Folio #14

without names or any other proper geographic indications

August 30, 2009

 

a nation into a skein

contours and names / her labored exactitudes

She elaborated on a / far more complex him / hymn

reckless                       gestural

She is bright and agitated / in her execution / greyed down

1961-1963 / signature affixed / a rare explicit indication / her

a monumentality self-summarized

He increas ed her / rhetorical range / Bitterness underlined in yellow

Their home was / quasi-narrative

She appeared in hinged sections to him / diagrammatic instructions

He was a series of mechanical / indices

The body as lithography / unprecedented

encas ed constructions

a newly acquired beach / waves in sheets of translucent plastic material

active and often / the last of them heavily

Posted in 46: ELECTRONICA | Tagged

Valparaíso and Tourist

Before the broken edges of an old city’s coast;
before the waves breaking on the wharves;
a city lost in the fog tumbling in from the ocean,
in snakes of fog sliding down from the mountains,
I’m tumbling through skins to my origins.

I am tumbling and my skin’s shade is changing;
I am the television virus, my skin is brightening;
I am from the land of ether, of foamed milk;
I am the loved one, only ever the one, the one loved for being one;
I am the one writing with all my weight.

A trail of footsteps across the stars;
I’ve scratched away footsteps one by one,
each step burnt a field, a mask, a dormant carbon mass;
I’m nothing but masks with eyes of furious sulphur;
I am a moon in search of a planet in search of a moon.

If I was in love it was with a woman becoming a man;
if I was loved it was by a world becoming a woman.
I was never loved by the grumpy old goanna;
I was never loved by the wings of the circling goshawk;
if it was love it was a chain of grumpy old ions going senile in the galactic mirage.

I have been loved, but only on occasion,
and I am loved, but only by staggered occasions;
staggering past hollowed buildings: empty teeth,
screwing them hollow for my filthy heap,
the fact is none would love me if they could see inside.

As a living thing I am growing outwards, spreading;
as a living I am fattening, spreading outwards, phoning;
as a dead heart growing;
as a dead heart sprawling over tarmac
while the black skins of the bitumen places sizzle underneath.

For my living I am ripping off their rhythms;
I am ripping off skins, buying the hearts of places;
I’m spreading cancer thick like a famous yeast;
this strange old city tumbling down in granules;
cancer is dancing in the memories of my metal cells.

So come to me on a lonely night when I least expect it;
come to me on the one night I most deserve it;
come to me, roll to me over the lonely hakea and the singing she-oak;
look for me, come to me, hold me and learn me,
we’ll meet by the edge of this crumbling city’s dreams.

For left alone I ferment into lonely flora;
I become the stench of the alcoholic plagues;
I reach out and devour the seeds of places;
I gain weight and lose it immediately in their throats,
my stinking ferment causing them atrocious choking spasms.

You’re coming to me in the night furthest from my origins,
we’re walking down the most sacred, cobblestoned streets;
I’ve taken your hand and your hurtling music
and I’m rolling slowly over your bleeding tongue,
for I am the gum plague, the gases crushed in the star burning furthest from reach.

 

Valparaíso, Chile
Posted in 46: ELECTRONICA | Tagged

Two Emails to Anne Boyer

1.

I will be a supplicant
to women until the
revolution, uncertainty
of principle my
only guide, will fight
with the guerrillas
and eat only meat
I catch. A Teutonic
forest – boars, computers,
primitive accumulation –
will hide me, the
sublingual secret
remaining one-
part flim-flam the
rest pyrrhic victory.

Now the second-day
of western thought is
beginning to note
the violent exit from
‘Religion as Political
Ontology’ into ‘it’s
modernity that degenerates’;
always from unreformable
disabusion to proliferating
non-futures.

When
we were young and cold,
travelling from the forests
to the hacienda, I loved
the sight of the word sortie.

 
 
2.

So I laid down the paper on the snow,
northwest of the ululating hill, the
king had ordered the melting mound to
become a sight of weekend revolution. We
knew modernity, and studied its
signature flora. Stars accidentally
scattered across the table, nonchalantly
lighting the lukewarm wine. I am not so vain as
to imagine this collection of chainsaws is
for me, but they would be useful in
the latest fracking field. We
prayed to St. Peter. Is that something
you do? The emotions around here were
very traditional, and you could –
agate was everywhere. Norminations for
the last avant-garde were now closed; as well,
Columbine and Stevensian development was still a
fact of life for most subjects. What was the cause of

all these accommodating smiles?

I didn’t know the answer then when I was asked, and so could only mutter something about primogeniture. In theory and in practice this has not ended and will not while there lives only a revolution of men. Until mothers are sans culottes and there is a nursery called La Commune freedom will be an idea best considered after you get tenure. Until then, wine bars. The body can repose well in any place with wallpaper of yellowed newspaper. The body of the north might – objectively – seem more alive there, but that’s a trick of light and police statistics.

Posted in 46: ELECTRONICA | Tagged

Twelve Tones

of war milk lying couple mangoes flexible resistance advertising fluctuations manifestations
lowercasesound

• couple lying
                     advertising war resistance

• lowercasesound fluc        a
                                     tu         tions

• flexible manifestations of war

• advertising of mangoes

• advertising of milk

• milk of mangoes

• war of lying advertising

• flexible lowercasesound CouPLE

• manifestations of flexible advertising

• couple manifestations of advertising war

• lying low er cases case of sound ofound waround mangoesound

• fluctuations of lowercasesound

Posted in 46: ELECTRONICA | Tagged

Stain, guilt


I scrub maniacally
at the chocolate sauce thickness
in the fabric.
Hitchcock was right
to use it as blood
in Psycho:
its viscosity he may have found fitting

		              [	
		              Hitchcock I think the murder in the bathtub...coming       out of the blue, you know...that was about all
		              Truffaut    c'est ça. c'est...c'est comme le viol...
	 	              Hitchcock sure
		              ]

but the stain and the guilt of it
cannot be replicated.

I scrub again
	
               (DAUGHTER: Bring the screen. Quickly!)
				 	                                         I am dying, I am dying
Strindberg's Ghost Sonata girl's words
repeat constantly in my head
as I crouch, foetal-like, in the shower,
watching the red and clear liquids

	       (COOK: You drain the goodness out of us, 
	             / and we drain it from you. We take the blood /
	             and give you back the water – with the colorite.)*

dance down the plughole.


* Excerpts from an interview between Alfred Hitchcock and François Truffaut discussing Psycho (Aug 1962). Quotations used are from Michael Meyer trans & ed. Strindberg: Plays: One (London, Methuen, 1993).

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Depth: Text and Playthings

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Variations at Café Chéri(e)

The sun sets in the time it takes for the waitress to come.

i) In light darkness we sit; how to order has slipped our minds.

ii) A thought of leaving… But here she is, behind a red smile.

iii) She holds a tray by her side: a pale sliver, wet moonshine.

iv) The sky: the far-off blue-green tint of a top-shelf bottle.

v) Faces in the twilight: wet rings on a half-cleared table.

vi) A man wipes the last drop of light from his chin; lifts his head.

vii) An old regular nurses his beard; the froth is long gone.

viii) A woman combs the day’s rays from her hair: blonde becomes brune.

ix) In the gloom of our reflected selves, indecision…

x) From here one might say that it was sucked into the city.

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Returning to the Return*

whwhwhwhwhwhwhwhwhwhwhwh whhwhwhwhwhwhwhwhwhwhwhwhshshshshsh

whsh whsh whsh whsh whsh whsh whsh whsh ssssssssssssss
                           gull flung                                            ssssss
                                                                     swoooooaaa
                                                                                      a
                                                                                        a

                                         a a
swoop on high sea       a
                     swoooooaaa
                                       a
                                         a   a far flung

listening to the cry of the sea
whakarongo ki te tangi a te moana

            aeu u u u u u u u u u u u u u
     aeu u u u u u u u u u u u u u u
 aeu u u u u u u u u u u u u u
splinteredsplinteredsplinteredspinteredsplintered

tree god splintered on the high sea
                                     Ma
Tane Mahuta Ta Tane Taneeee
                               ne
                                    huutaaaa splintered

kauri kowhai totara rimu rata miro mistletoe splintered   splinter
kauri kowhai totara rimu rata miro mistletoe splintered   splinter

split split split sp sp sp sp sp sp sp sp sp
                                      matau                 tartaire

     sp sp                                    sp sp                               sp sp

sp           sp                         sp            sp                    sp             sp

mist low   sp sp sp sp sp   sand wet    sp sp sp sp    sea high       sp
sp       sp                              sp      sp                          sp      sp     sp

sp                           sp                   sp                 sp                   sp
  shshshshshshhshs  shshshshsh  shshshhshs  shshshshsh  shshshshshshsh
                                                       Dionysus
             drowned            drowned                     drowned         drowned

heart splintered                 heart splintered                 on the high sea

shshshshs
                              far flung                            far flung

*New Zealand composer Douglas Lilburn composed his first major electro-acoustic work in 1965, ‘The Return,’ a sound image setting of a poem by Alistair Campbell. Lilburn subsequently went on to create a significant body of electro-acoustic music with predominant New Zealand themes.

 

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Blue Light

‘When I was in Hong Kong,’ recounts Mr. N, (547113), ‘I
stopped at a red light in Kowloon Tong.
It was about three or four in the morning.
Neon sky. Stars of office windows.
I was a gangster then.
After a while a white car pulled along side me
and the electric window went slowly down.
It was Jackie Chan and he smiled and waved.
Jackie Chan and I had gone to school together, before he was famous.
I was pleased to be remembered by Jackie Chan and so I waved back.
Then the light turned blue, and the white car drove away and I never
saw Jackie Chan again, apart from in the movies.’
‘Are you saying you knew Jackie Chan when you were a gangster?’
‘Yes. He was a gangster also. We were gangsters together.’

‘And the red light turned blue?’

‘Oh, no – Green – The red light turned green. It was long ago
and it has been so long since I’ve seen one.’

Posted in 46: ELECTRONICA | Tagged

Whose Tongue is the Wind’s Tongue?1

A gin-damned drunkard’s wan half-witted face 2
stared with piteous recognition in fixed eyes. 3
The winds from the west all breathed a story; 4
I couldn’t understand a word. 5
How long I stayed alone with the corpse I never knew. 6

 

What is that noise now? What is the wind doing? 7
They pursued it with forks and hope; 8
the jaws that bite, the claws that catch, 9
the secrets and the signals and the system. 10
Is it a banished soul? 11

 

Essence of winter sleep is on the night. 12
I sit and listen to the wind’s 13
laughter out of dead bellies. 14

1The title is from Agernon Charles Swinburne’s “Hertha.” I added capitalization.
2 from Gilbert Chesterton’s “The Mirror of Madmen.”
3 from Wilfred Owen’s “Strange Meeting.” I removed a line break.
4 from Ella Wheeler Wilcox’s “The Lost Garden.” I added a capital and the semi-colon.
5 from Edwin C. Ranck’s “The Epic of the Hog.” I added the period.
6 from Christina G. Rossetti’s “Under the Rose.” I removed a line break and capital,
     and added the period.
7 from T.S. Eliot’s “The Waste Land.”
8 from Lewis Carroll’s “The Hunting of the Snark.”
9 from Lewis Carroll’s “Jabberwocky.” I removed a capital and an exclamation mark,
     and added a comma.
10 from Carl Sandburg’s “Our Prayer of Thanks.” I added the period.
11 from Bliss Carman’s “Behind the Arras.” I added the question mark.
12 from Robert Frost’s “After Apple-Picking.” I added the period.
13 from Joanna Baillie’s “Night Scenes of Other Times. I added the ‘s.
14 from Ezra Pound’s “Ode Pour L’Election de Son Sepulchre.”

							
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Mascon, Mañana

Bridges over the river write,
seen resting on land lining
the water on either side

of the current’s course, may
have been built to carry
metaphors to and from

dwellings surveyed, surmised
and summarised by mobile
minds impelled to observe

the next wave to the sea,
the tide taken as free
to encompass mascon and mañana.

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TV Life

A screenshot from Konrad McCarthy's TV Life

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CREDITS:
Cast: Cameron Zayec
Writer, Director, Producer, Camera & Editor: Konrad McCarthy
Gaffers: Yu Nanakuma & Eduard Jakaj

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The Warriors: an imaginary ballet in three parts

1.
Fiction leads through factual composition to an
arbitrary place of free delight—at the end of
such an arc is Mr. Percy Aldridge Grainger,
slapping his knees and humming through the
beat. Throw caution over the house and it
might bounce back in protest. Throw it twice
and meet me on the other side.

2.
Your doctrine was to be honest always—to
document the truth or else the truth would
never out. To this effect you locked the
message in. I pick up scraps of information and
throw them on the preservation pile ignite
the match for a brief ungraspable illumination.
Feel these rhythms, too complicated for human
players
. This is how we dance—you and
I—slightly, without pause

3.
In a nutshell with a mallet
upon my curves and
louden lots bit by bit
zigzags fair
the two of us against the world
princess
is technique
blood be my thigh
so nearly faultless
my walls
WARRIORS!
shimmer

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The Lexican’t

I M P E N E T R A B L E I
M P E R V I O U S I M P L
A C A B L E I M P O S S I
B L E I M P R E G N A B L
E I M P E R I O U S I M P
A S S A B L E I M P R A C
T I C A L I M P E R M I S
S A B L E I M P E N E T R
A B L E I M P U D E N T :
Posted in 46: ELECTRONICA | Tagged

Elements, Afternoon

Almost crying over a German memoir
understandable, in that he was a great man, cooking kidneys
& getting married.

The backpackers line up to check their Facebooks,
must learn to examine faces & not tits as much.

A quiet little butt going up library stairs in jeans.

To have been born before money
& still be a child
with hands to peck out grand, peaceful
hunts across the typewriter

that end in a violin recital, for laughter & applause,
& beer mixed to 2 parts Chinotto in the hours
before cool summer dawn.

The architect checks his phone.
The round lamps on.

To have a halo. A face, kind arms.

To be a flying book.

Posted in 46: ELECTRONICA | Tagged

sonata forms back

but who can tell
europe
room
a porn clip would not require the french press

the four crossed boulevard richard lenoir in two couples,
steadily. why, in those two, the dead of night.

coordinates missing
presumed holiday

study money

the city. grave of the sippers

trees on their way to town

thought of the page spoiling

dough climbing
down the organs
to print dresses flush with bodies
pass
express & yourself
by chairs
the door stopped

he stooped compared
to his fingernails

obligatory fields, obscurantist hair
i get trouble from the customs
officer for talking

carefully described hatred of towns flowing under the concrete steps.

a message comes over the tapestry
those are just some vices

all paintings in men are brothers

red heaven

follow like wax

planet fuck

life the frustration of living force,
said thru a kazoo

shofar practice

move from bungalow to salon
a little in the giant flow

don’t ask me when i am coming back to europe
but i will fly there on my spare copy of à rebours

neutral final

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Et Tu

Josh Mei-Ling Dubrau's Et Tu

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mixtape (sub-version):

THIS IS THE ONLY PLACE I’VE EVER HEARD ANYONE PLAY THE SOUNDTRACK FROM GHOSTBUSTERS sadly my dad is not rapping in hebrew with his rainstick, it just sits there next to the pile of newspapers we have.. i spent good money on that thing, do you want bubblegum for your cough? ____ is cute & we have fought twice, which isn’t bad. (both times about her mobile.) my results were ok, but not perfect. there is a castle here. grandma is convinced a MUSLIM woman is cutting the heads off her gardenias. she seems to be covered in a layer of what appears to be fine dust. or ash. perhaps i’m a marxist? this is not like _____ coming out in one he was the bigfoot & he & neil diamond were selling an album they’ve made on garage band i went to see kevin johansen play for a second time. drunk a lot of mate. haven’t got a job. today i helped a man catch his runaway donkey. but i had better start from the start. everything else in tokyo seems to be just as good as
their toilets. it’s weird to be in a place with no bogans tomorrow we’re going to disneyland! my boss watched centerstage…she tell me to write this movie…i want a nice bed linen…i loved so much to stay the wife…i want that here in japan i am an old man. & you are a beautiful chicken. CONGRATULATIONS!!!!!! this marks one week without an infection. no pus for you! we are professional blueberry pickers. we are now professional apple pickers. sorry for my lacadazeical approach & spelling of lackadazecal i am the quote dirty dirty child who doesn’t succeed & hasn’t made the movie of the year. love, john-hair-implants-didnt-work-galliano o i think i can be famous…but i feel tired…please lets go shopping i miss you like it is winter here.

Posted in 46: ELECTRONICA | Tagged

We Are Called

Otherwise volatile substance, walks past in the rain
and how nearly we are human,
failing and uncontained, within new ways of looking.

What to call the genetic distance between us?
Sightings of the unwieldy zorse, the liger, the wholphin,
sometimes jaunty above their smiles.

Then there is the problem of touch, centuries
the nervous system transmits of spurious instructions
slights and channels, fraught and sniping

all dismissed with careful knife-work. If only we agree
on what we will call them: blind-sight, money
well spent. How uncomfortably close they come

each with their carefully constructed surfaces
we map with meaning. Mirrors like our children,
what will we call them…

and they, our children, what will they call us?

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Animal Light

Being small and neatly branched
your glanced-at limbs manufacture a pressure:
Oh shiny thing as you rearrange yourself
make me happy.

Mid-deal, water-tower in the background
a suburban species of sleet to the fore,
neither of us makes headway. There is a lot
to misunderstand:

our common creeping from the cost and strut
of machines to
our poorly developed momentum requiring
constant clinical resolve.

Where would we be without GPS?
Imperceptible slowness, manifest
in bemused muscle and patent hand signals.
The truth or perfect.

If I want to hold something nailed down
why strap on a jet-pack? In the fall
the air around me is a movie soundtrack
of unopened parachute silk.

Posted in 46: ELECTRONICA | Tagged

Parsley

(With thanks to Nick Driscoll)

 

Parsley rarely receives
what she deserves, though
she rarely deserves what she has

received she maintains
discussing entitlement with
Carolyn, Nicholas, Maurice and

Georgina in the garden
of thyme and time, spotting
uncertainty. Like a canopy of

constant azure above
the greenhouse built by her
orchid-growing parents, who

were mindful enough to
deconstruct cells of certainty
and foster leaves of fortitude.

Too late now to ask
Petronella and Paul
what they thought of belonging.

Posted in 46: ELECTRONICA | Tagged

sample

1

we have over 45 years experience
skin , launched in 1960 with soap
messaging ( sm ) and presence protocol suite
deal with , use , etc . : a matter
contributed online encyclopedia intended for people
sneakers make us happy . we like

1

of dollars per year on groceries
made easier every day with real
nutritious recipes which can be prepared
this final issue of scrapbooks magazine
is to provide a truly embeddable
and examples of machines in action

1

always rides with a big smile
the interest formula is often abbreviated
oils and herbs , handmade in australia
computer by obtaining an interest loan
involved or complicated ; easy : a task
with a focus on interesting melody

1

had to write for the english
a high performance xml serialization and
and solutions to common life problems
is the goal of the project
the perfect tool to manage perfectly
our philosophy is . . . . we believe in

1

anybody who wants to have fun
people with their way of life
with beautiful wedding albums , free downloads
2 to 10 minutes to complete
time tracking . stop wasting time tracking
having or composed of only one

1

rich , completely integrated and fully scalable
hunger for fast , fresh , and appealing
the simplest and most professional approach
water information | radar | learn about meteorology
the life , the food , the goods
post your buy & sell ads

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nothing left in

nothing left in

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waves

punch & paw out a slippery motif post
tourist hotel shots smack it down all
fourths-&-fifthsy while the event gloss
still burns white chase the midi sync
& loop up in a drizzled morning snap
to the rotodrum drone & channel it
make the pulsekickers pulse like trains
out your windowframe further outcast
yourself from the last of the generic
neighbours with several different
levels of treble & unease stew on
the ambiance & structure over coffee
generate a wash that mirrors the sun’s
struggle with cloud while the mood
lasts & filter a set of harmonics to
parallel dust over the mantle bang
bliss out on the click track swing
it until dance wouldn’t feel right
then effect a nightmare ocsillation
prove your point & howl:
bring about stray recognition dub
your plaintive tones high but enlist
your sister for more jaggzy lines
the hook and the breathing
don’t hesitate face the sun
cresting the hedge now call
adele / jones / olaf write collage
into all cities the collaborative
dew collects a triple threat of
rave stagnation bleeding into
the annals listen softly

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