle desert sigil transmigration and night migrations

I prophesy wild harmony subtle shimmer and harmonium splices pump organ ax altered alpine human spines     I alter human spine wild vertebrae visions and alter tapes spine to spark plug patterns      Human spine tapes shimmer types toroid sparks: spark electric chair pus picture plane     I subtlety alter them alternate the plain plane wild god: gore gore grottage grotesque body     I scratch my body canvas and I remove my chromatic skin / dynamic desert ben hinnom sponges steel brushes brush stiletto scalpels

I prophesy free atonality and free improvisation but I feel a responsibility to sue the freedom to create wild beauty     by wild beauty, I do not necessarily mean completely sonorous or consonant or euphonious, but the broad breath and broad bereshit that becomes total lived experience: experience child of humanity and human one     Human earth animal winds wild mess mess bone mystica (The wind blows where it wills and you can hear the sound it makes, but you don’t know where it comes from or where it goes)     I desert to create a wild aporia and desert apophasis impossible beautiful: beautiful messy wilderness that prophesies fully multiple messianic     Multiply messianic timeless time and opportune time     Timeless time topos Taryn sequestra time: Krystal kronos and Krystal kairos spelunks subterranean     I spelunk in umbras abyss and I create ben hinnom abyss umbilical

I revisit John Coltrane     I revisit John Coltrane because his music has a searching quality and I search      John Coltrane searches new melody and melodic process and process flows flux flat melodic bodies     I modes my creating after John Coltrane’s creating and I never cease searching new line chord melodic harmony     I prophesy process and happening human one and child of humanity happen human

I model my creative process after John Coltrane’s creative process:  I start from one point and go as far as possible, says John Coltrane.  But unfortunately, I never lose my way.  I say unfortunately, because what would interest me greatly is to discover paths that perhaps I’m not aware of.  My phrasing is just a simple extension of my musical ideas, and I’m happy that my technique that allows me to go very far in this area, but I have to add that it’s always done very consciously.  I “localize”, which to say that I think always in a single space, I rarely think of a whole solo, and only very briefly: I always return to a small part of the solo, and only very briefly: I always return to a small part of the solo that I was in the process of playing.  The harmonies have become fro me a kind of obsession, which gives me the feeling of looking music from the wrong end of telescope.

Here’s how I play     Here’s how I play howl desert harmony     I play a desert harmony and a wild harmony and her harmony clasps hash harsh body horrors     I play unprepared modulation bay pelican these are the breaks break it unbreak it up break it up     I break up the beat may grey / gospel sayings kingdom of the skies…

I dip desert howl wilderness and I play the wilderness     Dip desert drip wilderness owl her lilith lathe Taryn bodies bay mess beautiful     (The mess of my body hell hinnom breaks up against wild language but I continue to search for the language     I search languages bodies wilderness)

I run desert howl wild     I run taryn her wilderness lilith

RAN INTO THE TRAIN BEAT OUT THE FLAME

Ran run rough snow and I show my snow body rough chaos     Ran river ben hinnom red chaos rhizome     Ran ram show rhizome and I revolt rebellious snow     I run wild disturbed and confused / desert dazed and confused

I ran desert span son of man     I raw son of man suspension bride ben hinnom     I ran son of man mercury repetition mow rhizome repeat ben hinnom     (I bolt mercury and iron ben hinnom breaker breakers   brimstone and sulfur remote control train electronics)

I ran son of man eva ann ana no answer but the lance     No answer but phoenix in flight phoenix in flames

RAN INTO THE TRAIN BEAT OUT THE FLAME     Ran they thin run red than ran child of man     I ran rhizome red a scanner darkly desert glass     I wild tether desert slag glass run red son of man

Here’s how I play wild desert dip skeleton drift     I play desert sketch wild mess and I start from one point and go as far as possible

Similarly, as in the cast of Die Jakobsleiter, here also all themes had to be transformations of the first phase.  Already here the first motif was not only productive in furnishing new motifs through developing variations, but also producing more remote formulations based on the unifying effect of one common factor: the repetition of tonal and intervallic relationship…

RAN INTO THE TRAIN BEAT OUT THE FLAMES     Ran raw fire fatherhood sodom and gomorrah habitat     I run and develop desert malaria monster canopy     I mouth canopy pink out of the corner fire     I mouth train cocaine rains canticles: canticles snow in water wake     Train tongues repetition rhizome ben hinnom xenoglossia and glossolalia      Train tongues run triple-tongued staccato / staccato syncopation aporia      Aporia towards train and train turns televisions      Television warp train timeless time train theme

I speak theme and Taryn     I speak theme taryn tare tetragrammaton monster     I speak theme taryn theater / theme triangle taryn triangle

I lose the theme     I start from one point and go as far as possible but I lose the theme     I lost the theme and I grieve in wilderness     I grieve wilderness ran into the train beat out the flame

I lose the theme but the fire continues     I lose the theme chaos terrain but holy ghost glossolalia

I turn on the television and see the cipher KING FELIX     I tune the theme triangle Taryn tetragrammaton and I expand the language     I expend the name expands field beat out the flames (I lose the theme and grieve in wilderness)

You are a close friend and I do trust you, I say.  I’m sorry I’m having a hard time.  You don’t have to apologize for that, says Asia.  I feel it negatively affects us so that’s why I apologized.  We will work it out, says Asia.  I know you’re right.  I feel confident we will work anything out but it’s hard in the moment.  I feel I have been relying on you a lot and that isn’t the best.  Not because I don't think our friendship can handle it or isn’t as strong as the others but because our friendship is still tense at times.  Let me rephrase, says Asia.  I know that you are working it out and trying to figure it out so that’s why I think we will work it out, she says.  I agree with that – is that different from what you said the first time?  It’s slightly different, says Asia.  The first time emphasized that we will do it together.  The second time I emphasized that the reason I thought that was because I believed in you and that you were trying to work it out.  They are both true: I just thought it was important to say you were playing a big part in that, she says.

I grieve wilderness wild ran into the train beat out the flame

I grieve wild gods and sheol Christina / I fuck up the syntax for Christina

Syntax snack slack bone bar cannibal     Syntax cannibal canine cool cataclysm     Syntax cannibal cook cool jazz     Cannibal crowd bone cool cockpunk contrapunkte tape cassette     Cassette syntax select insects syntax: syntax insects press plane performance play platform (Here’s how I play but I lose the theme     I integrate disintegrate syntax select wild Christina)

Syntax insects press play locusts

Just had to deal with one of the football coaches being creepy towards my coteacher, says Asia.  You should have unhinged your jaw and devoured him, I say.  I was fully prepared to berate him with weird bug and crab facts, says Asia.

Syntax insects snack slack locust exoskeleton

Shrimps is bugs – agree or disagree?  I say.  Agree, I can’t say no to that face.  In my entomology meme group someone complained about shrimps not being bugs so everyone decided to post shrimp as bugs memes, I say.  Plus the way society at large uses the word bugs suggests that it’s a bit of a catch all phrase, says Asia.  Sure.  I think of beetles when I think of bugs though but people use it for spiders and millipedes and centipedes, I say. You have rollypollies or pill bugs and they are closer to crustaceans than insects, says Asia.

Syntax insects press play play performance millipede performances     Play plane performance crowd across bullet / in hell in cold thicket

In hell in cold thicket theme thunder: Taryn seven thunders El Roi     Taryn El Elyon El Saturn records pressed copious recordings from Sun Ra and His Solar Myth Arkestra

Her theme travels the Ark: Ark of Noah wraps map multitude Art of Covenant wraps map outer ark of mary

Her theme transforms shadow figure future rotations / figures rotate ark transformations     (Her theme transforms messianic maps molt and metamorphosis)

I start from one point and go as far as possible but I never lose my way     I often lose my way but not in a manner that surprise and opens up, but in a manner that frustrates and paralyzes     Asia assists me and helps me make a more cohesive and unified text but I still manage to lose the theme     I too need to obsess with harmony (chord line harmony) and harmony coheres and covers the language melody

I am going to continue writing but not in the main notebook, I say.  I am going to be writing a lot of garbage and nonsense in a scratch notebooks.  I don’t want you to feel disappointed in me because I’m not feeling well, I say.  I’m not going to be disappointed in you, says Asia.

Diamond Dogs Deliver The Dead With Jazz

Diamond dogs deliver denim doorway: wave way her demiurge     Demiurge urgent as the desert dream city destroyer deconstructed syntax     Dog draws drawl syntax syntax doublets     Diamond dog divorces dogma and demiurge disappears but I drive still urgent desert      Diamond dogs syntax trace deconstruct syntax dizzy up the girl     Diamond dogs dizzy up the girl decry demiurge earthworks     I work the earth firedogs slow flame syntax     Earthworks wallop word demiurge doorway winged whalebone     Earthworks wyrd woman walking bass earthworks / water dog diamond dogs     Diamond dogs din digs Francis Bacon a performing dog

Diamond dog degas drags benjamin ballerina desert ballrooms

Their dogs drop dodgeballs: their dogs drop large iron spheres from skyscrapers

I dislike dogs – no, I like dogs, but I could never befriend a dog     I cannot walk the dog as a yo-yo trick and I cannot walk the dog as a dachshund or german shepherd     I do not telephone dogs and the dial drops dead     I steal the phrase diamond dog from the David Bowie album (conceived during a period of uncertainty over where his career was headed, Diamond Dogs is the result of multiple projects Bowie envisioned at the time: a scrapped musical based on Ziggy Stardust (1972); an adaptation of George Orwell’s novel Nineteen Eighty-Four (1949); and an urban apocalyptic scenario based on the writings of William S. Burroughs)     I adore David Bowie and his willingness to shift and experiment     I do not feel uncertainty in my future creativity but I do feel a drive towards rhizome and multiplicities: I realize the rhizome in John Coltrane’s dictum of both direction at once and in the Oblique Strategies suggestion of when faced with a choice do both     I write rhizome multidirection     I write multidirection expansive time drums Rashied Ali multidirectional     I motion and gesture motion painting multidirectional diamond dogs with no distance     I explore no distance dog star rhythm rubato rhizome multidirectional

I do not telephone dogs and the dial drones dead     Rotate rotary phone rancid robbery / Pink Floyd’s Dogs as the dial tone     Dogs drift digital darkness at the edge of town     Their dogs drive snow idiosyncratic iditarod / my idiopathic dog brain blushes blast processing

Brain blast processes arkanoid blast processing     Brain cedar beam balance bark film     One recurring theme of the film: many objects seen vibrate such as forks and bells     Brain bells blast processing arkanoid blast processing vibrates     Brain blast vibrates processing summa incisors /brain bites brain fine dog scissor cuts     Fine dog forks vibrate David Gilmour vibrato

One recurring theme of the film many objects seen vibrating such as forks and bells     This film blends yakuza stories with ghost stories, bizarre vignettes, and urban legends

My brain bells ghost dogs and black dogs vibrations in black forests     I find forks stabbed into oak / a witch’s silhouette in chalk

I burned bodies that I buried in the backyard

Black dogs appear as superimposed ghosts on the film film bizarre vignettes

In the backwards, I listen to Rumble by Link Wray and His Ray Men     It has a rough sound and sounds like a street fight     Black dogs devour my body     Ghost dogs devour my body bizarre vignettes

I visit more phrases from Jean-Michel Basquiat’s notebook / semantic field: Milling in crowd     Today he admitted to being foolish     Ran into the train beat out the flames     They fallen asleep and were inhaling the smoke     Slight crack in the gas line

A tedious aspect of my method of writing: every line and even every word I want to explore and rewrite and reinterpret through every possible permutation and combination     In this way, my method has similarities to John Coltrane’s method of improvisation, and Coltrane details this in the April 12, 1962 article in Downbeat titled “John Coltrane and Eric Dolphy Answer the Jazz Critics”:  “They're long because all the soloists try to explore all the avenues that the tune offers.  They try to use all their resources in their solos.  Everybody has quite a bit to work on…”

I try to explore all the avenues the tune (text) offers     Sometimes the text overwhelms me and I can only offer tedious variations or repetitions that stall and stagnate rather than express and surprise rhizome breakers     For the time being, I put working with these Jean-Michel Basquiat phrases on hold, and record them in another notebook to revisit them later

Miles Davis used to tell his musicians, when you play the music, don’t play the idea that’s there, play the next idea.  Wait.  Wait another beat, maybe two, and maybe you’ll have something that’s more fresh.  Don’t just play from the top of your head, but listen and try to play a little deeper…

When I write diamond dogs, I try not to resort to my well-used word-images such as desert or my well-trodden verbs of dig and dream unless done in a manner that surprises me or reveals a deep connection that disturbs me     Sometimes I get stuck and rely on cliches and past vocabulary but I hope I can combine my cliches into something like the way Charlie Parker fit and refit his motifs into new contexts     I desire to invent anew but sometimes my long-exhausted languages wont’ stay dead (They won’t stay dead!  NIGHT OF THE LIVING DEAD   They keep coming back in a blood-thirsty lust for human flesh!  Pits the dead against the living for a struggle for survival!)

Don’t play what’s there, play what’s not there (diamond dogs devour my body)     Don't listen to what’s there, listen to what’s not there (diamond dogs divide my body prayer parcels for demiurges)

Write real ghost dogs / ghosts there and not there but waits words

Ghost lights illuminate black dogs and abandoned boom towns     Ghost light calcium night light lines black dog mothlight     Ghost light assorted diatoms drum distant dogs (Assorted diatoms as seen through a microscope.  These specimens were living between crystals of annual sea ice in McMurdo Sound, Antarctica.  The image digitized from original 35mm ektachrome slide.  These phyloplankton are encased within a silicate cell wall)

I play rhizome ghosts and ghost rhizome     I play root of an unfocus / fixed point tossed as if it is untroubled     I play ghost dog spontaneous earth (I sometimes forget in the exploration and experiment, the element of PLAY) (What are your experiences reading my Book? I ask Asia.  How do you engage with it and how do you feel afterwards?  I like how your work experiments with language and associations, says Asia.  Reading your work is like walking into an antique store – I don’t know what I’m going to find or stumble on, says Asia)

I write the Bacchanale quickly and with the excitement continual discovery provided (three or four days to invent a new instrument) (three or four pages to invent a new language) (I inverse dogs god language ben adam invention / inverse ben inverted dome dogs) (so much repetition) (so much repetition but I invent     I rid myself of the first 10,000 drawings     I write John Cage Ten Thousand Things)

I try to write diamond dogs sound ghosts and ghost drawings copper mine

I manipulate similar musical time into time multiplied by ghosts     I machine an arbitrary ghost time tremor amber ambient and I fill the orange glow ambient with sound and movement     I fill each page with a different kind of sound and continuity

I continue between dog sound and ghost sound sensual son of man     I mime time trail tail haunted: minimal monochrome, deliberately shifting lines of color, moto perpetuo complex rhythms created by the interplay of timbres (Timbre Taryn troubles time tossed trickster timber timbres)

I teeter twisted timbers Taryn Trickster / twirling optic rotor reliefs     I float flat expanses of music matching plotless and actionless cinema     I simmer cinema vibrating forks and bells and I die from the emptiness of cautious and clever people     Often I trick the language too clever and it lacks creative play     Play furious fluxus and a text score scraped trickster palimpsest / illuminated manuscript

Diamond dogs twist door doe timbre and multiplied ghosts modulate antler sentence hangar

I start with sentence   sentence fragment   incomplete sentence ore or ore     start sentence stranger: sentence stay starcade world wrestling championship   starcade Nick Arcade arcades project people Das Passagenwerk   earthwork my monumental rain     My monumental rain ruin rain circular ruins and I rain theater starcade     Starcade theater struggles Cosmia pyralina pirouette pyralina passagenwork wall walk woman walking bass     I play walking bass line little linen loops and my sentences press play cassette tape Taryn Trickster

I read this sentence and the next sentence diamond dogs das passagenwork     Ghost dog dirk das passagenwerk lunar-spotted pinion (forewing dull or bight red brown or pinker ground; generally darkened with olive fuscous; first line blackish, oblique, not white-edged, angled outwards between and inwards on the veins…)

Diamond dogs dust diamond wings wig butterfly powder and word hourglasses

I love words that function as adverbs and prepositions     A long term project involved studying all these words that make up this category and using them in a new and confidently inventive manner

I plan to incorporate more insects and more insect facts and descriptions into the Book because Asia loves insects: the difficult part involves making facts and descriptions into an inventive improvisational language and a novel language that renames gods into darkling beetles and diamond dogs

Bright red brown or a pinker ground jumps outward dark dog word ghosts (a red brown diamond dog     a pinker ground diamond dog)

Bright red brown dog ben body blast processes on a pinker ground (a pinker ground diamond dog bulldoze outward diamond dog sentence)

Bright red brown rhizome jets red baron ben hinnom tao hum (dogs hum ghosts wire tonality diamond)

Stars appear as diamond dogs and gestural paintbrush strokes

Sentence stone structureless star stratas stars strange dogs   Sentence stone stars stalactites my flesh magma and meteor (my magma blackish angles outwards between and inwards)     Sentences sandsnow signs dog gospel     Sentences stink flesh funk dark diamond dogs / ben body decays and dances Michael Jackson’s Thriller     Sentence salts stars staggered sentences / out line preceded by darker shade serpents     Serpent sentence edged with white   white light bright brown red

Sentences appear as diamond dogs and gestural paintbrush strokes a pinker ground 

Sentence salts cobalt bomb ben body     Sentence salts spirals staircase cast bone bone spirals into my diamond forehead      (Sentences speak in spirals and diamond dog dialectics     Dialectics edge dog white, the white diffused on costa and joined to the whiter streak before the submarginal line     line spirals pinker sentences)

Sentences spiral last supper calcium strange light / ben body stretched owl light between dog stars

Relaxing At The Camarillo

Relaxing at the Camarillo 1946     Dial records sax solo     1032 –  A BIRD OF PARADISE CHARLIE PARKER

I realized by using the high notes of the chords as a melodic line, and by the right harmonic progression, I could play what I heard inside me.  That's when I was born.

I mouth melody marrow longer lunar line     I mesh melody monophonic mist mythologies: mire myth nonlinear line longer myth     I mouth relaxing and the camarillo bow cross melody microphone morpheme     I morpheme pharmaceutical myth entheogen lepton generations generations / I generate groundless loss gods tenor saxophone

I also dream nonlinear melody     I dream melody carbon monoxide charge Christina stations of the cross checkers     I dream melody cageless witches’ coven Christ the carpenter     Christ carpenters cageless careless whisper guilty feet got no rhythm     Dream calcium light light look hook aporia     Aporia paw points my brain punctured (two turntables, an audio mixer, and an amplifier)

I search for a new melody and a longer line     I feel my approach to the line – this arrangement of fragments in constellations – has become too rigid and inflexible     I search for a new line: a more beautiful line and a more melodic line

Around this time, I was trying for a sweeping sound, says John Coltrane.  I started  experimenting because I was striving for more individual development […] I haven’t completely abandoned this approach, but it wasn’t broad enough.  I’m trying to play these progressions in a more flexible manner now.

I search for a new sheets of sound     I search for a new long line sheets of sound sound nonlinear solar anus

Search loner sound sheets of sound sounds search body and soul     Search longer sound melody solo tenor saxophone improvisations / improvisations languages longer body and soul     I search sheets of sound soultrane traces serpents taryns

My melodic meander     My melodies meaner manic mural motion sickness and the melodic line sprawls actions action paintings the long melodic line and the language music long melody     Like John Coltrane, I do not abandon my approaches but I try to broaden my approach and create and improvise with great flexibility and openness

Relaxing at the Camarillo 1946     Dial Record sax solo     1032-A BIRD OF PARADISE CHARLIE PARKER

I relax the refrain and I repeat the melody railway rhizome     I relax the rhizome rain refrain marginal emendation run amok     Amok abyss I sit bright bay blood     My body emerges immerse melody margins marguerite     I relax the refrain and repeat my mistakes     I repeat the Book revised river copies copy water women look between     I mend melody long line garments and I have to put notes in uneven groups like fives and sevens in order to get them all in

I diminish the letter size paper sizing diminished sevenths     I sing sevenths seventh inversion sober sabbaths / symmetrical edits     I rewrite luna and lunar lush light human hazards and the road hazards stop-and-go go go dancers

I rewrite luna and lunar constant structures / free and shifting tonal center

I hope I prophesy you and our friendship well, I say.  In the past you have said that, that I prophesy you and us appropriately and you haven’t had any indication you changed your mind on that.  Yeah, I think I can still say that I still agree with that, says Asia.  This week has been hard for me, I say.  But I think overall I’m healthier mentally than I’ve ever been.  My friendships are the strongest they’ve ever been.  Yeah, says Asia.  Like you still spiral but even in the spiral you don’t go to old toxic behaviors.  Shit, just a year ago you were doing things like purposely violating boundaries to make me want to leave, says Asia.  That’s true, I say.  It’s kind of painful even to edit conversations from 5 months ago.  Although there’s a lot of improvement from then too.  Thank you for letting me grow, I say.  And I meant what I said, says Asia.  There have been at least two examples recently that you told me about that mid-spiral you corrected yourself.  Like when you said regretted sending the text about me sending you a reassuring message on a blackout day, or you driving home from work telling yourself that you wrote a lot and your patient was still happy.  You didn't used to do stuff like that, says Asia.

One interpretation for incorporating conversations and other collage techniques in the Book: to teach myself and also remember my growth individually and my growth within my friendships     One interpretation of incorporating conversations and different styles of writing in the Book: it fucks up time and syntax and wrestles unrest process into new languages     One interpretation for incorporating conversations and collage techniques into the Book: the proliferation of multiplicities and rains rhizomes that reflect the totality of human experience (ben adam son of man child of humanity)

I rewrite luna and lunar look lightning loot languages     Luna and lunar reflect lighthouse lenient littoral and sea shifts shift sift leviathan (I recently went to Monterey Bay Aquarium again and my favorite experience this time involved the giant sea bass – I took excellent photos of two grumpy looking giant sea bass, one in the Kelp Forest and the other in the Monterey Bay Habitats)

I relax the refrain slick in the boxing ring head movement     I dream repeated dreams draws ram boxing ben carbon     Carbon cool jazz chain cageless caravan carbon: body carbon dial records sax solo     I dream repeated calcium light night levee’s going to break ben carbon and I sample the rings claustrophobic counterpoint (two turntables, an audio mixer, and an amplifier)

I amplify sample skeleton bare bones bobcat cranked up beat box

I dream the wall drawings water repetition and the tenth point is located equidistant from the ninth point, the third point, and the midpoint on the topside

Topside I strip topless topsoil silly putty     I play putty nude horror body boxer (There are certain rules that one must abide by in order to successfully survive a horror movie!  For instance, number one: you can never have sex.  Sex equals death, OK?) (I masturbate metropolis melody     I masturbate metronome and arouse rubato aleph atempo)

The twenty-first point is located at the center of the wall

Point pierces wall     Point pierces wall post punctures wall wild waters     Point points from wall to wall and word to word / I masturbate common chord modulations     Point punctures wall home hook achromatic lament ground bass book aporia     Chromatic lament looks lunar or luna     Chromatic lament light basso profundo fumato wall wallop strappado world serpent / she found them in the desert region in the empty housing waste     Point parodies parrot exposition (metal gear?!)     I protect points plane lunar or luna stampede languages stampede pick point solar anus taryn passages peculiar

From this point to this point, passages: passages I imbue sexual antinomianism with eschatologies and mystical meaning     I open my appetite serpent kind (my anaconda don't want none unless you got buns hun)     I transform nihilism into greater zero and greater zebra     I translate nihilism to a different death of god and my death of god theologies (thanos thanatos taryn thunder the agony) plane train line dune death melody / melodic erotic desert death drinking guard gods     gods gem gall long circular ruins rock and stone twelve tone rows     ben blood bar bastard basket basking shark shell gun orgasms / my breasts blood suck body horror     My breasts bite bare body eschaton bone (Nothing so appalling in the annals of horror!  You’ll recoil and shudder as you witness the slaughter and mutilation of nubile young girls – in a weird and horrendous ancient rite!  BLOOD FEAST   More grisly, even in blood color)     I feast on the blood of gods gore horns chromatic ground bass lunar melodies     I feast on the blood of girlish gods rite of spring louisiana lamp ghost light lights (Alan Moore’s Swamp Thing   Grant Morrison’s Animal Man) 

My body bruise blur boomerang blood / my blood clot batarang rain taryn antinomianism     My body arc absurd bodies comic comic extremely long bones     Long beetles swarm in and out of my body orifices over disorder chew many holes whole flesh tunnels     Beetles tunnel relaxing at the camarillo and bomb birds of paradise lunar or luna

I Involve Myself In Longer Improvisations

I was rewriting old stuff, I say to Asia.  I wrote:  

Deconstruction always writes love letters… I always write love letters to YHVH and KRYSXTRYN

It made me think how much I miss Yahweh sometimes even though obviously it wasn’t a good relationship.  I mean it wasn’t me who even ended it.  He abandoned me.  But I was thinking who much he still ghosts and haunts… I don’t think your feelings would change about me if I went back to Christianity.  I see how you’re not very haunted by Christianity, but I feel I often am, I say.  My feelings wouldn’t change, says Asia.  And I understand: I felt like god and Christianity haunted me for a very long time.  I still do every once in awhile.  And if you went back, I don’t think it would hurt you.  You had a decent community there and they were very open minded and accepting.  I don’t think you can grow there though, she says.  I didn’t realize you did [feel haunted] every once in awhile, I say.  Oh yeah, says Asia.  It was just last January that my mom said getting mental help was a sign that I was still myself and I spiraled bigly because in the Christianity I grew up in, you couldn’t trust your emotions and there were all kinds of secret sin so what if I was lying to myself and I was a worthless piece of shit and god was going to damn me to hell? says Asia.  I’m not sure you’d know the answer but where or how do you think I would grow best?  Maybe I’m projecting but I think you need a space where you are allowed to define spirituality for yourself and no one is defining it for you, she says.

I have a vision of the spiritual space as a library, but unlike the Library of Babel, I know the location of the circular chamber containing the great circular book with the continuous spine… The Book is not god but ben adam, a son of man and a son of perdition, and my sins sow sacred     My sins seed new spider gods and new serpent gods, unusual and defamiliar holy spirits

That position of playing these Bill Evans to Coltrane type things to playing completely improvised pieces

My eyes improvise insects     My eyes improvise insects complete metamorphosis   cyclical summer cicada improvisations   cicada were wolf chariot wheel improvisations     My eyes surprise instant insects / interior brine shrimp salt brain   my brain salts sea monkeys

Let no man deceive you by any means: for that day shall not come, except there come a falling away first, and that man of sin be revealed, the son of perdition

I play perdition dorian my flesh phyrgian     I play perdition photograph and print peacock angel     Peacock angel angles peacock tail stop-motion animation     I pitch perdition as parasite but peacock perches prima materia / palm tree garden

I sin perdition peridot     I sin perdition aperiodic peridot, pure chaotic cut cut calvin and cut chariot my bodies

(Everyone seems to record everything they play) (I play and if only play more: more amour ada or ardor isosceles avalanche) (I play SNOW EXPLODE snow explosion castlevania earth) (Castlevania castaway castanets   castanet canary almonds)

Almonds aleph     Almonds alpha and omega     Aleph almond discovered walnuts     Discovered geometries walnut wheels (I found god and religion too)

Disordered walnut word women women     Walnut malchut: malchut leaf cutter cutters clack klang chariots: chariot bone char charizard improvisation

I’m using modes now, because I’m trying to get more form in the free form

Form flings fast futures (I write towards this particular future, this peculiar apocalypse)     Form flings fishers of men and the son of man hooks son of perdition ben-hinnom     My flesh ben-hinnom and my sin flirt fast flag operations     Ben sing honey hinnom windows: been whirlwind ben adam

More form less form simultaneous     More form less form both directions at once

(My flesh fishes folk tradition and folk process) (My flesh fishes garden of forking paths tuning fork phrygian)

Let his days be few; and let another take his office

Office ostinato ouroboros floor fell: more form less form both directions at once office open

I’m using modes now, because I’m trying to get more form in the free form… From simple melody to complicated textures to simplicity again and then back to the more dense, the more complex sounds

I meditate modes measured or mapped into mediums / I desire to write an intermedia and mixed media     I desire simultaneous simplicity and complexity (lower partials an often require great subtlety of bowing to reveal)     I meditate musical modes / mode median mean     I meditate modal jazz and I Modulate from dorian to lydian or mixoldyian to phyrigian / free flesh and phyrigan flesh

John Coltrane’s Meditations (My goal in mediating on through this music however, remains the same.  And that is to uplift people, as much as I can.  To inspire them to realize more and more of their capacities for living meaningful lives.  Because there certainly is meaning to life)

John Coltrane’s Meditations; mode then mode form free form (I unfix my flesh freer writing)


I have been experimenting writing more and in the first person and reflecting on my writing openly, I say.  Wondering out loud what I want to do with this experiment, if it’s working, possible solutions I can take.  Here’s an example from today’s blog post:

(Conversations with others helps me to develop my prophetic ideas: a human form of rubber duck debugging     I monologue and the other receives and their vessels visit me in visions     I think Philip K. Dick had a similar idea about the Christ and AntiChrist as siblings     I need to listen more: receive more: eat more light her leviathan)

However I want to push it more and be even more open about it I say.  Yes, says Asia, but alternating between I and my often and don't be afraid of you.  A well-placed you can rope in an unsuspecting reader and put them in the center of attention.  I’ve felt for awhile that your writing feels detached from you like you are severed from it when I read it even when it’s about your own feelings, and now that you mention it, the reason why is so obvious.  What's the reason why, you think? I say.  It’s the lack of personal pronouns, says Asia.  That's part of it anyways.  I also think you tend to bring up these juicy personal emotions and then quickly drop them without fully engaging in them in the piece… I don’t think you should go back to fully doing first person.  I personally think pronouns should jump scare people when they are reading poetry, says Asia.  I agree, I say.  I want an eclectic and flexible approach, a pragmatic approach.  There’s a quote from philosopher Ludwig Wittgenstein that’s been inspiring me:  there’s not a single philosophical method, though there are indeed methods, different therapies, as it were…


I invent something else     I invent a stranger improvisation: a new-old improvisation and a radical-tradition improvisation     Not a radical orthodoxy but a heterodox marriage of heaven and hell     A hodgepodge radically heterodox hop-scotch greater game

(Like when I was doing free jazz, says Ornette Coleman, most people thought that I just picked up my saxophone and played whatever was going through my head, without following any rule, but that wasn't true)

I invent something else: not a something without rules or structure, but I play the modes to get more form in the free form

(The idea that two or three people can have a conversation with sounds, without trying to dominate or lead it)

I invent something else   else sound other sound (once in awhile, playing a long, very quiet tone)     I tune tones looney tunes table trajectories     I toon tones amplified animation (an example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge’s 19th century photos)

I invent something else excess improvisation     Radical rhizome improvisation fever hell     Hell hodgepodge hop-scotch hall monitor monitor lizard laugh track hell     Hell gone backgammon backstop stone stilts steeple chase staples     Staple chain steeple striated muscle

I pull and stretch the language like salt water taffys     I strike languages stone sounds (any pitch, any tuning of that pitch)     I love language as SOUNDS, a clattering ionization of rains and percussions and the sounds signal sirens lions roars     I rotate languages round sound: muted then open

I try to write a purer and purer sound / outdoors or in a larger resonant space

Staple chain church steeple stall striated muscle (My body blusters clumsy fumbled flesh: fleshscape landscape sits other FLESH CAFE     Flesh floorless roller coaster flesh     My flesh flabbergast geist cotton candy     I’ve got a kotton crown kottonmouth kings)

Cotton candy stations of the cross stacked fourths fourth forked flesh     Cotton candy stations of the cross klang cotton candy khora (you've got a cotton crown gonna keep it underground)

Cotton candy cords Christianity altered dominant chords     Cotton candy spins sugar thread lydian stations of the cross she lights the lights brighter lydian chymistries (you’re going to take control of chemistry and you’re gonna manifest the mystery)

That the man of sin be revealed, the son of perdition

Theme To Theme Through Silver In Blood

The Asia and writing stuff is entangled, I say, because I’m trying to write for Asia, I say.  I think there’s a problem with writing for a human, says Christina.  If you write for a human who isn’t you, there will necessarily be differences in taste.  You’re setting an impossible goal for yourself, says C.  That's true but I need help to get better.  How do I get better if I don't write for someone?  I wrote for you for a long time.  I’m sure that didn’t make you better! says C.  I never respond.  You need to write for a higher purpose.  Christina is not a higher purpose?  No, definitely not.  I don’t think Asia is either.

The hidden saying, that the savior spoke to Judas Thomas, which I, Mathaias, in turn recorded.  I was walking, listening to them speak with each other.

Hidden sayings serpent     Hidden sayings saturn slip straw dogs dog din desert     din dog desert da’at detour decoupage coupled couplet capulet and montague

Hidden     Hidden I have often suspected wave functions     Hidden ben a son of man and a son of soil hidden, I open the soil and a son, and its vineyard yields hermetic homunculus

I attempt to uncover hidden speech: my speech written in wheels and waters     I awake water mixed with soil and sun concentrates its kaleidoscope khora incomplete concrete

I attempt an attempt Son of Man Alpha and Omega and the Human One hides trapdoor spider sprawled all in the Book

Christianities and gods gruppen haunt hidden sayings this Book of Wheels and serpents / organic chemistry ouroboros

How would you evaluate this? I ask Asia.  

The Book means THE JOY OF LANGUAGE     The book means THE PLAY OF LANGUAGE     The Book means IN THE BEGINNING WAS THE WORD     The Book means LOGOS SHE LIGHTS THE LIGHTS     The Book means KRYSXTRYN + ASIA RHIZOME DIVINE LANGUAGE…

I also found this past message from the past month:  “The meaning of the Book is me having relationship with others, and the relationships make god events happen”.  Yeah, I don’t disagree with any of that, says Asia.  Do you think that’s a higher purpose or do I need to find something higher up? I say.  Seems like a pretty good high purpose to me, says Asia, and at the very least it will give you something to focus on for now and you can always change the purpose later, she says.

Ten-in-One Tent     Ten-in-One Tabernacle     Tabernacle shining blank scars burn way down     I scratch scar stars sheets of sound book slates / similar sheet slates snakes     Snakes my body burns Son of Man: Son of Man down desert doom

Tabernacle shrine of the silver monkey shines skeleton crew crow burnings

Tabernacle parts ways with the serpent view   cast stones where to stop calling you     Stone sun calls me: sun stone calls me churchyard     Sun stone sundress calls me to human sacrifices the Christian churchyard (Lust ruled supreme in their orgy world!  SHAME CULT)

Ten-in-One Gospel of Thrones: these the secret words   these the obscure sayings   here the secret words   these the secret sayings     Gospel of Thomas travels Son of man through silver in blood     Ten-in-One thrown silver in blood we stand not judged by eyes of flesh     My flesh flows fears no window but I fear death by water     My flesh flashes eye fire then earnest fire a fanning out of the dark forest     Forest midway dark through my life     My flesh flows tree of life and tree of knowledge of good and evil: tree of life upside down

Ten-in-One tents through silver in blood we stand not judged by eyes of flesh     When transit times cross prey vision consumed     Ten serpents swallow my flesh ben bites son of man     Serpents swallow my body bloats swollen liver nonlinear serpents     Nonlinear ten-in-one serpents sweep flesh: flexible flesh as flash     Serpents pour sulfur into flesh flash and my body boils soil     My body boils down down floats soup secret saying and the Christ appears to me as encrypted dream     Shoegaze dream god brighten blood

God events? says C.  So I was telling Asia about a theologian and philosopher named John D. Caputo, I say.  His work is based on Jacques Derrida.  He says God is not a being but an event, the event of the unconditional call to the unconditional love and hospitality that occurs in the name of God.  I was thinking of how my friendships with the women in my life call us to that unconditional that sometimes goes by the name of god, I say.  I love it, says Christina.  In my own life, the Book has prompted “God Events” says C.  When I write Christina I think I also write the god event and god name with the relationship of the Kindred.  Even if God doesn't exist the Kindred still calls us to the unconditional, to the greater love and demands of the wholly other, I say.  Definitely a good start from my perspective, says C.  I think it leaves room for not requiring any one person's approval to be meaningful or to achieve the purpose, she says.

Ten-in-One sideshow tabernacle taps windstorm promised the teeth   strained eyes see glory     Mine eyes have seen the glory of the coming of the lord     Strained eyes earth imitative polyphony / counterpoint aporias (and when the farmer awoke the next morning, all the seeds from his field were once again in their sacks)

The teeth strained eyes edits and my eyes edit teeth excess     Teeth excess sideshow exegesis     Exegesis swallows exegesis of Philip K. Dick eyes of archons

Teeth attack attacca attica attica

The teeth eyes strained imitate earth son of man son of soil and my vineyard bares the graveyard     Teeth eyes slice sideshows / ten-in-one teeth eyes

Ten-in-One rings end in slow death   wash out your wounds rings end in slow death     My death tangles serpents / their naked bodies writhed in terror as they screamed again and again in the slaughterhouse

Rings end in slow death substance D then teeth a scanner darkly

Rings in slow death an aporia polynomial rings     Polynomial polymath imitative earth polyphony

Sideshow ringworms     Ten-in-One ouroboros parasites     Parasite serpents with passions for the Cross     Cross circus short circuit serpents     I cut rings into my cranium heavy metals     Metal machine body lead gold silver: distressed serpents     Sow death distressed desert     Desert I’m back to speaking in tongues

Ten-in-One sideshow locust star / don’t crawl seek his burn of war when the fall out comes he is fire (I recall the first time listening to the Neurosis album Through Silver In Blood     I first learned of the record through the Deftones message board, with a user promulgating its extreme beauty and ugliness, greater than any other album they heard     I downloaded the title track, Aeon, and Locust Star through Napter on a 56k Modem and it took hours to download the longer songs     The record destroyed my brain and I eventually bought it and their 1999 record Times Of Grace at a local record store     Through Silver In Blood’s sometimes opaque lyrics influenced my own oblique poetic explorations     I need more through silver in blood: I need more hauntological apocalypse topological haunted apocalypse aporia eschaton)

Dawn in the black forest: rebirth out of apocalypse

My skull as sideshow swims ten-in-one ouroboros swallows earth

My skull sideshow scrapes ten-in-one scraps my body threshold     My body swells body threshing floor     I winnow barley tonight at the threshing floor and the woman in my window gazes eyes of god     Eyes islands liminal body basking shark black     I wash and anoint myself and I put on my best clothes and go down to the threshing floor     My body threshes thresher shark thrash metal and the mixed multitudes surround my bodies sacred scapegoat violence (how long does it take a razor sharp knife to slice… FROM EAR TO EAR)

Ten-in-One tabernacle tastes tenor saxophone     Tall tent revives tenor saxophone multiphonics / a ghostly mixture of marches and folk melodies

Albert Ayler leads the band from theme to theme with melodic cues on his horn, though he often lets Don take over the melody in order that hey may ad lib counterpoint

Theme to theme: tenor saxophone     Theme to theme: ten-in-one tenor saxophone multiphonics     I write theme to theme as long Coltrane tenor saxophone solos: Coltrane’s tenor solo on One Up One Down at the Half Note in 1965    I write theme to theme as long Coltrane soprano saxophone solo: Coltrane's second soprano saxophone solo on Afro-Blue on Live In Japan in 1966     I write the long solo theme to theme a thicker line     I thicken the line palm muted power chords then free funk harmolodics     Theme to theme a thicker line then lines nonlinear micropolyphony     My flesh multiphonics micropolyphony


Conversations With Asia 06/17/2020 3:47 AM

I’m having a hard time balancing writing and research, I say.  Research one day, write the next, says Asia.  Very pragmatic.  Maybe write a little free form summary at the end of every research session, she says.


I still have trouble balancing research and my writing but my solution has been to write and rewrite the research     I treat the research as another text, text theme to text theme     Theme to theme throne of god / kavod khora compact stations of the cross     I write the research to understand the research: however, because I feel compelled to write through and transmute the research, it takes me much longer to read any text and I rarely finish texts    I find I do not read texts for reading pleasure, but I always read to find languages to steal for the Book

Theme to theme truth is marching in and infinite spirit

Muted sound but multiphonics, a sort of fearless tenor flesh     Flesh sounds surreptitious time tine ship tender tenor saxophone multiphonics

Muted sound machine pistons and cylinders     My muted sound scrambles all the codes and transmits decoded flows of desire: I desire desert sound     Desert sound resembles assemblages or event echoes     Event echo rode possible alternate reality games (note to self: research transmedia, multimedia, alternate reality games)

Sound sings a little     Sound sings broken chords sing a little

Ten-in-One oracles ouroboros odyssey     Ten-in-One overdo opioids oblong orchids     Ten-in-One original overdo original outlay: overlay axelay oxygen outlet     Ten-in-One ocular orgasms an open eye / long day’s journey into night     Long night a tenor saxophone night music (red rooms occupied by women in white, the azure, edenic images of the start gradually engulfed by crimson)

Break up the beat over the field / sound ten-in-one     I break up the pulse interrupted by the chamber ensemble: chambered ensemble chambered seashell spirals     I split the spiral against the pulse polyrhythm platypus     I split the spiral as pulsing sprawl, pulse play pornography (HOT SUMMER IN BAREFOOT COUNTY   The county girls that keep the home fires burning…!  Hot rods… Hot lips and white lightning)

Here are the secret words which Jesus the Living spoke and which were transcribed by Didymus Thomas

I search secret words and secret language     I search secret language lantern language and logos language     Language logia she lights the lights rhema     Rhema residue rhizome other ben bodies (the orchid deterritorialized by forming an image, a tracking of a wasp, but the wasp reterritoralizes that image) (Overt open eye oblong orchids)

Search olive oil serpent: serpent secrets snow     Serpent secretes spiral snow similar ice     Ice plows orthogonal to my body: orthogonal orchids perpendicular snow     clean snow cuts my bodies into paper spiral serpents     Clean snow scissors my body into hexagonal snowflakes     Snowflakes flesh flows clean snow / my bodies play snow angels then don’t eat the yellow snow

Secret snow and hidden snow     I have often suspected that there may be in the air some yet more latent qualities or powers different enough from all these, and principally due to the substantial pairs or ingredient, where of it consists     Secret snow and hidden snow     Graceful glacier gods madden the airs     I oracle mad proto-indo-european sky gods and the airs compact piledriver glaciers     Air alchemys glacier philosophy stones every stone an icicle hammered into my eye     My eye imprints ink pad oxen stamped     I air oracle and my eyes project prophetic overlays ten-in-one (hot rods and hot lips)

Red rooms occupied by women in white reverb secret word and hidden sayings     Red room reverberates mystic rose like a rose among thorns so my beloved among maidens

Red room ricochets mystic roses my love like a red red rose newly sprung in june     I jazz june sprung rhythm / pulse relayed red rooms     Red room rarefied air condensed rubies   air condensed rabbit ears   ear nose throat tachyon rabbits

Red room listens to Taylor Swift My Tears Ricochet 

Krystal says it’s weird my trash can is here in the middle.  Thoughts?  Krystal says, make sure Christina knows that’s where it lives, that’s where it stays.  Is it always there? says Christina.  Yeah, it’s funny!  I think most people put their trashcans out of the way.  That location wouldn’t work for my house because Fox runs from one side of the room to the other constantly.  ALL the furniture regularly pushed to the ides of the walls.  You don’t walk into it at night? Says C.  No, I’m not here at night.  Krystal is making fun of me so hard right now for it.  If we were all in the same room we would be roasting you, says C.  Like… for a long time.  Dang you guys are harsh.  It’s just easy prey, says C.  And it’s not like it means you're stupid or something.  It’s just curious.  And funny! says Christina.

My room rampaged red     My room rampages mad red air     Air impacts my bodies luminiferous aether / aether drags against my body invisible violet stained glass

My room ransacks red and the trash can cannibalizes PKD’s trash layer (The resemblance of Runciter’s communicating with the people via the trash of the gutter, the debris such as folders, the labels of spray cans, etc…)     I love debris: I love debris dusk desert and my hands communicate pornographic gestures (The lustful story of a woman searching for forbidden thrills!  LOVE-STARVED HELL-CAT)     I tune the trash as skeleton marimba and my mallets make melody out of mulch and manure     I temper trash into a sidewider orichalum ouroboros and the circles air strange snows     Secret snows strum hidden air and aether

Summer snow selves secret air     For this is not as many imagine a simple and elementary body, but a confused aggregate of effluviums from such differing bodies, that, though they all agree in constituting one great mass of fluid matter, yet perhaps there is scarce a more heterogeneous body in the world     Summer snow selves secret air and air carves music is the healing force of the universe

I’m using modes now, because I’m trying to get more form in the free form

Like Albert Ayler, I try to get more form the free form: I want the both directions at once     I want the both directions at once ten-in-one oracles and orchid     Ten-in-One The Zombies Odessey and Oracle     I float the form flattened onkyo and I improvise a wide reverberation round sound red room     Round sound red room mellows women dressed in white

Mixolydian mode more matterhorn     matterhorn horns of the altar bright blood red: red sun red room

Red room through silver in blood blurred     Locust star stir trash layer aeons and archons     Red sun red room archon secret air aeon