In the House of the Hangman 1222

Like a gutted fish, she said. Like a submerged memory. One the surface of the water I see an article. Perhaps the nuance is unintentional. Is it a verb? Is it a noun? To jad to   down to    empale / … / Eric Holder in Gonzales’ chair on John Yoo’s lap / to inviolate to   ijaz as   to abjure   to Guantanamo / … / a pair / of smoke-tinted Chevy Tahoes idle / … / in the mirror six thick men / in khakis and white polos drag a feather / merchant into the street [chorus in ear buds]      :       [  translate this page   ]]           ::           [  This piece is repeated twice with two different Audacity echo settings and sounds absolutely amazing – oud particle construction of particles from oud improvisation they come and go as do I ouds come and go as they do time’s arrow is obdurate, fixed, inert, idiotic, supple, subject to relativistic dilations and contractions, but a vector in the large, a diminution of organism, denouement of the temporary coagulation of this intentionality, this moment. So a piece of mourning and a piece of escape. End always comes before end; Zeno’s flight died by increment, nothing was left, spearheads without shafts. Seizing up the weakened cradle your bent-black chest is present to, louder in the gritted wind. Notes of lice tinkle down in sun, hard with malformed lushness, muffled in swathes or a swept lip. You press me volatile to your pure solicitations, which complicates my being ONLY A TOY. Not for labels are their teeth arrowing out like angels sicked on ash vulvar. We make a face, or two, playing for feed at whites with hiccup ‘self / object’: sheathed in PLAYDOH. Slip away knowledge as dust booms the bar; nook hanging as a blond void, to be filled, or something like it. Renders impulse slide nectarine: breaks open the police-helmet, sniggering at small stitch. Speechless with depth, we relinquish flounce & pass on so naked, burnt as a side remainder of what catches in the real light of day. The speaker’s injunction, “today I require ID from all wingless insects” neatly splits the surveilled population into Alatae and Apterae. “Today I am Agent Buzz”. “I crocodile”, “I anxiety”. Rosa Parks did NOT have tired feet. Noel wants to make a fire while Austin stands in the kitchen, his mind reeling, going on and on about what it would be like to SEE THE WORLD the way DELEUZE SAW IT to see philosophy, all knowledge, spatially — as a plane. “My good ‘n plenties God beeps / My sheeps beeps back My bucolic / Redirects …”: “let’s go” and the stanza breaks, leading into plays with the sound of glove, sea, and sprawl. ‘N If there’s no bayou by you / Th’idyll’ll winterize Pipes on piere foundation, Intermatic / digital timer w/ freeze / protect for piping ‘n / pump at lower temp / Wondershare time freeze, freeze guard / preset keys will override pump run time / Frostex Thermostat datasheet / aquaLink OneTouch RapidShare AcuStrip / Lock-in tab: all links open, especially in the stanza beginning “National Contingency Plan Petrochemical Product Schedule.” It’s turn, turn, turn, flirt, turn, until. Insects wings might beat anywhere between 100 to 1000 beats per second; dead zooplankton sedimented for millions of years forms the backbone of the global economy; most things on the solar radiation spectrum remain unseen to us but perhaps registered on the body anyway, somehow; think of the aesthetics of magnetic storms in the upper atmosphere and their weird frequencies. Or take dust. Tonight you were supposed to see the video work The Zone by People Like Us. This work of appropriation art refers to two historic films: Wizard of Oz by Victor Fleming is screened on the left, on the right Stalker by Andrey Tarkovsky. At first, the films seem to be screening alongside but without relation to each other; when Judy Garland starts talking, the opening credits in Stalker are still on the screen. But an increasing number of reference points appear between the images, as if the figures on the left and the characters on the right are communicating with each other. Both films in their original version switch from black and white to colour and the subtle interventions in montage are only apparent when both films are adapted so that this happens at exactly the same time.

[Note: Sources: Andrea Rexilius, “New Organism”, at Andrea Rexilius, 4 Feb 013; Ed Pavlic, “Rendition of a Pyrrhonist”, at Lana Turner; Alan Sondheim, “1878 Beatty Pump Organ w/ Echo !!”, “oud particle construction”, “Cathe on 2/2/13 end of my 60s”, at Alan Sondheim Mail Archive, 1 & 2 Feb 013; Francesca Lisette, “Witness Account 01/12″, as quoted in Dan Poppick, “Dan Poppick (Safety Books #25)”, at Rescue Press, 4 Feb 013; Mike Wallace-Hadrill, Frances Kruk, as quoted in Wallace-Hadrill’s “On Frances Kruk”, in Redell Olsen Frances Kruk Cambridge Reading Series 7:30pm, Friday 30 April 2010, at Plantarchy; JBR (4 Feb 013 is Rosa Parks’ birthday); Jackie Wang, “at the new years eve party i sit on the couch …”, at Ballerinas Dance With Machine Guns, 4 Feb 014; Judith Goldman, “Negentropics [Large Eddy Simulation::Amoebaean Song || Naptha-Corexit Remix]”, and Drew Kalbach, as quoted in Kalbach’s “Goldman, Pastoral, Turns Galore”, at The Actuary, 4 Feb 013; Jussi Parikka, “New Materialism of Dust*”, at artnodes, Dec 012; Vicki Bennett / People Like Us, “The Zone”, at People Like Us, 14 Jan 013 (“The film was only screened once before being silenced by a legal claim by Mosfilm, the owners of … Stalker” (Vicki Bennett / People Like Us; the quoted text is from an onscreen statement that was projected at what was supposed to have been the second showing)]

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