At this school of the engine with the stone of war the road grass is possibly dense, the sentence names the wall you choose, knowing somewhere down the road there is a small library containing the Internet in Printas well as an antiquated here-be-nations world globe. The bees die angry. “The Day Is the Heart” … was I chewing was I glancing was I folding in the sheets was … enter the listing shadow, enter the lather, the hissing where the horizon sinks, needles scorched in coal oil, the result of lying as flat as a parallelogram on a hardwood floor. You are a Tuvan throat singer steering a dark boat on vibrations alone. Infusions bevel toward circular. I knelt down and drank from the dog’s bowl, the burn now passing me is earnest and more unfold, yet inexplicably do I flourish and remain the luckiest person on the Left Coast. This is what. When I smell myself approaching, swallowing lit matches, 2 dimensional, a genetic delta, my flame will never stop. What does art museum mean? We had no luck with the weather and the guests at our table were repellent in every respect. They even spoiled Nietzsche for us. Even after they had had a fatal car accident and had been laid out in the church in Sils, we still hated them. In all cases, the number of actions of each symbol determined duration (so that a circle, which takes on hand motion to create the form, would last for one minute … and an x shape would last for two minutes. the most complex existed for six minutes). Similarly, in all cases, I tried to use the surface of the cymbal as a piece of paper or canvas, so that each symbol was ‘drawn’ upon the surface of the cymbal – so that an x might be scraped across the top as two lines or perhaps an x might also suggest tapping the cymbal five times – two on the upper half, one in the center, and two on the lower half – so that the dots would also evoke the shape of an x. The task, as Brecht outlined it in the 1930s, is hideous, massive and brutally simple: The Cold Burn, like a vast hive covering the body and rubbed with menthol. Wouldn’t you? Dream animals come to claim us as powers of the deeper world, if I’ve said this before (and I know I have) I’ll just repeat myself, if I’m left out reading a prescribed betaphysics taping shake as a proleptic instruction manual for using the display-case tv’s remote to shank the biopolitical elevator to a planetary zero, then there’s work to be done before “tomorrow,” a plan of action (“decentering the polypolar lattice”) that need be dispersed asap. Questions necessarily arise: And from one of the angles pocked into the surface of that angle, the potential of an organ to function as a fractal chunk of applied utopian vision’s ectropic glow. “Ectropy, in a loose sense, can be thought of as the opposite of entropy”: to adjust the pressure on the valve you turn the bolt that protrudes from the bell shaped part of the valve see photo below. I put my hearts in there, you say, using the plural. The night we met she was drinking heavily and had become obsessed with something she had read about, a subspecies of people born looking like goats – hairy faces, amber eyes, a muzzle. So pet ants devour thee, dread shadow host, light curtains can automatically detect when an operator moves … In the shipping room, there is an Average locked terminal. We have already encountered the plasma convection across the polar cap. If a companion discovers it first, it will instantly become hostile. Who needs digestion when there’s architecture?
[Note: except and / or until as otherwise noted, I mined Shadows of the Future: An Otherstream Anthology (ed. Mark Vincenz), at Argotist Online; Sources: mIEKAL aND, “The Inspection of the Z”; Ivan Argüelles, “Vedanta”; JBR (not Vincenz); Michael Basinski, “The Day Is the Heart”; John M Bennett, “X (in the rain,,,, …”), “Enter”; Jake Berry, “Lord of Shelter”; Lauren Marie Capello, “December Nineteen, 20eleven”; Aleathia Drehmer, “The Queen’s Reich”; Vernon Frazer, “Process-ing”; Howie Good, “Muse”; Keith Higginbotham, “Cezanne’s Bikini”; Matt Hill, “Lucky Terrains”; Susan Lewis, “What I Need to Be Doing”; Dan Raphael, “Drunk on Bacon”, “Whistle While I”; Sarah Sarai, “The Philadelphia Art Museum: The Place of Weeping [Hafiz]”. End of Vincenz. Thomas Bernhard, “Hotel Waldhaus”, in The Voice Imitator (tr. Kenneth J Northcott), quoted in Benjamin Noys, FB post, 29 Sept 013; Steve Roden, “symbol/cymbal”, at Steve Roden; Sean Bonney, “Further Notes on Militant Poetics”, at Abandoned Buildings, 27 Sept 013; William S Burroughs, Naked Lunch, at DEPOSITION: Testimony Concerning A Sickness; Robert Moss, quoted in Jacob Sloan, “The Hidden Meanings of Animal Dreams”, at Disinformation, 29 Sept 013; JBR; Justin Katko, “Editor’s Note”, at Plantarchy 2; Google; Kieran Daly, “Testing Water: A Play”, in Plays / For Theatre; Kirsten Kaschock, “aria#3”, at Kirsten Kaschock’s Sleight Book, 29 Sept 013; M John Harrison, “the dead never answer you back”, at the m john harrison blog, 27 Sept 013; Fabian Macpherson, “Merchant ID”, “Sunset Sarsaparilla Headquarters”, at summer stock 7; Sophie Mayer, “states of emergency”, at summer stock 7]