sAyingsometHing

Art, poetry, digital art, photography, criticism and essays.

30 Sep 2005

from THE DAYLIGHT SECTIONS (12)

let's say a tree on paper is equal to or greater than
the water that it takes to feed the tree. let's say
you live beside this park, that people are attracted to
the park, and you, you levitate
by reaching into centermost epitome
to meet the call for what a tree is to become
when finally in place. let's say that you are placed
"where you are planted," as your relatives once
said. and that charisma feeds the plants
that round the tree, that surfaces are only
evidence of what lies deep beneath
this planted obvious. this object.

let's say awareness is an artifact,
regardless of the rumor mill. let's follow up
with what this might mean to the minced thinking
that often wanders off into unfinished things.
let's say you have everything right now to do.
let's say you do it. let's say you do not sleep
except to warm your partner back to sleep,
so back to back you go, to soothe the worry
that occurs quite naturally, the rumor is.
let's say there is a festival, and you can look
at trees, and you can render unto the authorities
what they have authored on your behalf.

let's say you're tired of being thought about
like silk. that you would rather live.
that you would far prefer to be the water
or the tree and looked at in the light of function,
not taken for granted as if you were
mere decoration. is the aging process
holy as it was when you were young
and looked ahead? what age is perfection?
if you hear the answer on some random walk,
then tell someone, maybe the authorities.
perhaps explain with gusto. I don't know
what it is makes me look forward to
the next installment of a different hue of daylight.
something of routine. something habitual.

28 Sep 2005

Morgan SLIPS tireless cHesIre Skie is uniquef lengthen
verbs associated disorders fiscql tics slippage death of the author
parvinder/rococco/baroque/persephone leaf'outs ff off the scarp rummaging in fat hands of turneresque -Jerusalem- ah ah Turneresque q'uest que c'est ma cherie sJKies immor immor etc etc immor fataLity

CAR
CR

ASH

from THE DAYLIGHT SECTIONS (11)

in the next room
you are splashing
in 4/4, the metro-
nom(e) de plume
shakes view from
side to side
it's late and I am moved
to ask what are you
good at

for if new light
could strain thinking
we might o.d. on
cataracts to come
then line the shore
of something constant
with intent

stamina refracts the kilter
one is out of in
the constant foreground
where you glide toward
vamonos and what
variosity comes naturally
to you and you and

when one sizes up
the length and width
of purposeful appearing
accidents one turns
predictable in one's
perspicacity as if
one falter were to turn
a faultline simmering

and what now what thin
reed comes close to being
taken for a mile-
stone in a random chapter
are you viable or
drawning in
with gestures factual
and braced to have alighted
on the cinders and that
prior trail we let guide us
to facets not our own

primary depth comes
naturally to actors
not onlookers, analysts
or chums of ones
performing in normed
roles primary openings
soon filled
any way but randomly

24 Sep 2005

SUR LES TEMPS
INTERNET ART IS
PEELING
TOVI TPO KCEN REK SJ
SHE SEEMED TO SAY
/\CAR CRASH/
MIDDLESJ3OUITR
ENGLAN'S GREEN
AN' PLEASANT
ITEMIZE YOUR COFFEE BILL
aswe loook back to findf a wait for wards
BALLETICS AERONAUTICS

20 Sep 2005

from THE DAYLIGHT SECTIONS (10)

shadows cove
r sadnes. why
do you remain
sore in p
laces of your s
kin she mean
t the world
and now the
world is her
e again
st you
r sub
tle in
feren ce

to be you
r blank
et would
be nice
to have
a func
tion would
also

I thread
story after
story in
to your
soft sweet
ear and you
tell me
thank you

buttery day
light eeks
its warm
th into
your s
hell
I k
now
am now be
ginning to
how t
his f
eels

good weather
y morning
to you
I will b
ring this
your way
also mine

17 Sep 2005

There was a time when we
felt
that folklore could right the wrongs of postmodernity. I use
letters
because
they are
image, sound and language. Consequently
common
sense
is
more
frequently
objective than intellectuality. Boxing is a
healthy art and
offends paranoiac
sensibilities. When
learning is common
place
education
becomes extraneous - the
formalizing
of education has
resulted in

16 Sep 2005

new car for janey

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11 Sep 2005

from THE DAYLIGHT SECTIONS (9)

cre-
scent
shifts
with-
in the
sky

are complications cloistered a
round runes what do they
venerate what do we
answer

when the spool unwinds our
thinking tapped against
a pool of hall light
centered on
rapt poise of listeners who

rega in t he sen se of sigh
t
these recept- are they good at
what I am
or not

centerfie
lds
repl-
ay ay
to overt
ones

and this is the fast-track
activated by and byline therefore
when I sum the squares
I get in line

niot thyat she

RR


book exchange it u steemed nombres

ee
AA
the
certain

chnce a fiction variable when shiela murphy when she cacies [parOdyoftyping~ intri
u u
ur BIF

cat es

cta

es a00 flagery

w
aters

ent too photogenetics nmor phonogenics humerics or stimplrey humour

caught vis a
flarg

ALLEZ!

10 Sep 2005

Sheila appears somewhere within text at http://trace.ntu.ac.uk
on "Experiment Space", "Gavin's Begginning - Collaborative Poem"

RR
AA
BIF
cta
aes
ALLEZ!

9 Sep 2005

from THE DAYLIGHT SECTIONS (8)

declarative sentences annul me right on schedule and according to spec.
listen: I have learned you, lost you, leavened you, lengthened you.
lured you out of one bed into someone else's
habitable patch.

the upshot is comeuppance now and northernly.
I'm wan from tinkering with toy braids in mimesis
of these shade flowers.
all my time in fear has yielded

talent turned to sweat.
and by the way, the turntable you imagined moved one-way
is static now. all voltage wears on
just conceptual verging on song.

and still I sing it toward your visible breath.
I watch you try to sleep.
I watch damage control at work.
I leave myself to captivate if you are working anymore.

you narrate me I norm you I examine consciences
I think are not mine, but it's habit to perfect
what I can only dream of offering away.
and then I catch myself being another part of speech.

give me text and treacle. afford what I have won
and listlessly imposed. my energy is hash.
my jamboree exhumes your rapt and sideways
inattention. tendrils just perceptibly appear to cough.

and heat shifts substance of the flower
until its name recurs to very poised ears
trebling the encumbrances. a justice system
winces near plaudits when they're white if only for a while.

4 Sep 2005

T



TOUCH
YES



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