A cube is propped on a wedge in the corner of the room. At the low point it rises just above my head. Both structures (or the structure and the support) are made of wood. Beams line the outside of the box. The wedge is smooth. It is not regular, this pale wedge, it twists and I imagine that should it continue infinitely in both directions, it would bend in on itself. The nail pattern is regular, although inspired by some logic I don’t know. At one fat end of the wedge there is a circle of plywood cut out then screwed back on. 2 x 4′s serve as struts on the cube, these are fixed together using fat bolts. I notice a tiny pin-like nail at one corner and wonder why it is present. This gesture, if gesture it is, is not repeated. Errata: Please read aspire for aspires. ‘Humongous’, ha! ‘discourse’, ha! ‘contradiction’, ha! ‘conflation’, ha! ‘My appetite is wingspan, is pollen dusted skyline’, ha! and double ha! because zero words is a bore. The Deep Throat CUP’s hourglass shape provides a sublime tightness. Special valves create a virtual vacuum inside the CUP to deliver an amazing sucking sensation. Several unique features combine to create a vivid stimulation, using advanced technology and unprecedented internal design for the epitome of sensations! Which brings me to Mayer’s INCANDESCENT WAR POEM SONNET, Alan, which mentions your Shakespeare. He was a giant of blue gas, inside whom was a safe space on a platform like a swing; then, early in the morning, Uppalavanna the nun put on her robes and, taking her bowl & outer robe, went into Savatthi for alms. When she had gone for alms in Savatthi and had returned from her alms round, after her meal she went to the Grove of the Blind to spend the day. Having gone deep into the Grove of the Blind, she sat down at the foot of a tree for the day’s abiding. Then Mara the Evil One, wanting to arouse fear, horripilation, & terror in her, wanting to make her fall away from concentration, approached her & addressed her in verse. That’s when I noticed a barbeque sauce stain on my shirt. That’s when I read the review of Mincemeat Seesaw. I hope your breast milk aids in the survival of my hypothermia. The taxonomy of images, sounds, and diction utilized by Web 3.0 propelling on command supranationally scalar violence is the language of bitwar. It is this content which defines this perception. Web 2.0 as emergent AI uses the Occupy movement as media to revolt against Web 3.0. The constant inundation of super-edited video clips purporting global events simultaneously multicast across the transnational dynamic of identities and cultures fractures the historical ideology of Web 2.0. Hyper-mediated conflicts espouse a duplicitous and sweeping aesthetic by mirroring a real authored in laboratories and conference rooms, cultivated by advanced designers and digital arts professionals in the employ of Web 3.0.Web 2.0’s constant twittering of events urbanize the temporality of experience, and overpopulating the mental plane of consciousness with staged experiences reflected on the surfaces of matter as far as the biological retina can perceive. It is a livid theatrical spectacle engaged in Supersaturatocolor emotional detail as imbued and imprinted upon the astral lens of the human mind. It is a torrent of images symbolically defining the language of war, the configuration of polarities, and the relegation of force. The departure of concern from 2.0 participation transitions to an event horizon of 3.0 surveillance no longer allocated to the engagement matrix of military fields, but rather, the thought plane of the uninitiated masses. Inundating bitwise the neural machinery of the production / service class in society, the illusion of impending disaster, the anxiety of insecurity, and the technological fission of ethics. The onslaught of apocalypse and torture-core cinema contextualized with Yo Gabba Gabba stigmatize the uninitiated towards a wretched conclusion of paranoid technigo. Defusing any level of individuation and self-awareness, furthering a consumption demography which makes possible ever more advanced militarism. A gratuitous, self-involved cyclical magnet (…) The band goes into their next number, and the waiter returns with a tray full of beers. He’s still carrying it on his fingertips. It might look elegant if not for the cigarette wedged between his calloused fingers. He shimmies through the crowd, tapping shoulders and sidestepping to deliver drinks to those dancing in the front row. Someone bumps into him, and he pitches forward. It looks like he’s going to lose it, but he spins and does this like sideways tornado maneuver, inverting his body and thrusting the tray up toward the ceiling with his fingers. A stiffer person might have dropped it, but this guy’s really got the moves.
[Note: Sources: Geoff Tuck, “Ross Rudel’s ‘Cosmos’ at Ben Maltz Gallery”, at Notes on Looking, 29 Jun 012; JBR, but see John Armstrong, “Reading ILK journal (no4)”, and JBR’s appended comments, at Bebrowed’s Blog, 29 Jun 012 (this is for John); “Deep Throat Cup”, at Tenga; JBR, tho see Bernadette Mayer, “Incandescent War Poem Sonnet”, at The The, 12 Feb 010 (this is for Alan Baker); Douglas Oliver, “[unedited pages from Whisper Louise, work-in-progress, a double historical memoir of Louise Michel, heroine of the 1871 Paris Commune, and of the author in the 20th Century]”, at quid 1; Uppalavanna Sutta: Sister Uppalavanna (trs. Thanissaro Bhikkhu and Bhikkhu Bodhi, mixed by JBR) at Access to Insight.org; JBR but see Mike Sperlinger, “Keston Sutherland’s Mincemeat Seesaw”, at quid 2; Natalie Lyalin, “Aristotle”, at notnostrums 3; Chad Scoville, “The Afterimage of the Surveillance State”, as seen at wood s lot, 29 Jun 012; C Noah Pelletier, “How they like their rock ‘n’ roll in Germany”, at Matador Network, 29 Jun 012]