Wednesday, April 20, 2011

Note-sketch of 4-20-11 class experiments in re-texting claimed spaceships

always more questions when I leave:

tangled tentacles with ball plugs, octopus, stretch out
growing branches from branches
setting out angled

of course there was a slow ghost blimp
the armpits of plants branch animal
cognitive mapping, napping cats banking drat holes in roofs for water'll come through

breathing oil grid

birth defects in the.

fell like dying.

ground. i feel hurt. and very batter is against me.

modular grid, modular mouth....

garbage takes no resistance in your mouth it melts in the how sun. i see but do not see, got black plastic bags wrapped and ruined it. masking tape.

"why i just thought it was more an examination OF JUnk. Which was junk and which was his junk."

"The motis-operandi"
"The little segments that were like the butt couplets, all fit into each other in a weird collective way. It's almost , oh back in the day, It's like a temporal derive. You have to define the past as glance over the shoulder"

"nostalgia contention. Longing for a past that was, or wasn't, or criticizes the longing for the past that was. And economic mechanisms build character non-starbucksy neighborhoods with a reall-small-wontown feel. Like compared to economic mechanisms that create insurance for insured peasant invisibility class work at work analogous that create the bed rails garnish soil for a gentrified diverse equates to divide. SWEEP THE INVISIBLE OUT. More wallmart and the war-hole. immigrant labour efficient productive prisoner. Collective nostalgia:

aural community. looking at the past lens mirror-zed crystallized formality tense work veiled, got so I was hoping parenthetical.

[collective archive. made my stomach drop. i jumped down from my high horse. flickers pass before I can open open my mouth. detritus, dead skin sloughing off, and all that junk.]

the subconscious form ideas that had died a long time ago walking on the shore
the story of williams who is Ne w york, and also collective montage jazz new york LETTERS 4 volume of life's work Ginsburg and song of multitude of self-hood, and repressive dangers vietnam and numerous.

tradition. straight. classical. non-pretentious. judicious. we lay there in the sun, i glare and face your face and know i am already dead. just another piece of green beach glass.

what gets treated as object, ephemeral, referred to, present -past consumed, subsumed, date signatures, and a construction of sentence essay contraction past-tense sentence past tense sen-tense.

immediate past last week yesterday in my no more time cell zone.
NO buck. no rebuke. now buck.

ephemeral even that can utilize uh What?
I bracketed you.

It came with enlarge thing. The past that has never yet to occurred will have yet to recur.

Mis a poor-piate the past. Misappropiate the mask.
Reappropiate the pasture. Reapprpiate the masquerade.

Not natural. To me it makes total sense. Disney and CIA studios impressive military connection not temporality and use of the space, military complex and commercialism.

Not wanting art. Being careful about appropriation.

To move on beyond the past-form with new, old, aesthetic qualities.

Can you resurrect the past? If not why be careful then?

what will have been
what will be, will have been

might be going to have lived. might have lived to be going.
who Narrates What from Where for Whom

what will have been control, convince future history, untold un set in stone, re-told reset rest reset in tone.

tense on the level of the sentence. that there are actual people who make essential narrative, it is not non-fact.

the future could be put in the past. may not be as effective. not unpacked. must unravel. need to take acid. acrid. axis.

GOsomewhere else! you've been here too many times before.

running miss- ing. became napping, chart improvise seem- ing

language is power and archive not aware of themselves and expository

precisely dance with me, shove ____ in my whittle room thing.

YOU HAVE TO co create this WITH ME! I AM parametering your PLAYGROUND.
political moo.

poetry as tour and archive. piece uses organizing as a way for access a way of thinking about activism as an aesthetic relationship to the world.

frame to be framed.
framed by your frame.

i believe you can change the mind with language. we are attracted by nature to what is familiar , our brains are very alert to what we know. we can change our habits, though we will always be attracted to the familiar, we can choose to create new and unfamiliar language that slowly resets our brains to a balanced, where what is familiar always changes, as it is with what is unfamiliar, for as the unfamiliar become visible it steps towards the territory of the known, and the past. Every new idea has the opportunity to become an old one.
Poetry as practice of the linguistic pulls on our lens.
To recreate language, is to recreate the nature of our reality.
To recreate language is to recreate how we communicate
I am under the assumption that language has not yet reached the capacity it has to transform our communication. To transform our minds, our awareness, our use of the spectacles.
The more normative apples, situationist co-optation of organization.

live-enactment built-in organizing components.
just as much proxy. praxis.
temporal cerebral cortex strategy.

pace actions. not even directed. greeting cards at pace to give out some poetic exchange. so even in un-directed pace actions.

poem is the live event poem is the live event poem is the live event poem is the live event.

all is somewhat anemic without its live component
live blood plug

very direct activist message contract NOW pretty simple we get it
the public face
the private face
the picket face
the office face
the strike face
whatabout whatabout whatabout
on like a really fine aren't any answers only precedent level
only classified more and more draw someone in if you want people to come in, but 5 out 10 people are not going to hear you. coat-switch into different milieus.
FUTURE ANTERIOR wide open POSIBILITY unchangeable falling apart future tense.

in a public space, in a public way. kind of inviting conversation.
provocations of what-kind-of-world-you-want-to-live in. The people we feel some sort of responsibility towards. a provocation. dialougically, organic provocative, ITSSAYING let's keep in mind the clock is ticking. the future us, is around the corner, we want to be co-creators in that future.

UPTO US. Help ma write the story.

whose vision whose picture whose fever dream
all…. I…,…. see…. is ….. me….

very 2 blocks of text rearranging so tripping over bumpers sticking over on steroids.

if you saw Jesus you would all see all the war stickers a rabble-rouser… I have a question that uh pertains.. em and a couple friends drew chalk signs on campus
but it WAS such sloganeering that, other people could LAsso it quickly. These kids, it's graffiti.
My homework assignment is graffiti. My homework assignment is blurring the action so as not to be lassoed, so when the dude comes up, they question what is going on. we've already shot ourselves in the foot by simplifying our objective.

the best way to change the world is by organizing with each other in solidarity.
we need to be both impatient and patient.
we will have or have that discussion, that anterior, that ethos of the march, depending on how activist you want to be, this is a class on aesthetic relations to reclaiming public space. amount of rally or mass, a diversity of things YOU work may call on a difference of convention..
clear in our indirect bud, blur them later order, second convention history mentions active movement on parallel course than poetry similar exception of picketing line and getting to play the crappy instruments you don't need to know how to play. when you're in a picket like and warm our hearts jazz. health. care. marching band. coalition. that allowed us to hold the line. and have that conversation in each of our person-type hearts. Discuss our own actual experiences. Sarcaustic asshole. Niche for very kind of type. 12 34 5. All fits in here.

Theres a reason that doesn't have all these real world.. cough up… commodify exist at one time one existence mirror land

like landscapes of descent. where desires are met, and see, reorganized, fought out.

written to here 4-20-2011 in public bathroom floor 1

from 7:30pm until 8:09pm


1 comment:

  1. As I closed my computer in the now-dark bathroom, I realized my legs had become almost completely numb. I used my right leg to stand whilst I shook my left leg like a baby doll. It took 5 minutes for the feeling in my legs to come back enough to open the stall door walk out and therefore get the lights on. Kind of weird, I'm afraid of the dark. I held on the door to swing myself into the "common space" of the bathroom to to trick the light really before I could stand, out of fear. It felt dramatic. I like being in confined spaces.