The Book of Mummy

What I see as new is recognized by an old face which, Janus-like, morphs on the other side into a monstrous, unrecognizable face, begging me not to identify with it, and not to be afraid. 私が新しいと見ているものは、古い顔によって認識され、その古い顔は、まるでヤヌスのように、反対側で怪物のような、認識できない顔に変形し、私にそれを同一視しないよう、恐れないようにと懇願します。

For me, there is a constant tension, a tug-of-war, as the ironic machine pushes and pulls between language and language as language and what is conveyed by the prepositions “about” and “as” (throughout the infinite tectonics of prepositions). 私にとって、皮肉な機械が言語と言語としての言語と、前置詞「about」や「as」によって伝えられるもの（前置詞の無限の構造全体にわたって）の間で押し引きをしているので、そこには絶え間ない緊張、綱引きがあります。

You are free to give yourself any law you want. A project is an image of the path that remains after going through the question of what law is worth giving yourself, without settling on one law, and this becomes the driving force behind the creation. 自分に与える法則は自由です。一つの法則に決めず、自分に与える価値のある法則とは何かという問いを突き詰めていった先に残る道のイメージがプロジェクトであり、それが創作の原動力となります。

Any serious pursuit must be undertaken with the knowledge that there is a risk of futility and that success or achievement is not guaranteed. 真剣な追求は、無駄になるリスクがあり、成功や達成が保証されていないことを認識した上で実行する必要があります。

It's a famous paradox we come across time and again. これは私たちが何度も遭遇する有名なパラドックスです 

If you already know what you're looking for, there's no need to search, but if you don't know what you're looking for, how will you recognize it when you've found it? 探しているものがすでにわかっている場合は検索する必要はありませんが、探しているものがわからない場合は、見つけたときにそれをどのように認識するのでしょうか。(Meno)

In my experience, epiphany has the structure of the law of eternal recurrence. 私の経験では、顕現は永劫回帰の法則の構造を持っています。

Bending a straight line so that the ends touch one another in a circle. 直線を曲げて、両端が円を描くように互いに接するようにします。

Bend the smooth lines of the circle so that it has wavy edges. This wavy circle looks like a flower. Straighten the waves and the flower becomes a star. の滑らかな線を曲げて、端が波状になるようにします。この波状の円は花のように見えます。波をまっすぐにすると、花は星になります。

Between the star and the flower there is the disruption of interpretation, preventing their forms from crystalizing into trope, resisting any solid position in the symbolic process. 星と花の間には解釈の混乱があり、その形が比喩として結晶化することを妨げ、象徴的なプロセスにおけるいかなる確固たる立場にも抵抗しています。

Despite the fact that my process embraces chance, indeterminacy, and contingency,  there is usually a ‘reason,’ for everything i do. This is the primary indicator of my singular madness. The sing songy singularity of the sign. 私のプロセスには偶然性、不確定性、偶発性が含まれているにもかかわらず、私が行うことすべてには通常「理由」があります。これが私の特異な狂気の主な指標です。サインの歌うような特異性。/ (alt.) Although my process involves chance, uncertainty, and contingency, there is usually a “reason” for everything I do, and that is the main indicator of my idiosyncratic insanity (peculiar psychosis): the specificity (peculiarity) of my (the) symptoms (the singing specificity of the signs). 私のプロセスには偶然性、不確実性、偶発性が伴いますが、私が行うすべてのことには通常「理由」があり、それが私の特異な狂気の主な指標、つまり症状の特異性です。

the body can be bent into a postion that appears silly or threatening, just as the lips and forehead can seem to indicate quizzical frustration or erotic innocence. 唇や額が疑問に満ちた欲求不満やエロチックな純真さを示しているように見えるのと同じように、体は愚かしく、または脅迫的に見える姿勢に曲げられることがあります。

These same bodily gestures that we tend to interpret as semiotic in nature can be placed in a context in which their form is felt, without the need to produce a secondary meaning.

私たちが本質的に記号論的であると解釈する傾向があるこれらの同じ身体的ジェスチャーは、二次的な意味を生み出す必要なしに、その形が感じられる文脈に置くことができます。

In utopia, everyone can see the wrinkled brow. Into Japanese: ユートピアでは、誰もが眉間にしわを寄せているのを見ることができます。Back into English: In Utopia, you can see everyone furrowing their brows. Into Japanese: ユートピアでは、誰もが眉をひそめているのがわかります。Back into English: In Utopia, you can see everyone frowning. Into Japanese: ユートピアでは、誰もが顔をしかめているのがわかります。Back into English: In Utopia, we see everyone grimacing.  ユートピアでは、誰もが顔をしかめているのが見えます。

an indispensable star unless slaying

sowing mustard east as to favor leftwards

become rightwards things taper beware curly

bracket hand a brain is as dark of nails.

Once we stood beside the shore.

stone mercurial dragon as member does

not smile rivalry the subject erase

child of the cosmic multimap rumor

anger to compare arrowhead is settled.

the fish twisted and turned on the bent hook.

white hand black hole circled fraction of thoth

right nothing x as libido from an itch

true what is capital is bald deliver

yourself four fools laugh anticlockwise. other.

The third act was dull and tired the players.

open air nature upwards heavy black

ones’ character shows from egg nightmare link

tree to black hole undo symbol integral

to alternative. there is solar listening.

a thick coat of black paint covered tender skin.

an angry index bill traylor poverty

mandala containing black original

as to fear nothing but not flute sanguine few

and white hen it sacred things men trust

The horse balked and threw the tall rider.

of downwards end and knot contain crescent

and you god life light and hand is ever

body the flies white rightwards arrow is

fraction of cow embryo golden cup puppies.

the fly makes its way along the wall.

passive-pull-up-output a cave of

text lost the madness of scissors form feed

line is easy to ornate one does not

sign whirlpool and complete and beak floral.

fill your pack with bright trinkets for the door.

pool three-d bottom-lighted vishnu of prison

in not sign and you satan horned portrayed

double arrow see diagonal crosshatch

fill poem dryness and rule god, slash of sewers.

a chink in the wall allowed a draft to blow.

recording angels blood blue bracket crowned

the living pawn black star heavy black sun

shines with disk tears curved for necklace

snakes quieter of money. is. in not.

Leave now and you will arrive on time.

double-struck and right-shadowed the measure

to control memory and vex myself in

net moon iris all things of all queen of

lotus superset is the. becomes. truth and

small children came to see him.

angel not stored in peace from sea to

matter eating liver is solar bark

and the long loom weaving ____ terrors ±

oak tree splits blocks of decomposition

light of island without a brain deceives.

on lofty rocks. Stop whistling and jerk

the dart from the cork target. The pot boils, but the contents

fail to gel. the craftsman is nothing come gods eating treason

but you are cloud arms sweeter. Post no bills on this.

the mark hated bone. as fate leads,

presence diminishes. worse. repetition.

Boards warp. unless kept dry, a cruel ox

winds around the nail you make to lean against.

a white hen passes. The fruit peel cut in thick slices.

and with snakes to pluck the crop is the hand

ladle of love. a wolf fears — i fear necessity.

a cloud of dust stung his tender eyes.

throat badly to a madness of sound 

in the day unknown, and grows as whatever begins 

its own worm there is sometimes savage

be savage bears agree. that our monkey is vanquished 

to all things man. slippery start singing heaven. 

Sever the twine with a quick snip of the knife.

I have a funny story to tell you. I went to the store to buy some beer and some coconut water. At the checkout counter, the beer rang up as a 60 watt soft-white lightbulb. I stared at the screen in confusion. “uhhh,” I said. I said, “uhhh,” and at that point, the girl at the register noticed there was something wrong.

She hollered over to one of her coworkers asking him how much the can of beer cost. The beer in the little white can. How much does that cost? Her coworker went to the beer cooler to check the price of the beer in the little white can. While we were waiting for him to come back, I said to the girl behind the register, “it rang up as a light bulb.”

I don't think she understood me. Her coworker came back and said, $3.99. It took her a moment to void the payment of $14.99 for the 60 watt soft-white light bulb. She asked if I needed a bag. I did, so I said yes.

☆

Here are some of my writings. I really don't know what you'll think of them, or if you'll enjoy them at all. But I do hope that you might enjoy them. I don't always know what to make of them myself. Who's to say if they're good?

For me, it's really besides the point whether or not they're good or bad. That they exist at all, that's what intrigues me most. More often than not, though, I do get immense pleasure out of writing these things, and I usually do enjoy reading them as well.

I do think pleasure is a big part of it. One goal, if you could call it that, with these writings, is to give you secret information without you knowing it. With the equal hope that you will give the writing something in return. I think if you read it, I mean, really read it, you will change it. You will change it in some way, you will add to it.

☆

How do you understand the communicative force, or the necessity for understanding? How do you understand understanding and its role in, let's call it an overtly artistically motivated linguistic undertaking?

Well, I'd imagine it's hard to define what you might consider to be a linguistic undertaking that is overtly artistically motivated over and against or up next to what you might consider to be something like ordinarily motivated language. I suppose there's other modes like (emergency)  speech acts or the informative form. One question I might return to myself — that which informs, disinforms, misinforms in the service of anther non-serviceable kind of information. The informative mode undermined by informalism, the will to inhabit an inhospitable space inn laanguage, to seek out the in uninhabitable within the unhomed, the homeless, uncanny of language.

But was I to take the word at its word? To take your face at word value. To take the word. To mistake you for your word. To take your word. For it. To take it on your word. To take on your word. To take you up on your word as it, is to let you tell me that it is as it is, and to run with it; and if i were to run with this dog gone train of thought, to hop on this train, to train hop thought with you, that would be to agee and say, okay: this is an overtly artistically motivated speech environment— alinguistic environment that takes speech as its as its vessel, and writing as its covert mode.

That this is what you're hearing now— what you're reading now, after it's been transcribed.  This is speech that knows it will be transcribed and is thus already writing, not only through its awareness of its own futurity, but by the attitude it inhabits. What is a writerly attitude? You you ask me. I can hear your voice. I know you're asking me.

At this point, the dialogue becomes a monologue. But the the speaker, the writer, is imbued by and sectioned off into and absorbed by the other, the other voice. The one speaking is interpolated by the other speaker and the listener (who listens in the snow). The interlocutor is interpolated by the interloper.

The interloper is invited in. The mere presence of the interloper is an invitation. Unlike so many everyday situations in which my subjectivity, or at least the one closest to the surface of the socius, the recording surface— now,  this is the real explanation (writing as explanation, explanation as explanation), the answer to the interview question; one one device falls away the other resurfaces; aa mask, the accoutrements of an actor, an outfit, a costume —  In everyday life, I get the feeling that people take automatic liberties, or otherwise imagine that one's presence— to present: here again, preferring presentism over and against representationalism. Repressentism. That my presence, that one's presence, in this case, my presence, is an invitation.

Inevitably, it is, acertain kind of invitation, anyones presence. And we find our ways to be easy and agreeable, to agree to play the game, the language game of other people (between wittgenstein and derrida). No one makes the rules. We cannot first step outside of the game to define the rules, and then commence the game, playing by those rules, breaking them all the time.

The rules are always retroactively manipulating circumstances, setting the stage, giving shape to the particularity of the situation. To switch from the general mode to the individual, to individuate myself from the general, my presence, I declare — I find myself declaring in everyday life— that my presence is not an invitation. For what? If taken transitively, what objects does invitation take?

None. Personalized presence taken intransitively.  I mean it with a period. It does not take the form of an invitation. It does not beckon or call for the other, finding a hardness there, and always working to dissolve this hardness, but not struggling with it or against it as much as I may seem to be emphasizing here. Becausein truth, the easy dominates. But by force of will, not by nature. Naturally, I think, if I'm making a claim about my natural state—which I'm also saying is highly denatured by the socius or the surface of my connection to my unconscious or an individuated connection to unconscious— in general i makae a habit of  decoding totalities, disentanglinng tongues from this socius; my denaturalized nature, hence my predisposition toward the oblique, the incommunicable, the in-formal, the mode of incommunicability as a kind of celebration of the true and the real, one image of a genuine search for the novel.

And when one says novelty, there's cellophane wrapped around it, connotatively. But when I say novelty, I mean an encounter with  pure contingency. The vacillation between all that vacillates. In the vast relatable—in the vast stream of relatable content, it is incumbent upon me to present an alternative, and in that case, i haven’t got time to test it, to see if it works, to learn of it’s nutritional content, like a new drug that has yet to reveal it’s ugly side effects. It's an unaapproved nutrient that should nourish one's own capacity to grow stomachs.

It doesn't fill the stomach to create a future absence of that same substance. It creates a substance that then generates a substance made of that same kind, that doesn't need the propagated vessel or the propagator or the proper gator. The alligator in a white tuxedo seated upright at the dinner table at the dining room table. After returning from the dance floor in the ballroom where he executed a square step waltz with great finesse. It's always my hope that what happens, all that is rejected, all that is negated, happens that way to give rise to a new son.

A new son. A fatherless son without violence toward the father or blame for any transgressions that are only vaalidated in the tragic mode or Oedipal system. But it is always my hope, implicit in the kinds of negation that I witness myself in relation to and in attending to, that these negations become fully what they are.

☆

Abyss and darkness of whirlpool, acorn and unfolding self chained to matter from scintilla to gold, yoke as sun point glass, as prima materia and vessel heart of Mercurius, as sub rosa, subclimactic air, as a scale as sulfur under the rose. Under the scarab, the hoofed man, the scarab headed man, the woman bird, anthill opening to the underworld. The stag turned star turned mirror turned prison as secret fire. Mummy anthropos, Mummy and tropos. And apple into exile.

And anemone. White elephant, airplane, Ajax, with his daughter on his knee. Labidinal alchemy whitening the ashen dawn. Torpedo rose, and colors, and rose, in colors of feathers as stages of salt and sewing. The bear.

The bear's golden urine, devouring the unconscious blue flower, the blue flower changing filth into child's play. Yellowing the conjunction, incest as reanimation torpedo rain, as torpedo, as reddening dog of separation, and dawn, and depression, dissolution, understanding and returning to womb, drowning in the womb, blood vessel as makeshift flood vessel. A swimming eagle, and tears as an ascent up the staircase. And stages of vessels, and putrefaction. The brain as a cave, as chrome chrysalis, the anus, the lower mouth, kiss, the anus and grow ravens. An index of life and sunrise.

Dragon marriage as a convex fountain, as poison stone blackening. Purgatory antlers and dove castle, turning dead matter into chrome womb. In a room in the brain, rocking on the rocking chair. Aping Aphrodite.

Baby Venus monkey, the child of Eros and apple exile, and dove, and rose, and mermaids. Rabbits combing their sacred hair before burial. The gardener of dismemberment, peacock's esophagus, and the stone wolf, the orphan Ibis, born from the union of tree chance and city angel. The chaos cobra as primal rooster.

Material stored within mountain. The brain. The brain.

The cave. Arrows in the dark. Poison darts. The erotic monkey. Airborne as archery, in the dark, as putrefaction, in the dark, the worm in the stone, growing crows. Rolling up heavenly ravens in the vault of spider myth. And rose and trumpet and women's hair.

The beheaded elephant as mermaid.

Part 2

Strings. Circling the empty hole in the wooden body like vultures, circling the body, stretched across rocky cliffs. The cavern and the wooden body across vertical bone, hollow marrow, opal hats on pegs that hold in place the copper and nickel wound wire. Circling around the strings, pulled taut over vertical bone.

The moment the skin on the end of the fingers makes contact with the copper and nickel wound wire. It presses the string against the oak. Finger and wire tucked tight around the edge, sitting in a perfect position behind vertical nickel bar, embedded in horizontal Chestnut.

Cotton t shirt between armpit and  wooden body. The s curve pressed into bicep. Under elbow. Loose wrist Django. Stretched over empty circle. Only the moment in direct proportion to its perfectness will sustain. The fingers placed on the ideal grid, responding to the call of resonance. This is my only means by which I can extend the life of a note. To stretch it across the swinging bridge on a windy day. To mitigate entropy with no effects built into the instrument. Only the wooden body.

No natural effects, unlike the piano, which contains within its natural body an artifice of extension, poised before a player with the will to extend the life of a note. No built in effects. No well. No warm and fuzzies. No plug ins. Only accuracy by the demands of the resonant cavity. The b string's been buzzy lately.

For years, I tried to force language to do what it couldn't do.The e string has been busy. Buzzing busy lately. Should I change my strings? It would be silly for me now to want to try to make the guitar into a piano.

Do you wish to be a piano? The guitar asked. If you open into the humming hole, is often a range of pitch that will catch hold and carry, through the entire body of the guitar, the entire life of a note.

Part 3

Snakes and dreams.

The dream that the old black dog Lucy had a snake head.

The head was squeezed with a violent pressure.

The snake bit Lucy's head, and Lucy's head became a cobra. Her cheeks hissing like a punctured ball. The fangs punctured her cheeks. Lucy's cheeks are biting down on my head. Lucy is biting down on her own head.

Lucy's ouroboros was deflating. I had to save her. She was attacking both me and herself. I released the fangs in dream, in the dream.

Without turning over the ancient dimensions, the bridge contains Exchange. The hand-off happens at the reverse apex of swinging bridge between the cliffs. The cliffs, the tree lined rocky cliffs on a windy day. The wind is a question.

What was the exchange that took place? What was transferred at the middle of the bridge? An infant multiplies its hands.

Syntactic foam. A non resonant phenomenon (the common failure point under tensile stress). To stave off implosion. Some of the particles do not become hollow and sink to the bottom of the ash dam. A non-evanescent light-beam propagates after emerging from the shadow-side surface of an illuminated microcylinder. Perturbing far field backscattered power. Photonic nanojets. Subdiffraction, nanopatterning, and nanolithography, low-loss wave guiding, and ultra-high density optical storage.

A protozoan child. Free living, organic matter; the first animal.

A single celled organisms with a membrane bound nucleus. Eu (you) meaning true or good, and karyon (carry on) meaning not or kernel (colonel, leader). The good kernel and the bad kernel. Beyond good and bad kernels. The hard kernel of the real, indigestible writing. Microspheres. Readers undigest. Microscopic spheres of glass. Manufactured hollow glass microspheres, microballoons, glass bubbles. Syntactic foam, lightweight concrete. Low thermal conductivity and resistance to compressive stress. Constructing the hulls of submersibles, deep sea drilling equipment. To keep them from imploding. Found in slow release pharmaceuticals, radioactive tracers. Filling for polymer resins, beneath fiberglass laminates on surfboards. Made by heating tiny droplets of dissolved water glass in a process known as ultrasonic spray pyrolysis. A substance added to the surface of hollow glass microspheres to increase the matrix/ interfacial strength (the common failure point under tensile stress).

Cenospheres: waste products in coal fired power stations. Small amounts of silica in the coal are melted. As they rise up the chimneystack, they expand and form small hollow spheres. These spheres are collected together with the ash, which is pumped through a water mixture into the ash dam. Some of the particles do not become hollow and sink to the bottom of the ash dam. The hollow ones float on the surface of the dam. When they dry, they become airborne, blowing into the forest. Photonic nanojets in whispering gallery mode. A narrow, high-intensity, non-evanescent light-beam that can propagate after emerging from the shadow-side surface of an illuminated, lossless dielectric microcylinder or microsphere. It is a non resonant phenomenon. Perturbing far field backscattered power. Photonic nanojets. Used for detecting and manipulating nanoscale objects. Subdiffraction resolution, nanopatterning, and nanolithography, low-loss wave guiding, and ultra-high density optical storage. Snakes are terrible fighters. Their only weapon happens to be in the same location as their most vulnerable and weakest body part.

** ☆**

ocelot fantasy parlor cleaner

gnat weight guesser

deer shelf robber

panda gambler

beaver activist

academic porcupine consumer

wombat respect producer

archerfish who trains

pig thirty

hound salesman

universe frequency tailor

exhibitionism theologist

requiem cleaner

careful buffalo singer

chimpanzee celebrity scientist

poultry they model

tamarind blue jay

hawk magician defunder

mule joiner

different pipelayer

leopard bunker cleaner

eagle mason

mole shredder

seal formation

viper carpenter defunder

otter weight guesser

symbol widow

federal cheetah taxi

poultry they

snipe model designer

thick canon salesman

meerkat sight writer

expense sailor

fisherman disagreer

lark status harlot

bass violation

owl bag

mule shortly geologist

pig thirty optician debunker

moth city surgeon

gnat statistics lecturer

snipe model

cub relation laborer

sheldrake personality butcher

rhinoceros construct

rhino illustration debunker

badger motion instructor

jaguar forger

cod emailer

scenario interuption cleaner

visual ferret pedlar

iguana auditor

baboon instructor/player

cattle exhibitionist

dinosaur picture

smelt symbol widow

lark squat barber

mortician gallery

moth city sight weather

dogfish prompt writer

owl bag architect

coyote limitation developer

leopard maker

guineafowl magistrate

beaver killing advisor

crocodile critic

hyena hip painter

hard partridge examiner

thrush production worker

world physician destroyer

mallard length subaltern

badger instrument nun

alligator gallery

owl bag midwife

agent for mole shredder

pony librarian for you

ostrich expense sailor

deer shelf

goldfinch magistrate

greyhound sex nurse

marten builder

ibis actor, regardless

cod email

turkey dinner employee

snail hair drafter

heron horizon hermit

lice park journalist

goose access

calm orange

leather gush

revered drinker

moronic sleuth

muffin government

clover support

confident nod

thawed message

cuffed sawdust

faulty shape

sign replacement

adjoining table

smile deficiency

authentic feather

violent species

pesto pants

moist exchange

sulphur poodle

trashy bellhop

pants conspiracy

squeamish bonus

broken vines

webbed dad

cheddar postulate

sleep ban

gossamer arches

diamond weakness

dollar bath

cotton jungle

phony rebel

letter catcher

tumeric axel

nowhere raft

pear storage

lung title

gross trick

snippy dialogue

serene exit

☆

[dismal celebration]

Hidden Blossom Falls through Celestial shaft in cast iron Drift whose broad Dusk was just asking about you and your fine arbor of promises, the one that also has planted in it by the Meadow of merry seeing the Phrase Weeping Horizon, a bleary bouquet that displeases the Judge of non belonging when it claims to also harbor mastery of a chaste Mist and hell Moonlight, shedding in the sides of her mind Petals Dramatic and Star Ripples that could fold a circumstance a couple more times than you might expect, you, labor, a new country with used gospels that pass the black Night over in the Secret Bliss of Despair, you the tight spitter in spotted furs that hold tight the Footnotes of Euphoria that furnish these damned tales that struggle into your hot, sharp ears that spend many long years pondering this sentence, trying to see it as a minor skirmish in the big long fight to strum Grace into Heartache, a Melancholy Lullaby to shoot oneself with during the forthcoming earthquake of Nostalgia, the ugly Passions that imbibe pencils with manes and get down to business, and get busy with Reverie on the veranda, spew Serenity all over the other side of the .444 light eating animal ribbons thrumming and hunched across one's own sweet lynx of Solitude, punching Sorrow with a Tenderness so Tranquil it wonders how it'll ever go on Wondering how to stop Yearning for that Ancient Ephemeral Eternal Fragment of an Obsidian Moment in the Nowhere of Midnight Infinity, stop smelling for that Alluring Aroma of chrome Twilight that Chimes the whole valley with sick crickets and constant protection from the evil Harmony of mockingbird Echo, a harmony so Hushed here in the meadow of merry seeing that its faint bedmudled Lilt nearly plunges to its birth in the burning Silence of cracked mountain Murmur opened by the red whims of that poor old Abyss that Dreams it as Enigmas’s best young woman.

this pome is an attempt to destroy the universal by scooting it so next to itself that gets embarrased by its own self proximity, and not only that but self proximity itself and by proxy seeks in tiredly new sequence of substitutions or a window seat like a wilted flower and being that universal it taps out a response within the laws of conventional connection it has either rejected or submitted to and been rejected by, a series in which it seeks and finds weak comfort or weakness itself comforting the faithless jump it makes when the image takes a day offline to touch a very, very cold surfaces while the lamp sways a little, haha harassed haha by a yes haha that tries to explain the explanation as a welldigger's ass for cleverness and missing the point imperially, citing the mercurial glory of rectal agression, and gets carried away, all the way home, right back up against itself.

☆