trACked her TendOns to a buRied pearl heart

The Tin Woman scares crows,
pale cybernetics, hair-wires curl as altered clockwork ticks,  
fragile fission,
plays like psychoactive anarchist archeologist,
sifting soil-noise under wind-hymns,
fuzz-fractured sinews spewed hot in secret,
but she dug through the scuzz with glass head, metal hands

Salt Sculpture

The quick brown fox jumped over the lazy dog
The quick brown jumped over the lazy
The brown jumped lazy
The brown jumped
he owned
he wed
ewe
we

.....The Slumber Drug.....

....sleep is my substance.........................................................................
.......................................................................narcolepsy, my narcotic...
..............................................................................................................
.............................................................................................................
 ...................................the gates start closing at 11.................................
 ............................higher functions dropping like dominoes......................
..............................................................................................................
.............................................................................................................
...........yes, rest embalms my mind in bandages...........................................
..............................................................................................................
..............................................................................................................
..............................................................................................................
..............................................................................................................
.............................................................................................................. 
.........................which, waking, I unwrap..............................................

Count to 10

                                                                                1,

        2,

                                             threefour,



ffffff555555555fffffffiiiiiii55555555555iiiiiiivvvvvv5555555eeeeeeee,

                           6,
                               7 ate 9




ten.
 

Evening Becomes Alembic

filtered through the               ALEMBIC                    filtered
yes, purified through the             ALEMBIC                    purified
of vowels, within the                  ALEMBIC                    f vwls, wthn th
fffffffffiiiiiiiillllllllttttterrrreddd        ALEMBIC                    filtered
like magic                                     ALEMBIC                      it's alchemy
your meaning becomes                ALEMBIC                    the meaning
purposelessness becomes            ALEMBIC                    purposefulness     
purposefulness becomes              ALEMBIC                             alembic

enjamb session

i can still keep time

while slithering sips slipping

tongue twisters, benders

mental bear traps beer taps

taper

tapering

ring

ring

knock

knock

gnarled knots of knowledge

yes i can still keep time while slithering
sips slipping tongue
twisters, benders mental
bear traps beer
taps taper
tapering ring ring knock
knock gnarled knots
of knowledge

oh i can still keep

time

while slithering slipping

tongue twisters, benders mental bear traps beer taps taper tapering

ring

ring knock

knock

gnarled

knots of knowledge

st8ment (burp)

refuge in gibberish
for gibberish cannot be misinterpreted
safety in numbers
for numbers are objective
nonsense doesn't kill people
people kill people

"1"

1.
NONE NEON ONE ON EON NOON NO
ON NO NOON EON NEON ONE NONE
ONE NEON ON NOON NO NONE EON
NEON EON ONE NOON ON NO NONE
NO ONE NOON ON NEON NONE EON
EON ON NO NONE ONE NEON NOON
NOON NEON NONE EON ONE ON NO

2.
NONENEONONEONEONNOONNO
ONNONOONEONNEONONENONE
ONENEONONNOONNONONEEON
NEONEONONENOONONNONONE
NOONENOONONNEONNONEEON
EONONNONONEONENEONNOON
NOONNEONNONEEONONEONNO

3.
NONENEONONEONEONNOONNO
ONNONOONEONNEONONENONE
ONENEONONNOONNONONEEON
NEONEONONENOONONNONONE
NOONENOONONNEONNONEEON
EONONNONONEONENEONNOON
NOONNEONNONEEONONEONNO

4.
N1NEON11ONNOONNO
ONNONO1ONNEON1N1
1NEONONNOONNON1EON
NE1ON1NOONONNON1
NO1NOONONNEONN1EON
EONONNON11NEONNOON
NOONNEONN1EON1ONNO

5.
N1NE0N0NE10NN00NN0
0NN0N010NNE0N0NEN1
1NE0N0NN00NN0N1E0N
NE10N1N00N0NN0N1
N01N00N0NNE0NN1E0N
E0N0NN0N11NE0NN00N
N00NNE0NN1E0N10NN0

6.
90010NN00NN0
0NN0N010NNE00N1
1NE0N0NN00NN0N1E0N
NE10N1N00N0NN0N1
N01N00N0NNE0NN1E0N
E0N0NN0N11NE0NN00N
N00NNE0NN1E0N10NN0

7.
90010N00N0
0N0010NNE00N1
1NE00N00N0N1E0N
NE10N1000N0N1
01000NNE0NN1E0N
E00N0N11NE0N00N
N00NNE0NN1E0N10N0

8.
90010120
0N0010NNE00N1
1NE00120N1E0N
NE10N10000N1
01000NNE0NN1E0N
E000N11NE012
12NE0NN1E0N10N0

9.
90010120
00010NNE00N1
1NE00120N11000000000000
NE10N10000N1
01000NN1000000000000N11000000000000
E000N11NE012
12N1000000000000N11000000000000100

10.
90010120
00010NNE00N1
100120N11000000000000
NE10N10000N1
01000NN1000000000000N11000000000000
E000N11012
12N1000000000000N11000000000000100

11.
900XXII0
000XN1000N1
X0XII0N1X00000000000
1010N10000N1
0X00NNX00000000000N1X00000000000
E000N1X1XII
XIINX00000000000N1X00000000000X0

_________________________________________________________

Translation Key:

ONE becomes 1

O becomes 0

N1NE becomes 9

N0NE becomes 0

N0 becomes 0

N00N becomes 12

E0N becomes 1000000000000

1NE becomes 1

10 becomes X

12 becomes XII
NE becomes 10

a pop hen i a

t       hespon 
t                          an 
   eo         us  p                              erc  
        e
                                       pti
onofco
n                            n                                       e                  
ct                                                  i             o      n      sand m
                e     a         n   i                     n      gfu        ln
          e          ss i               n 
                           unre                                 la          
  t           e              d t            h          i n                          g              s

A P O P H E N I A

- "the spontaneous perception of connections and meaningfulness in unrelated things"

- "the experience of seeing patterns or connections in random or meaningless data"

- "the perception of or belief in connectedness among unrelated phenomena"

- "The spontaneous perception of connectedness and meaningfulness in random phenomena: seeing patterns and connections where none exist"

- "Pattern recognition itself can morph into the disorder apophenia, 'the spontaneous perception of connections and meaningfulness in unrelated things.' Which means that even when Pollard discovers The Footage's maker, it's an ambiguous - and potentially apophenic - resolution. Are the subtlest patterns we see really there? To Gibson, the most satisfying moments of our reality are possibly just reflections of our needs and dreams."

& to chance

To English actors with undetectable American accents—somehow, it seems, that’s the way it’s meant to be

To the happy black toddler in a room full of whites, who means every smile

To a sister in art school, at the nexus of everything

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

To friends who call unexpectedly & happily

To the library reserve system stream, its fingers in every delta

& to the chance to change

a verbal noun that at the same time throws

 Singing songs

     Writing psalms 
           Reading palms
                Righting wrongs

                     Banging gongs
                          Asking alms
                              Staying calm
                                   Going long

                                        Looking on 

                                              Lobbing bombs

Besides,

I take one side                                         You take the other side!
This is the second line                             This is the third line
This is the third line                                 I take the other side
You take one side!                                   I take the fourth side!
You take the my side                               For I side with my side
My the sideline I                                      You one the mainline
I'm on your side                                       This is your side
This is your side                                       I take one side
You take both sides                                 You take both sides
This is the second line                              This is the last line
Besides,

mosaic take 1

MOSaIC M|O\SA.I.C
m0$A!c m...o...s...a...i...c
Mosa:C OMASCI
yMyOySyAyIyC mosaic
M0SAaaAaaaiIC mos&c
MO           SA           IC
mosaic moSAic mosaik!

Do you agree?

Do you agree with the statement that "First they heard a familiar song all by itself. Then they heard the same song buried in white noise."?

Cheekfast of the Brampions

Jelly butter & peanut
Scrambled up sunny & eggs side
Milk of glass
Bagel cream with everything cheese
Salad fruit with strawberries of chunk, bananas of slices, berries blue, apple reds
Cakepans on syrup
Malaprop-flavored yogurt of cup

All the Nudes that's Fit to Type

Not naked but nude
Knot nakidd butt newd
Nott naykid bhut nood
Knott nakehd buht nuud
Naht nayhkhd bhuht nuwd
Not nude but naked

Outage

My power was out this morning, and by "my power" I don't mean the power in my house, I mean my power.

tympanic membrane

Something to stop the boredom! A joke, a project, a distraction!
Splatter neurotransmitters across the mindscape!
-*` ,
<^>
~./
Writing without writing!
Another day done!
Listlessness!
Rhythm!
Linking a chain towards eventual epiphany!
Tap!
Tap!
Tap! 

The error of the retained image

1. Chess board
2. Square on a chess board
3. Player viewing a square on the chess board
4. Player viewing that square on that chess board not as it is in reality
5. Player viewing that square on that chess board not as it is in reality, but as it was one or more moves ago

—in this manner, we fail to adapt to the changes, the current reality, the progression of one moment after the previous—

—superimposing memory over our own optics, we remain imprisoned in our idealization of the past.

6. Player viewing that square on that chess board not as it is in reality, but as it was one or more moves ago, makes a move which acts upon this conception, or fails to anticipate a perspicacious move by the player's opponent
7. Player viewing that square on that chess board not as it is in reality, but as it was one or more moves ago, makes a move which acts upon this conception, or fails to anticipate a perspicacious move by the player's opponent, and, in so doing, loses the game.

"Tell them what you did"
Zoom. Let me make myself clear. Clarification. Cleverness. Wistfulness.

Data storage

Data storage: tell different people different stories so you can piece together the fragments/get the full picture/remember the whole truth/store pieces of yourself with your friends & acquaintances/forget the information/make room for additional stories/cultivate an air of intrigue/honor the multitudinous nature of your self/not be tied down/call attention to the irrationality of the universe/be unpredictable/loan out your personality/actively engage with the faulty process of memory/comment upon the digitalization of our identities/repeat yourself/tell different people different stories so you can piece together the fragments/get the full picture/remember the whole truth/etc.

///Much audio about nothing///

///Much audio about nothing///
\\\Much audio about muting\\\
///Much audio about mutation///
\\\Much audible about mutation\\\
///Much audible above mutation///
\\\Much audible above mutilation\\\
///Mucus audible above mutilation///
\\\Mutual audible above mutilation\\\
///Mutual audible above mutation///
\\\Mutate audible above mutation\\\
///Mutate mutable above mutation///
\\\Mutate mutable alphabet mutation\\\
|/\|Mutate mutable mutational mutation|/\|

Eadweard Muybridge

A[][]m[]a[]n[][]l[]i[]f[]t[]s[][]h[]i[]s[][]a[]r[]m
a+a+a+a+a+a+r+r+r+r+r+r+r+r+m+m+m+m+m+m


A[][]H[]O[]R[]S[]E[][][JUMPS][JUMPS][JUMPS]
j————U———M———P————s!


[A]||[w]|[o]|[m]|[a]|[n]||[w]|[wa]|[wal]|[walk]|[walks]
,>w>,...,>a>,...,>l>,...,>k>,...,>s>,...


((((((N((((u((((d(((e(((d(((e(((s((c((e((n((d(i(n(g(a(s(t(a(i(r(c(a(s(e 


EEEEEEAAAAADDDDWWWEEEEEEAAAAADDDDRRRDDDD
; My bridge ; Muybridge ; Muyyybbbrrriiidddgggee ;

Still Life with Painting

Hello, my name is "This painting showcases Picasso's use of common materials in an unorthodox manner."
I live at "The printed pattern on the wax cloth conveyed the illusion of chair caning."
I am in love with "The pasted paper appears to be something else than what it truly is, while the rope framing it is a tangible object."
My friend's name is "Shortly thereafter, Braque found a roll of wallpaper with an oak pattern, which he then cut into pieces and integrated them into a drawing."
In the evening, we took a walk through "These endeavors eventually led to pure surface textures being contrasted against one another and forming a coherent artwork."

Madlibs. The terrain of grammar. The life of the sentence. Still life. Meta. Collage. Simultaneous. Parallel. Playful. Painting without paint: painting that is not painting; writing that is not writing.

Text taken from Cubism by Dorothea Eimert, describing Still Life with Chair Caning by Pablo Picasso

the messiness of an index

Real estate

The realest state

Exfoliate vs. exsanguinate

Ex (out) peri (cut) ment (mind) ation (process)

Pericope

Re-contextualize

Basalt

Total Information Awareness

Iam thNnoOoiIisSseEe inYour system

ThScream! ofDissent

candlestick; bottlecap;

thTwist-ed association

?Divergence \or/ annoyance?

Decibels through thPipeline, Iflicker

Still tryingout Inflection

CobBbBled togethther

missed takes adn misspelligns

junK

thRandom

electrochemical

co>nn<ection

"a complex system with unique solutions for waste"

(C)irculate SPARK

if I no one is watching then I am invisible but

if no one is watching then they may still hear myNOISE

myFUZZYNOISZE

)invisible but not inaudible(
I am

Run-on

phraseSjoineDlikEconstructioNolDboardSoFwooDunpainteDunrhythmiCtoOlineaRabolisHthEsentencEexplodEiTfroMthEinsidEdon'TmakEmEreaDanotheRlimPdeaDsentencEpleasEalLIseEiSthEmechanicSoFiTgearSturninGobscenEcogSlockinGwithouTfloWwherEiSthEliquiD?leTiTdriPyoUcaNstufFyourselFwitHyouRsentenceSbuTwhYnoTdrinK?...

Shed-ule

nOOse to thGrindstone
TryItOnforSize
then bakxs againstthWall &
it'sTime forCompRoMise

An Aphorism of Crude Ambivalence

Writing—a biological process, best performed in private; reading what I've written is like watching me while I pee...

I've Just Written Your Next Blog Post

EEyes ssplash-off thPage
L00kng forSomething toDo
BOREDom i=s AnUglyThing
I'"'"'m knot a11 write
I had written a nice piece about Thanksgiving but I thought I'd save that for Thanksgiving---I mean it's not especially breathtaking but the warmth is there
Breef intrrerrruptionsOfSanity
E.E. Cummings, E.E.at your HearT owt
"
that's not music, that's -t_-y_-p_-i_-n_-g
"
!towel!
Trying to write is like c/a/r/v/i/n/g/ with a \k\n\i\f\e

Friday Night Writes

Sore throat
Burnt tongue
Starving speech
Ability to inventory
Stereo system
Internet connection
Mystical incantation
Schedule to keep
Television series
Where am I?
Counting days
Cell phone charger
Chicken soup
& all the trappings


Taking stock
Of cliches


If the phrase-shoe fits, wear-write it

& all I have to write is in here:
ABCDEFGHIJKLMNOPQRSTUVWXYZ
But all I have to say is in here: 

Expedition

Falling a sleep is like climbing amountain
,,,then buried by weight ofs oftest avalanche,,,
And waking back up is like fighting quicks and
,,,me me rging with wet pull, from want ing to want on,,,

Select yr Anesthetic

Select yr anesthetic
To protect against
Being away from                            yr friends
Losing yr ability to xknrrskceyqjjdamsjcdfn
The jaGGed wires in yr brain
The need to (X)






crumple

Sleep now, or forever fall to pieces

Sleep---sense of self, sense of everything? balance, significance, memory, knowledge?
(Is sleep everything?) Without it, we die.
Dreams---a story we walk through/create in the raw process of...defragmentation, reorganization?
Oneiric: relating to dreams
Without processing, we are nothing---or too much
Time to strengthen the tree roots, to crunch the mind's detritus
To grow back the limbs that were cut off while awake
To lose ourselves & stroll through oblivion

Daylight Savings

Waking in white, save me from daylight
Weary, half-dead, with a steel wool head
Window's supernova has frozen my bones
Which echoes cold drones of unanswered phones
Wired to my bed by the day's webs of dread
& when it's time for night, I'm still not all right

Keepsake

i threw away her keepsake
in the hopes that this would free me
but now i feel a phantom limb 
in the place 
where her keepsake
should be

Genesis

My favorite story in the Torah is Genesis 1.

After that, things get exponentially less interesting.

In fact, I really only like the first ten verses in the Torah.

The chaos unformed and void is cool.

But the best state of affairs for the universe is when everything is water, with an inexplicable, indescribable expanse somehow separating, in directionless existence, the water above from the water below.

I imagine that this would be prime real estate for me.

Polarized. Expectant. Full of potential.

Charged with paradox. Ripe with concept. Impossible and pure.

And then land and vegetation comes in, and animals, and, worst of all, humans, which ruins everything.

I start to lose attention about then.

Give me the abstract any day. 

Broad strokes. 

I wonder why, in this story, God decides to create.

Why He did not stay content to dwell in the space of that second day. 

I prefer Him when He is at his most creative, before He starts to destroy anything, or take an interest in the affairs of man, which could be the same thing.

In the Kabbalistic tradition, God is Light without End, and creates the universe by receding, leaving space for us to exist.

If God were to return, He would obliterate everything, because God is total.

When I was a kid in Sunday school, we were asked to draw what we thought God looked like.

I drew a white man with a white beard.

Other people drew wind blowing and shit like that.

It was then that I first realized that I had a problem with authoritarianism.

With believing what people told me, and following what they told me to do, and actually believing that I myself had originated those commands in the first place.

And that I was not, in fact, the most creative person in the room, but just as capable of closed-mindedness and fear as anybody else.

But I still believed that God talked to me, and that the leaves had feelings and thanked me for not crushing them on my way to school.

That my imagination was as real as anything else.

The world was so much more alive back then.

I played with plastic robots I had made out of tinker toys, and invented a television show for us to star in inspired by Deep Space Nine and Mystery Science Theater 3000.

I called this show, which I was obsessed with, Space Out.

After years of this, I eventually realized that my toy robots were never going to be onscreen, and so I sadly let them go.

It took too many more years after that to let go of the idea of God.

learning a skill

i have always stopped just short of learning a skill
in order to maintain my mind as 
a pristine prison
filled with billions
of cannibalistic
bats

(I Need Proof)

If I don't do this, what am I?
If I don't          , what am I?
If I don't          ,         am I?
If I                  ,         am I?
                                 am I?
                                      I?
                                       ?

costuME

Who are you wearing? I'm wearing me. This skin is my costume, a disguise all can see. We dress up to stand out, kick back or fit in, but the outfit means nothing without you within. You pretend that you are what you wish that you were, which reveals what you're like, or so we can infer. 

Whether half-stripped risque or wrapped tight in a sheath, every costume reveals that we're nude underneath.

No Manifest O

[H[Hh[h[ow[will[people[K[Kk[k[now[w[wW[W[hat[[IIIII]'m[saying?[
Tttheeey-wwwonnn't—buuuut-thththeyyyy-dododon'tn'tn't-knOWknOWknOW-an_y_way-.-.-.voweldismorphia.thenarrativeisnarcissism.narcolepsy?notes.allweneedis

pleasingsounds

—soundsthatmakemood—soundsthatplay,jumpthCognitiveplasticmake.like repositioning bricksx—like MOVEng all/some %f thBricksx ovr...

[({peace in discord})]

{[(peace in pieces)]}

({[peace in tomorrow promise]})

On the Moon - Celebra8ng lOO P0STs

That's (1)ne small step for sound—(1)ne giant EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE form 

       and

                             kind     

MY POEMS ARE NOT TO BE READ BUT STARED AT

self-titled

writing that is not writing
information that is not information ,i trip the light stochastic

couplet cup let coup pleat
attached detached attachedetached attach d etach d a tach d tach d

braek ;t d(w)n

I M Insyular
Baqhw air !I! be E_l_o_n_g8_a_t_e in finity

(sigh-nd,
i am self-titled)

wi al fawl don (Nursery Rhyme)

thSent10s ;s Up, wh!spr
Shamans & charlatans, spaekng
in can't ate shun sINgINg
s'ongs o'fph ther'apeutik
Deba-sing, deface-ing
We all is synecdoches

Schizophreniallegiance 2the Phlag

H&nd ovryear haert..........................

Y pledg aElegance / tOOth a flak / %f thYou knights dead stay soft: "Um, Erica?" / &2 thReap Ugly / forest :t stands / overgrown --- WHole & full of holes / A lie Nation / with hYper-selfconsssccciousssnessssss / &just itch / 4 Allah

Stick this on a skateboard

Inner Interview I

Q. Why do you write?
A. Because I wouldn't have much if I didn't. Oh, and I'm in pursuit of something. Perfection, epiphany, whatever you want to call it.
Q. Why pursue this something through writing?
A. Well, that's just my particular tool I use. There are any number of ways to go about it. I think we are all pursuing these unanswerable questions in our own way. Is writing any better than, say, painting? Can you do more with words than you can do with pigments? I think all of the arts are cross-curricular, borrowing each others' strengths, and learning from each other, so maybe it all evens out. And, of course, this could be done with science, too, or mechanics, or anything. It's whichever medium you're drawn to.
Q. What draws someone to a particular medium?
A. The way their brain works.
Q. It's that simple?
A. Well, that and the experiences they have that lead them in a certain direction. Maybe it's whatever provides the best pay-off. But of course, the other thing that's involved with that is effort. People will tend to go for the thing that gives them the most pay-off for the least amount of effort. I mean, that's why I stopped drawing, really. My ability stopped at the level of doodling cartoon characters, because I wasn't willing to put in the effort to get to the next level of ability. So maybe I just write because that's the easiest medium for me, and I've practiced enough that I'm at a certain level of skill.
Q. So you see it as less a question of finding your true voice or medium, and more as a matter of laziness and compromise?
A. (Laughs) Yes, yes, I do.
Q. The converse of that, though, logically, is that if you practice at something long enough, you will approach a level of mastery, and perhaps that could happen for anything that you commit to.
A. Right, yeah. Makes me think of the idea of the Renaissance Man, or any of these people nowadays who try their hand at any number of disciplines. I suppose it's about being good enough at something so that it flows out of you, intuitively, eliminating the need for a certain amount of editing or struggling. And you've already got it at a high enough level that you can only improve it from there. I'm definitely jealous of people who have mastered many arts, but they have put in the time, so...it's earned. Their skill, not my jealousy.
Q. Beyond being jealous, aren't you also a little bit afraid?
A. Afraid?
Q. That you won't be good enough, that you'll fail, that it'll take too much time...
A. Sure. All of that. We all have fear, don't we?
Q. Sounds like an excuse.
A. Yeah, but if I don't have the ability, then I'm not able to do it.
Q. That's why you train, why you practice, improve...
A. Yeah. Well, right now I'm improving my ability to not give up. To try.
Q. I don't see how you can improve that ability without...trying...
A. I'm trying to try. I don't have any more for you. There's nothing else I can say because it would just be more excuses.
Q. You're very uncomfortable with this, I see.
A. End of interview.