process leading out of

the problemo ne te necessite pas with writing poetry is that the words are exactitude instinctivo, unnecessarily blending the mind to a state of variable intuition, that calls a scribe a scribe vision is multitudinous; hitherto symbols are at best reflective effective (as unity((comprise)) motion) inflexion, reflexif (a la philosophia francais oui oui mais) not dogged down by the burden of knowing reasoning (as in imagining/thinking/etcetc).

Spain is an insect, or full of 'em, my travels there over recent weeks, pointing to the continuing crutch of the sun blathering wet eroticism of being, saviour of art and football, blowing tourismo porco senorita a cunt daliesque a mood

The problemo with letters nombre actuel is hat nay thais nose they are concepts, necessarily inflexible in meaning to enable clarity of communication. One wonders how far textual experimentation can go before text becums complete obscuration. I've always strayed away from animation in electronic text, instead training in dance to bring movement to symbolism/communication.

The art at lacapella (institute de cultura, Spain) a temporary exhibition called Berlin Tendenzen [poco habla, rien fait] who are a collective of multinational artists working in Berlin (I meandered there, stumbled, serendipi) blew away any recent British conceptual art that I've seen. They achieved this through painting and conceptual art that was largely user-intreractive, user-friendly, tactile, fun and merging with other media.

charg'd

whipped gust'nup "that
provision, that" new
job three weeks less
prophecy "and clouds go" grouped
(too great) appears
wave gravel/water (s)
"all these poems sounds like
pop song lyrics"
humidifying sounds
'norant reference
stump foot/feet that re-reference
(left fall for 'urgence
'uvering 'ale 'ulting
used hospital (tacit))

from THE DAYLIGHT SECTIONS (29)

she, under the miraculous fibrosis
of detained light strips enfolding and encoding
symmetry to come, prefers to hate someone
in common with an other
who can fortify inflexible dislike
for what might be her arbitrary target
dazed by artificial light of a pretend acceptance
only to fuel the link, live at the edge
of excommunication that would equal
freedom in one of many formulae
indigenous to flowering plants and fractions,
intonations of the good, the true, the bounty,
shaken from dependably productive trees.

Her tresses and her muscles fall, her happiness
is fleeting and depends upon maintaining mutual dislike
for enemies she makes and fastens on as if protecting
selves from something sacred,
that pretends substantive self,
an invented peerage that deserves
in her best thinking
to be shunned and kept material
within the minds of individuals who beg to premise
all that is not lyrical
on her divisive blinders to the good
and what might be a foster cure
for the indelible dominion of her cruelty.

tell the truth and shame the devil

eons
breathing emotion
occupied your space

predestined
at the
dawn of destruction

your
thoughts transformed
to the echo

bouncing
the screens
of other worlds

textantitext spuriousdada

working in shards we ashal ta tuh tuh specicies shat speak for themselff oblong tokk annabloomdotcom automatism wont cut the hay the prescience of a cut and paste means that i could give impressions of sonority not that i am indicating there is any point to poetry there is no point which is the point likewise you wouldn't call this poetry nor advertising garbled nonsense which may or not be indicitive of perception until you realise you are filming the sands of a desert inevitably words dont make pretty pictures cutting the avant garde [everyones a genius] so where to now which is my question with a relevence latin ain't gonna do if my neighbour speaks urdu animalism ain't gonna do it we need something so communicative so new that we can loose the tag after modernism

socont ra dic tiv e don't you know crescents art is y'no oh

yes but
coconut

probably the worst thing to
admit is we have not moved on since the dark ages

FELOOOOOOOOOOO

DANS EEEEEEEFR

looking like
history

PAIR CHO

HKS text u throw

OO

it's a fuckin mystery

END THE OOWI

she

breaks a sashay on

the dinosaurs were
wiped out by a meteor

24122005

"24122005" - visual poetry - 9 pages - click the link to go to the next page


http://www.simonsnewmedia.com/24122005.htm


Any comments appreciated

Thanks
Crescent

BLUE BLUE

FELOOOOOOOOOOO STAT OBJET REPETITIONS U
MYTH OF OMNIPRESCENCE OF DADA CANNOT [CINQ ANS]
FOOOOOOOOOOOOO TEE ET CETERA MA CHERIE MYTHOLOGISE
FLOOOOOOOOOOWW TUH DANS ETOL GRAMMATARIAN
TEEEEEEEEEEEEEEE FRA EMOTIAGE HISPAIR MOON
CHOIX DU SYMBOL AS LANGUAGE APPEARS DISSECTED
ITS ANALYSIS HUMANITIES DANCE FROM MUSIC PSYCHOANALYSIS TO SCHIZOPHRENIA DANCE LANGUAGE
OOOOOOOOOOOOOOOOOO FROM MUSIQUE CHERCHE ACCORD
WE SHALL END THE TERSE SUBJECTS OBJETIF SUMMERY WORDS VOCABULAIRE LINGUISM NEO-EXPRESSIONISM CULTURAL ABSURDISM MEANING MEANING MEANI MEAN MEA ME M M NO THING
DONT SAY YOU WILL YOU WILL SAY IT ANYWAY

tongue't

stabbed
hand above
raised knees imitation
folded

(above) derivative
sentence pure pantless
penis
majority "equips

increase this man"
(t)
stab delivery
(back) above slowly

below
folded waved
ascending up(it) (pressed
butt)

concrete collect
(graphically represented) paragraphs
"each
group, saw"

two nominated fingered
(in
air) graphed
sentence bent in

newly released collaborative title: Barbour and Murphy

http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664

Continuations
Douglas Barbour, Sheila E. Murphy

“The strength of this book is in its quick-change artistry, the sensation of flux that is continuous, and capable at any moment of erupting into epiphany or surprise.” Roo Borson Across great distances and a panorama shaped by words, poets Douglas Barbour and Sheila Murphy began writing in collaboration. Tapped to technology’s dance across paper, with thoughts like bright colours coursing across screens, Continuations emerged as the product of a new creator, a “third individual,” who writes differently from either poet. Words shapeshifted and poets transformed, Continuations is an intriguing addition to the growing field of collaborative poetry in North American literature.


ISBN: 0-88864-463-9
Price: CND$ 19.95, USD$ 19.95, £ 10.99
Discount: Trade
Subject: Literature/Poetry
Publication Date: March 2006

from THE DAYLIGHT SECTIONS (28)

what of reverie appears most chanted
as the slant of daylight singes altar cloth
worn close to elevations each transcendent?

as the glow of winter passes, broth is warmed,
unless the rink is glutted
still with blades and fibers
filling up a surface blank to touch.

one winter's worth a thousand suns
gone dark to pale and filtered
by an interfering cloud still slight.

quills of yore center a message
that the eyes resist as tight.
the color peach rains steel intention.
with the color pink implicit.

chains of rental space enlist our sense of slight.
the alleyways never curvaceous
trim a little space from feathered warmth.
the sun is mentioned twice the value of a penance,
where chill spawns youth to leap
from range of fire.

fork'spoon'd

stroke

left bat
foot (expensive for)

behind

bat back
part way it

bat

arm right
starts (independent function)

absent

falls distant
nose cracked "mucus

&

blood" could
be called wipes

(linguistic)

"blood markings
un(focus) tools (ing)

to

tango'd, eh"

meaning

that preliminary

block left possible

oN HarryKStammeR and ideas inspired by his poetry

ARBITRARY REFLECTION REFLEX
MY BODY SAYS THINKS

[][][]\[[[

[

[[[][/

unliterary aside: peoples' needs can be measured accurately and simply by using representational units. For example: 4 = the need for food, 7 = the need to express anger. The decimal, numeric unit, as used in monetry transactions is both convenient and simplistic.

Therefore 4 [food] + 7 [anger] = 11. A person with the score of 11 would be said to be in need of food and needing to express anger.

The score of 11 can instantly be used to calculate an individual's immediate needs and therefore a financially, verifiable outcome. Therefore, this person would be given £11 to supply him/her/child[she/he] with food and alleviate the need to express anger.

This is an oversimplification of the theory, but when it is used to apportion commodities and services to groups of people (for example; thousands) can clearly indicate strategy for meeting the needs of a population.

unliterary aside fi/nit

destruction #4

somewhere someone creates a glorious world
	soon to be raped by civilization

from THE DAYLIGHT SECTIONS (27)

thank velvety permanence that includes forgiveness
what I have made of intervals
in abundance now softens before
remains an oversea of white wall light

during the first chance closed my eyes (the body fragile)
during the second chance again closed them (turned to body broken)

stones worn by repeated water
water aflex against the stones

impart | relayed | response
to have forgiven spawns a different breath

light's worth transists intention to have warmed pure present tense

same factual earned truth against the hours