Because life is somatic seriality, because likeness is sampled sustainability, because longing is stalagmitic supplementarity, because language is scintillating surrogacy, this shift bore lard – hist laminar tunc the way war crests fat / fest / forever, multiphonic resonance complexes in sine-wave excited cymbal clusters using a transducer. Fans of The Drone should investigate. All the world’s wealth flows into the bloody spurts – swollen globules of tapioca like maleficious stars yet unformed. People in glass houses fold themselves as their own filaments. Scientists at Cambridge University have reverse engineered a jellyfish from silicon and muscle cells from a rat’s heart. Project leader Kit Parker has dubbed The JellyRat a “medusoid” and doesn’t plan on stopping with just jellyfish. He hopes to create an octopus next. It will never be like that again, but wasn’t the grass quiet, all the furniture moves, losing interest exception installed without proof on auto try infra second by second the frame changes hands. “You go to war with the masochism you got”, burning a path to the transparent portal, the farmers are even now entering the city, the rim of a bird song which squeaking rotates, Wild Man Living In Goat Costume Spotted In Mountains Of Northern Utah. “Remember the aloe vera plant / is not a real child.” “Agents in badges rush / the lab.” “I’d rather be watching swans / mate for life. Well, / not actually mating. / Okay, actually mating; / you can hardly tell / what’s going on.” This is how friendship assumes its proper shape around all the things I can never say. It all thickens in my head, crystal grey fog, like in Rimbaud’s cities, you know, where men seek distraction under the light they make, e.g., “a row of boxes … a mere rod … a pile of litter … projects for Cyclopean landscape architecture … the plan for a trench dug in a straight line for hundreds of miles … a half-open door … the cross-section of a mountain… stating imaginary relations between real points in real places … a blank wall …” but don’t take it from a beaver, leave it to a fish. Hush now you say my arousal / Threatens a noise so end / Less murmurs maul these / / Quiet bodies litter something / Vast and brave technologies / Produce the carcass as such, “as though blue left blue for a blue elsewhere” which is almost as good as “on any object field whose lightest flinch / might intimate a rustable flaw beneath” which is obviously wonderful. The sun is behind the horses. The light is hitting the lens. In so doing it makes flares. These come to be the main focus of the shot. But they are not the color of the sun. No they are not even the color of horses they are flares of neon & pastel & sometimes black but only ever rarely. The removal of the lips is itself a sexual act. “… in any case, just remember to do something, as if there were some real force real enough, as if all this could ever really mean all this at all, rather diving a space outside all experience – and learning to move inside the shudder – as if anything ever stays put out there by was of having simply ‘been put’ ‘out there’ – all this being but a place for yielding place, being part of some collective occupation into whose service this thing’s been stolen, and for which we go on turning, becoming as if all this were not what all this is …”
[Note: Sources: Michael Leong, “Acronymic Bliss”, as quoted in a review embedded in Leong’s “Micro-review of Words on Edge”, at Michael Leong’s Poetry Blog, 23 Jul 012; Michael Cross, “The Katechon (Lines 101-200)”, in Crisis Inquiry / Damn the Caesars, Summer 2012; Darren Bauler, “Scott Mc Laughlin, Resonant Systems …”, at Theater of Diminished Faculties, 23 Jul 012; John Wilkinson, “The Master of the Well of Life”, Ode: The Light Thickens”, in “Draughts from the Well of Life”, in Crisis Inquiry / Damn the Caesars, Summer 2012; Russia Times, as quoted in Matt Staggs, “Meet the JellyRat”, at Disinformation, 23 Jul 012; Luke Roberts, “Terminal Action Committee”, in Crisis Inquiry / Damn the Caesars, Summer 2012; JBR, after Donald Rumsfeld, and after “Conscience without politics is only masochism”, at The New Inquiry, 23 Jul 012 (an extract from Benjamin Kunkel, “Crude Investments”, at n+1); Laura Kilbride, “In Which An Event Occurs (From In the Square)”, in Crisis Inquiry / Damn the Caesars, Summer 2012; Jacob Sloan, “Wild Man Living In Goat Costume Spotted In Mountains Of Northern Utah”, at Disinformation 23 Jul 012 (“… or an albino squatch, which are known for emitting EMFs, thus all the fuzzy photos. Plus, squatch are known hunters. Sheep, deer, no pork. no rice, cous cous.” – Chuck Richardson, Facebook, 13 Apr 012, approx 7:45 PM PDT); Francesca Chabrier and Emily Hunt, “Sorry David, David I Am So Sorry”, Shara Lessley, “The Clocks, Lobotomous”, Hannah Gamble, “Somewhere Golden”, as quoted in Nick Sturm, “A partially blindfolded tour of jubilat 21”, at We Who Are About to Die, 23 Jul 012; Rob Halpern, “Envoi from Music For Porn”, in Crisis Inquiry / Damn the Caesars, Summer 2012; JBR; Clement Greenberg, as quoted in Graham Harman, “Latour Litany of the day”, at Object-Oriented Philosophy, 23 Jul 012; line from a tv ad on in the background, overheard 23 Jul 012 approx 5:35 PM PDT on ion TV; Rob Halpern, Disaster Suites, as quoted in Brenda Iijima, “Some Notes on Rob Halpern”, in Crisis Inquiry / Damn the Caesars, Summer 2012; Simon Jarvis, The Unconditional, and John Armstrong, as quoted in Armstrong’s “Bad lines in Good poems”, at Bebrowed’s Blog, 23 Jul 012; Evan Calder Williams, “& (A film in 13 scenes, scenes 9 & 10)”, at The New Inquiry, 23 Jul 012; David Rossi, in “Reflection of Desire” episode of Criminal Minds; Rob Halpern, Rumored Place, as quoted in Tyrone Williams, “Disaster Suites: The Present Poetics of Rob Halpern”, in Crisis Inquiry / Damn the Caesars, Summer 2012]
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