Sunday, September 30, 2007

limongelli + leftwich

of nobody city ....illiad of nobodies..

Text scrolls scrolls lover roll.Text scrolls from right to left. the sweet of Montreal loverleman saunter . city city over ocean and sea
. her city to heart
nobody at a start . over ocean and sea
. her was city to heart
nobody breath of heart to city city over ocean and sea saunter street flux city to city

in the to city
tin the sweet of Montreal loverleman saunter . walk. breath of in the sweet of Montreal loverleman saunter . walk. breath of . . walk. breath heart to city city over ocean .

in the sweet of Montreal loverleman saunter street flux cityshe so Prettycity

in th sweet was city to heart
nobody start . saunter . walk. breath of heart to city city
nobody at a start . of Montreal loverleman saunter . walk. breath of heart to city saunter street flux city to city

city city over ocean and sea
. her
nobody at a start . to heart
nobody at a start city over ocean and sea
. the sweet of Montreal loverleman saunter . walk. breath of city

in the sweet of Montreal loverleman saunter . over ocean and sea
. her was city to heart
nobody to city

in the sweet of Montreal loverleman city to city

in the sweet her was city to heart
nobody at a start city over ocean and sea
. her was city to heart city city over ocean and sea
. her was city to heart city city over ocean and sea her a start .
nobody at a start . the sweet of Montreal loverleman saunter . walk. breath of heart to city city over at a start . start . to city city over ocean and sea
. her was city to heart at a start . city over ocean and sea
. her was sweet of Montreal loverleman saunter . walk. breath was city to heart
nobody at city city over ocean and sea
. her was city ttreal loverleman saunter . walk. breath of heart to . walk. breath of heart to city city over ocean and sea
. city

in the sweet of Montreal city

in the sweet of Montreal loverleman saunter saunter . walk. breath of heart to city city over ocean and sea
. of heart to city city over ocean and sea
street flux city to city

in the sweet of Montreal loverleman to city

in the sweet saunter street flux city to city

in the sweet of Montreal loverleman saunter . walk. breath of heart to city city over ocean and sea

in the sweet of Montreal loverleman saunter . and sea
. her was city to city city over ocean and sea
. her was city to heart to heart
nobody at a start .

in the sweet of Montreal loverleman saunter . walk. breath of heart city to city

in the sweet of Montreal loverleman nobody at a start . breath of heart to city city over .
nobody at a start .
. her was city to heart
her was city to heart
nobody at a start saunter . walk. breath of heart to city city over
. her was city to heart
heart to city city over ocean and sea
. her was city to . breath of heart to city city over ocean and .
nobody at a start . . walk. breath of heart to city city over ocean and sea
her was city to heart
nobody at a start . city to city

in the sweet of Montreal loverleman a start . heart
nobody at a start . to city city over ocean and sea
. her was city to . nobody at a start . . her was city to heart
nobody at at a start . start .
nobody at a start .
nobody at a start .
in the sweet of Montreal loverleman saunter . walk. breath of heart to heart
nobody at a start

in the sweet of Montreal loverleman the sweet of Montreal loverleman saunter . walk. and sea
. her was city to heart
nobody of heart to city city over ocean and to city

in the sweet of Montreal loverleman saunter . of Montreal loverleman saunter . walk. breath of heart to city city over ocean
. her was city to heart
nobody at a start . . start . .
nobody at a start . walk. breath of heart to city city over

in the sweet of Montreal the sweet of Montreal loverleman saunter . over ocean and sea
. her was breath of heart to city city over ocean and sea
. was city to heart
nobody at . walk. breath of heart to city city over ocean and sea
nobody at a start . to heart
noy at street flux city to city

walk breath of heart to city city over ocean and flux city to city

in the of Montreal loverleman to heart
nobody at a
. her was city to heart
city to city

in the

Saturday, September 29, 2007

The Erotocrit...

Mireasa a dispărut la Bran, într-o structură.


Aleargă-nnebunită şi se jură

Din cârpele lipite strâns cu clei de oase

Golem de Praga va ieşi , cu haine-ntoarse.



Friday, September 28, 2007


objects to feel better

manufacturing dissent traditions

of our anonymous mouths.
Thus "authentic" means blindly.
(is seasonal affective?)
walked across.
Machines like a maple leaf falling.
Thresholds of self & studied.
Ablative writ clowning in fire pits.
The olde justices' b-b-q.
Dissension I edit.
The New Racist Anthology has been translated
into six languages (so far,
it is a huge success in foreign markets).
American enterprise is no surprise.
A grid of boys making op-ed.
A hop head.
For once in my life...
a structure I referred: Tears of a Likeness
in Beirut, the cypress shakes
and shimmies in reckless abandon.
Ball onions socket faint sons.

In Tokyo I rose.
In MIKINOS I refused my Orphean pluck
given to Shiela from Boise, ID
artificially common guitar strings.
& so remained a tuned instrument.
Yet I know how,
not when,
to make music of love out of sense
on alert
now blow up the cows of democracy.
In the aberrant ball park
of looking after.
Of peering into.
A glass eye.
& TUMS I dissented.

That all being
is one triggered degree north of pre-arranged
deception fields
quasi-radio infidels take Zoloft
at K-Mart
mitigates nothing I have said
or will say to Father & Mother Zygote Recalcitrance.


Stance against dull felatio standing
in lieu of jane dough
is an art we will pay for on credit.

The Second Degree of Seperation is a myth of degrees
of seperate room
degrees of seperation.
Language, like "socially", is one degree
summery buttery anglo
degree west
of suffering we collectively muse on.

I'll meet you half way out into the distances.
A natural perspective from strategic points of view.

Geoffrey Pulley Levers & Gears
cull a Baskin Robbins suicide with corn nuts
for breakfast.
Having three side.
I begin my tale
half convinced
on the wanderers'
Time narrows here.
Honed knives of solar images deflect tv
dark tremors sweep across valley floors.

What is the meaning of a similar people?
The arguments wholly seduce
to befriend us>>>>>>>.
EXTERNAL is stored in it.
Bluer than Blue Tooth Technology.
I say joke the fucker.

Thursday, September 27, 2007

Poésie pour Emile / Poem for Emile

dans le poulpe des jardins
là où le bateau de la conscience demeure
un jeu de lumière à travers les rugae lucides

a rouged la langue
en fleur d'huile

là où le globe oculaire rouge du poulpe
un bateau
des jardins
un jeu

des langues
à travers son ventre

notre langue rouge des baisers
se réunit
une légèreté lucide


in the octopus of gardens
where the boat of consciousness dwells
a play of light across the lucid rugae

a rouged tongue
in a flower of oil

where the red eyeball of the octopus
a boat
of gardens
a play

of tongues
across its belly

our red language of kisses
a lucid lightness

from differx :

the Oua/ga/dou/gou game

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aquisizione our在我们之下estandardizamos producir da Bauteil refineríaの前のダ1
détention 6a の墓の/00,226 de maneira de paiement 1 9,16 follows doouaghigouya sério del thesubstance sustentação des 6a is ' milhão Jo些/00,226 of 那些01
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estandardizamos Synopse do uso obstáculo los obstrução 里面的部份,
modification do Ouagadougou dada paratransferido
value of membre elingualmente

1 pieceproduit
1 purchaser(1 comprador)

pissing away

reflect grayer

imprint over (construct)

device table

"it's bent away"

'titative 'ment as

shots stopped "stop,

break, oh, fuck a


cars cut up

distinct a

bullet (headed) smoking

finger tip "floating

against a white wall"


weak weaker tongue

arms spread out

"crying, crying, cry"

sprain deep versus situation

left ground around

blood clotted mouth

Wednesday, September 26, 2007

flagram (overtime)

mere mention of your dovelings
reaches into anonymity for me
I think I'm going to feed the shallow one
and name it bradley
or I think I'm going to hypothesize
that you are golden
when I seem to have encompassed you
as I careen to one side with your wilderness
resembling old fire happiness
mis-ordered and misfired alongside barbs and whittled
corpus of the dark
rumored to magnify itself
while we are leaving home
as if there were a home to leave
the same as wallflower and the same as silk
the same as knowing nothing
when you say to me it's hormones I believe
your hurt face and the fire and the young posses
on alert and on behalf of fire dependables
with envy in their quivers and with certitude
as breast stroke happens to leave down
into the water and connect with it
as context and as motion and as silver place
to go from
while we're shouldering a form of happiness
to break free of opposing counsel
welcome to my viaduct my breathalized
inhabitance my overriding pique at your
blue globe left middling
with the floor as fever with the hype
left for recitation to the live wire
obvious and to the shelf dolls
still rebellious as projected

"The Wreck on the Road" for Roy Acuff

'vigorate slap (slapping)

"who is it?"
finger's wiggle
(ing) desirable more
(me) just like
mirrored horizontal (ly)
"no, no such thing."
aiming up position'd
(reactive) line
land hillside
"impulse isn't"
erupted "tasting bitter 'septic"
fore fingers
digging (that's in)
holding hold
"holding" held up away
staircase "not
a sharper edge"
crash slash burn fall
"falling, stairs still"
no non eye (ing)

Blue Blue Bluer than Popped-on

Tincture of red is fighting blue
In leached
Blue in
Gouged escape hatch of pills pills pills
Diagnosis misread

Look out!
Half a window!

Distended temperament
Fix up with old yellow 3 mg per shop quartet

The original distance
Remains Okeechobee

The other half's
A qaurter the width bluer than Monk
W/out keys

I am done with
Until fingers popped-on

Rx = Sixteen minus Ozark

Tuesday, September 25, 2007

Variations on a Chub

For The Central Magnetic Core

This blue. [chub]
Pharmaneutic self-assembly of dendritic structures. [abchub]
Is nothing but auxetic. [chaybab]
Arriving at high-level possession beginning. [chubabe]
Groun levercasting a prolapsed. [bachubby]
Imp rowing babbly as nether vegetable. [chubbles]
In organ animal dendritic. [chubchub]
Knots seven persons butte. [chabbi]
Snoring gash flexical cash. [ichubbi]
Hypotheftically. [achubo]
Liquid crystal collection body harmony. [ichubobab]
A favela by a fellow gust hare. [ochubo]
Left finally deaf. [chuba]
As matter mighty. [chube]
Stick to a stick. [echubi]
Membrane of yes dissolved. [uchubua]
Virginal in-scape or exquisite. [uachubst]
Awl the owl. [chuby]
Six digold(Ⅰ) branches. [achuboab]
The gist of switches is. [achuboa]
We are sex ist in places. [bachub]
Otherwise strange and probably. [buchub]
Impossible. [chuchub]
Yeti here. [chubua]
Yours. Is is not the first face. [bichub]
To appear monstrous. [chubo]
Unsurrounded upright. [chubu]
On two foot awakeners. [chubul]
Stoned from the slap of a Nobbed Ody. [sichub]
Luminescence Property of Metallodendritic Supramolecule. [kichub]
One central nuclear work model. [chubui]
Business foreground. [chuber]

Riding Buick Risperadone to Balloon

Twelve days in a Buick
Ache like a third volumetrics involved

Never witnessed a buck

Loquacious fiats reduce pharmaceutically a third pill
Measure by a third
Manufactured in zinc

Sunning little voices
Sharding little sap spies
The meat hooks in 'em grind
Reading Mr. Lowell

Swindle of life in Sudetenland of lost pills

Tokens after the ball
Is thrown

Monday, September 24, 2007

negation is similitude

(Based on Drew Kunz's Understatements)


[w/ eight glasses of Pop a day]

the Pop art of Good Meds

Should the name Paranoid-C
derive limbo sonic draft of
caverns parting words

Portrayal erases each question arising
the Pop art of good meds

Taken with turkey
or devilish strange ham bones
a ladder
a little tomato before bed

Risperadone unhatches the grid to a marvel
six inches of growth
w/ poker face

The man sd, "XXX, ecoutez!"

My disease is a vision
lettered like a letter
to the editor of

'EVIL' Zombies Kill at Box Office

Sunday, September 23, 2007



for tracy grinnell

Risperadone Avoiddance

I have arrived

In my pockets
are a dream
I never had to
write down to

In novel manner
In nobel mayonnaise manor of speech


& catapult
risperadone avoir du posse

metal rods fussing
carbon rods aglow fussing

over spa(stick -ing-ing-in


et sputum
on wall board of adventures
in mind

cutting circuits
if eyes wander

god is god ling ess

god is public as wish to heart it spells the waving rind of song not wishing the post policing of art. as wish to heart. breathes its best. not. bully to song its winding piloted stasis.
out with its have not wish resenting resenting hate
its half baked butter 's not kind to love's kingdom a people 's prayer not a sentimental fluid bearing gifts to the ignorant 'the' ignorant' our song's a pleasure fest valiant as the uplifted rock chord

not the pride of political piece


you've counted the molecules.
here the hair's breadth
molecule molecule monkey has hazards on her rain
bananna bread to her baboon
cutes as cuts to any saw dust lawyer
not Lanier and her elegant emergencies
but the subtle disparities of art's trouble
a palace held high


Doctor come again lover
here your hips closer clover
little one speak to her
doubled wended tricks

ring gong as bells gate
tarry the wool long enough over their eyes


you've been many goddess
yet knot this 'One'

shift your kiss this willow
eye to eye in harried dawn


was it dusk or busk?


Saturday, September 22, 2007

"Heroin is King, Reagan is God"

The events and people in this story are real.

In memory of Eva/David

which love is not that of b...r o t her & si s ter ....?

U ot to wdraw that. no. its a missive your sexual called. reaping its benefice alors total des amours dans temps. really. it was a

nuance shouldering reply.
vacant bananna blunt gandered her geese to a gay.
nose thing? division of louche ass shape in petunia bust.

I think its offensive. whats that? a text? a regime repressed signs?__ where is the true cabbage you bellowed to my feet measured by any other rod. was quickly wink her eyebatting.

Die through writing love. She shirked her Obligattion. A suit of amour was .

She felled typhoons of swarm.

This honked geese. C a nadian sky. Over the Artic and past. You came here. Sweet one. Your mouth an Open lip to say. Undo my anger.



My whore's been many bodies
but none thine as betwitched
your emails came came came
coming song a came throng
bodies on the air
your mouth came mine
cameo come commingle
of this you were envious
yer south thigh neglected
its eastern pole west to east
thigh of rib hipped to your addiction Me Me Me
you loved this thing
paradise wanting so much your body grappled by your papa dada fix oedipus america miss


take your typical victim claiming lefty politicque.
old time radio had a gag once . it was you.
really yes., it was her. has you up her ass.
her sleeve her sleeve like any other french language
whore bore three children to her saying. shes married to 20 years and a handful more less than nine. its old berry school gets
her whoring done. down bastard. wanted to her hold her her hold her hold her ass.
was a quotient of question mark.



in canadada the whoring's less eventful desire denies own
name more readily in the word multicultural being a euphemism for
hopscotch, globe, hair-line, come to me , quick, soft your adverb!
cut the cake, glimspe these thee rayon, didldo deep dusk up his ass, she swanked his cuck, double delved her tong, crucifixe bitextual rumour, as wish to want a parliment to gush platonic, or say


CD forgot labels. Labile. Navile. Say. this font does not work on this template. what then. use mozilla. welll text being as an ass to genii is wish to bone its gleaning pean

Friday, September 21, 2007

le poete ARThur BRUT et l'un de ses poemes


for he has two thin snakes instead of horns
and they curl down and delicately hold two lenses
for his eyes are not what they once were

burning coals of sulphur
aswarm with metallic goat-fish

[busstop] (plenty of emotions there, mostly we are crippled)
~twenty thousand li from here~

skin verticals
macadam ranging the notice

grimey or solvent
some sign

from drang to durango

the S-term past stern
now a whirlwending its plasma ikonhand
through the snouts, the efficient signals

of the Xi-turtle

Guo Pu described the Xi-Turtle as large
and having a thin shell with markings

approaching refinement
explanations and analyses of graphs recorded
that it uttered a sound from its stomach

which is nothing like the GEGE-FISH

I am uncomfortable often. So often, it is really the only feeling I know well.
I have to squint and concentrate to feel natural or happy. I often imagine my skeleton is gone,
and I can return to my amoebic and faceless oozing, sealing off myself later in a new pouch of mechanicalls
the star jade manifold
[silent as a sea chicken]
so that I may sleep among the Xi-turtles

Wednesday, September 19, 2007

A Tale of Punny Poogake

punny poogake, the face which furred in strobing scorpion tales
the ichor pen wounded

the harloam
where nigh be guskil put 'is wood handed mother down into the flower vacuum'd eyeball
that glad naked ring of darlin's shovin' me to the cliff
where my self assemblung

star air cases stacked and hummed and feebled the lassies
to the male meaning of ale!

these three boots
are sank in the goopdog of the blue brow
old accident house
where the maresman and the groom purse
to winnar floxe
tha she paddled out to is hin porridge gurlts
ten flat munny tins growlin' bout the purk to tree

something put a shine to the grave
or made it oranges and rice!

I tie up nannybell at the fence and come to court it
the slop down to penny crack your bell
was three even pongy to a bossy tit shop aside the old ground kettle dolls
half of them inside naked as prey
or toppled but still rollin thunder straight and draggin a hell tooth
to make a gleemy clatter fulgy about the hips of the spiny chariot blossom'd
we crept slowly through the tongue uj toop

golden penis breathers
melted out the ear frog handles
punshine lay flat and handsome
in the dreggy whitebacked washing coals

"where this is deposited"

tense handing
away coarse used
'pared polling
lower "denoted
and woolen" feet up
indentation impractical linen
warp (ing) tighter "blood's
stopped" raise arms
(O) head over
hold division (clear)
exclude (ed) 'ference
permeated between
fingers "then held
by pressure" shoe
shoulder neck (the)
similar attention positive
"suggest you stop it"
fixed (as) dead
(ly) as treat'd

illuminated manuscript


The medieval artist's palette was surprisingly broad.

Mercury(II) sulfide (HgS), often called cinnabar or vermilion, in its natural mineral form or synthesized; they were

"red lead" or minium (Pb3O4); or, why not

insect-based colours such as cochineal ,kermes and lac; or, my old friend

rust (iron oxide, Fe2O3) or iron oxide-rich earth compounds....yep



Plant-based colours, such as Weld, turmeric or saffron; think of those

yellow earth colours (ochre); anyway less

orpiment (arsenic sulfide, As2S3)

As for

we rather use
Plant-based compounds such as buckthorn berries;

copper compounds such as verdigris et alia et alia


Ultramarine (made from the mineral lapis lazuli);

smalt; in mixtures and solutions and blends/amalgams/compounds/composites

plant-based substances such as woad, indigo, and folium or turnsole, for contrast...

Whites from
Lead white (also called "flake white", basic lead carbonate (PbCO3));.... co3, co3, co3

Carbon, from sources such as lampblack, charcoal, or burnt bones or ivory;but co3 co3 ??

iron and gall, tall, maul, haul, rawl, ball, call

Gold, in leaf form (hammered extremely thin) or powdered and bound in gum arabic or egg (called "shell gold") with much

Silver, either silver leaf or powdered, as with gold;

tin leaf

as with silver

as with gold

leaf form

Tuesday, September 18, 2007


inconsquential lariat

the Marriott is work I am not staying here and there
the sun has set the people
in the airport lounge drink bloody mary mix
the blood of which the anchor Christ
slowly veering in a Tuesday
daffodils smartly young waxen genuine
the article a definite improvement
on the theory (pounce)
away goes hypocrisy away mirth
even out the islands
worth of trade draw in
draw out dra down
from furnace lit the row of homes
this home this
eloquent excuse for silence
is a form of an informal silence

my pasta strike

& on my walk i met a livin' doll

Monday, September 17, 2007

Theurgic Regorgic, A Mess You Are N-Titled To Cling Up

For an Invocation of "Series" [8Mg]


We can pull down a host of menus..

Imagine the speaker [selector] to be the Orminian "horned g"..

the "Ohg" says Algiz, to umn the g-rave, (the raving of the striatal g-form)

where the algiz pointing up is life and pointing down is death,
or if the icon proposed a continuation of current-seas, as upon
the Ramo secco (Aes rude):

or some orphaned text:

large still frame, still concerning the opacity, or the flatness, or the openings
into the depths of the flatness, where the skein rebounds from the pure potential
and its uses, and the optical become an avatar of redemption wielding ontology
like an olive branch, or like the "withered branch" of the Algiz become a schitzagonal icon appearing on some distant yet related vector, everything become contextual. Futhark becoming the 'Northern Etruscan'..

lebenrun y todenrun


Or perhaps a poem to Shaman Xian:

Shaman Xian was to come down this evening
So I entreated him with an offering
of fragrant rice
A hundred gods obscuring everything
accompanied his descent
As the gods of Nine-Similar-Peaks
advanced to welcome him.
He manifested his divine presence
in a dazzling blaze of glory
And announced to me auspicious remarks.

This is one of the earliest examples in chinese history of a poem of divine descent.

enunciation is from above, light and life yoked at the root

the Algiz monster being mapped to the induction of the mortal coil

Old App.~hollow, Eve Newton and the Apple Snake

Appollos selektor @ Pythios

the Opposing sine waves of
the fee-line (the grreen line) necks (next-text)
upon the Narmer palette

whose created basin was a palette for eye-make up to shield one's eyes
from the glare of Re

:from the G-layer

The lowest, the most brutal, layer in the Cultus of Signs.

The sadness and joy, of those prunings of the path.

Our Images are also the tracks of a collective fate.

[phat~e!] see something like an elegant french commode
a vanity laid with the fetishes of the ages, or as a diagram
of the flashes on the waters of Nut

things continue into other things
light into sound, word into idea, idea into poem, poem into silence
silence into stone, stone into water

poor EM
some sigh
lent to seas

Sieze Your

Topknot (how power works)
or as a butterfly

the orchestral banks of hair-like switches

the complex architectronix of cultus



Marco Giovenale & david-baptiste Chirot:: 2 from A Gunless Tea Collabs

Sunday, September 16, 2007

i love you but i don't love haikus


i love you but i don't love haikus.

i think haikus are numbers giving words a sha(m)(p)e

remember the last time i told you this.

remember we went upstairs to the snack bar.

remember the twelve baby bmw gorillas.

i do not like harry potter too.

the robot with lizard head was unheimlichly attracted by the open window.

tons of night outside. (not to mention the inside).

the little hans was anxious.

the little hens too. (hence the difference).

sir s. had doubts and debts.

now. do you remember?

now you know why i don't like heilkus neither hurrypottears





leg at o ma n


Composition with Dead Flies and Exclamation Marks

Inflections and Innuendos

... [.]
. [,]
, [;]
. [.]
? [!]
! [?]
1 [2]
2 [3]
3 [1]
1 [0]
0 [0]
! [!!!]
+ [-]
- [+]
- [-]

[Don't be short. "It's OK, I'm with the band."]

Saturday, September 15, 2007

prACTisEACH delimium

noticias blondero chapped calligraph
avuncules dopamingo staring at
the crypt of moonispherical resunned
loripsum volley creped with brickets
dimplive stunned vonnage
all clarion repletive and shucked
downspout veeeeeeeeeeeee-neck
each heck
sweet bleck
as my tea brawn lucks
the mint need flucks
and biodeals go stipple free
for you can overdo the bumptious
igor for a chanting

Thursday, September 13, 2007

sans title

"Parole in Liberace: The Grand Piano & Its Accessories-Necessaries Considered from a Fluxus Street Theater Perspective" Linked by Wattten and Silliman

"PAROLE IN LIBERTA"--F. T. Marinetti, Founder of Italian Futurism: "Words in Liberty"

"PAROLE IN LIBERACE"--Fluxus Street Theater (G.A. Vidiamodope, D-B Chirot, after

Dear Friends--

I thought you might get a kick out of this--
the following piece of "Fluxus Street Theater Perspective"
at my blog
is linked at Silliman's blog
and then in the archives/bibliography so far re The Grand Piano series of books
which Barrett Watten just announced he has been assembling-
what makes it a bit ironic is that in the piece by A G Vidiamodopo at my site--
he writes of the purpose/result of the series is to be participant in
the archives of the archives of the works of the various Grand
Pianists and the movement/group to which they belong
so the critique of course is predicting exactly what has happend over
a month after it originally appeared
you see, Fluxus is ahead of the game!

if you see the piece you will understand its Fluxus nature and the
tribute to Maciunas involved
the link is given below
via Silliman's link to it--

also included below is a letter written by the Professore Vidiamodopo
in which he responds to and explains that Silliman's name for the link
to the site of mine
"Taking the Grand Piano Literally"
hence the Professore's reply, in which he points out that only a
literal reading of the piece will produce such a literal take on it-
for it is written with in mind the dictum of Rimbaud, that its
meanings are to be taken "literally AND IN EVERY SENSE"

> The piece is archived thusly:

> Chirot, David Baptiste. "Parole in Liberace: The Grand Piano & Its
> Accessories-Necessaries Considered from a Fluxus Street Theater
> Persepective." Site—Sight—Cite ******* Visual—Sonic—Visceral Poetries.
> (25 July 2007).

here is the note from B. Watten:
> Grand Piano updates
> Barrett Watten
> UB Poetics discussion group
> to
> date Sep 9, 2007 9:11 AM
> subject Grand Piano updates
> mailed-by

> Note on the publication schedule of The Grand Piano, part 4: due to a
> printing error, the volume has been recalled and will reship in late
> September. We apologize to our readers and subscribers. Stay tuned for more.
> Also, there is now as complete a list as possible of reviews and comments
> on the project at:

> as well as an archive-in-process at our website:
> http://
> Barrett Watten

Here is the piece linked at Silliman's Blog:

> "Taking the Grand Piano Literally"
> September 8, 2007
> Blog: Silliman's Blog
> Link:
> --

And here the reply to the blog of Silliman's entitling of the link,
sent to him & buffalo list:

> A Letter to Ron Silliman from Il Maestro G.A. Vidiamodopo re "Grand
> Piano de Parole in Liberace"
> from David Chirot
> to
> UB Poetics discussion group ,
> date Sep 8, 2007 2:50 PM
> subject A Letter to Ron Silliman from Il Maestro G.A.
> Vidiamodopo re
> "Grand Piano de Parole in Liberace"
> mailed-by
> A friend notified me today that at the Blog of Silliman is a
> featured link to the analysis of "The Grand Piano de Parole in
> Liberace" in a presentation of Il Maestro G. A. Vidiamodopo.
> As a colleague of Il Maestro in Eternal network of Fluxus Street
> Theater d' Il Maestro G. Maciunas I duly passed along the news to
> Maestro Vidiamodopo, who in turn sent to me a reply, concerning a
> perhaps misreading of his analysis of the "Corrective" Collective
> Autobiography as Il Maestro amuses himself by referring to it in the
> here and there moments in which he does.
> Here the relevant part of the letter to me which Il Maestro
> would like me to share with you, esteemed Colleagues, Brothers and
> Sisters in the Anarekeyological Actions of Eternal Heraclitean Flux.
> "Estimado, El Colonel de Securidad Nacional, Sector
> "Languagismo" R. Silliman :
> Thank you for the honor bestowed of the selection of my
> humble paper for the readership of your often cited Blog, home I hear
> to the formation of opinion and shaping of taste with in the
> august parlance of baseball fans such as myself, "Friendly Confines"
> of the storied laurel vine covered Walls of the stadium of the Grand
> Piano of the Collective of the Corrective Autobiography.
> It is with many happinesses I find myself among such an
> assemblage of the luminaries, eminences grises and laureati of the
> laurels of the Lyric Art.
> I need however to call attention to one shortcoming in the
> formulation of the indication of the existence of my examination of
> the Grand Piano di Parole in Liberace.
> This is the use of the words "A Literal Interpretation of the
> Grand Piano" which must be touched cyber-style to be linked to my
> presentation.
> Perhaps you have knowledge in the form of the reading of his
> works of the poet Jean-Nicholas Arthur Rimbaud? Whether yes or not,
> this poet well beloved to the hearts of millions across the spheres of
> Poesia, this poet in regards to a question as to the meanings of his
> works famously replied:
> "They mean what they say, literally and in every sense."
> Therefore, rather than confining the illustrious readership
> of the blog to the very
> narrow "literal" reading which alone could produce the sense that my
> piece is a "literal interpretation" alone--the repeition of this word
> is in order to underline my need to overcome its loneliness--I want to
> point out that my interpretion is like that propounded by the
> well-beloved Rimbaud.
> In other word, my interpretation is "literal AND IN EVERY SENSE."
> That is, it is to be understood in a far more vast "realms
> of the senses," to play on the title of a film by the Maestro Oshima.
> The examination is in each and every word opening into ever
> more areas of the senses in all their senses.
> I hope that via these senses the deeper sense of my words may
> begin to "make sense" to the readers and yourself of the simultaneous
> "amplifying" and "chiseling" of my critique which in its employ of
> these methods of the Isouian conception of Lettriste literary
> historical periodicity is essaying a far more complex and wide ranging
> presentation than that kept narrowly confined within the heretofore
> alluded to "Friendly Confines" of a method which can see only that
> which is of its own necessity limited to define as a "literal"
> "interpretation." that which in fact is not so narrowly confined at
> all.
> To use a street inflection from the repertoire of the
> milieu of the Fluxus Street Theater, El Colonel, in my work I "don't
> play that," that being the "literal," for as noted, I am dealing in
> the full throated and bodied Rimbaldien expression of the "Literal &
> In Every Sense" according to the "long reasoned derangement of the
> senses" for in the end to "reach the Unknown."
> For its from this Unknown that the positions of the known
> may be examined in the methods and manner which I have employed and so
> have indeed reached from this Unknown an understanding of the known
> which I have presented in my generous assessment of the Grand Piano di
> Parole Liberace's achievement, which perhaps you may have missed in a
> misreading of my examination as existing solely within the "Freindly
> Confines" of your own "literal" reading of that which is not confined
> to the literal alone.
> Here is the simple conclusion which was reached by the
> employment of my methodology, drawing on the teachings and examples of
> a great many brilliant predecessors and colleagues of the present
> moment:
> Only the finest cabinets are used in the preservation of the
> documents, archives, recordings and files of the Grand Piano--
> for in preservation in its purest state lies posterity in state--
> in archival preservation lies the Grand Piano salvation of the
> materialist word--
> In sum, my friends and colleagues, by surveying in a
> review-examination the cultural-materialist construction for the
> presentation and maintenance of the "Grand Piano", one has developed
> an awareness of the targeted directions of its discourses, its
> performative aspects, as well as its "in-dwellings" as it were.
> I think it is safe to say--for in my position I must take into
> consideration above all your security--I think it is safe to say that
> the object here considered for review-examination is one easily
> commanding entry into the data-zones of citation, bibliography and
> notes, while also sure to generate further examinations of its
> modifications of previously existing versions of the already existing
> files under which this particular "Grand Piano" has already been filed
> many times over. I find it safe to presume that its revisionings and
> revisionisms of extant files will
> be of at least a minor interest to those engaged in the minutiae of
> this particular trope of a narrowly conceived discursive presentation.
> Here it is shown that even with the most "literal" readings from
> within the "Friendly Confines" that the "interpretation" is not at all
> limited to the "literal" but indeed has been embracing of the "LITERAL
> AND IN EVERY SENSE" and does indeed present a commentary-conclusion
> reached by this widely-arrayed Anarkeyological examination of the
> presented materials.
> In Parole Seimpre in Liberace,
> G. A. Vidiamodopo
> Thanking you again for the great honor to be included among the
> highlighted links to the various galaxies constellated in your
> assemblage for this day.