Saturday, March 18, 2017

On the L'il-rat-eye'd critics:

They're 'little-rat-eyes' = literati and 'ill-little-rat-eyes' = illiterate -- it's funny how ignorance can show up in an Academic and failed high-school red-neck alike -- I suppose that arrogance, hubris, is without distinction

those L'il-rat-eyes are speed-readers who're always looking for ways to fill the gap between their lips with knowledgeable sooth-sayings, 'cuz they've mimed the word meaningfully, yet without the Poets consciously cogent sounds in their head -- Poets, however, have gaps in their head where they merCuriously spout their words smoothly, mellifluously with surround-sound lips that never get stuck on having to know anything at all -- they in-wordly lip-reciprocate in an astonished why-lessness that (disturbs meaning) de-means everything into a sudden swoon that turns the whirl'd 'round -- the poet is one who brings a fresh focus to the everyday, fresh eyes to the mundane, with music in the ecstasy of wildly irreverent rhythmic words that fly away off the page in particles 'n waves, while they lip-synchronate with all the meta-sensory expansions 'n contractions that constantly risk absurdity...

these ill-little-rat-eyes cannot see beyond 'what's in-it for them' and maybe if they wink and coo, they can get laid too -- otherwise it's the alliteration of the illiterate and we all know where the ill-little-rats go when they don't know, pressing against their desperation with their glowering expectations and they can't really do a cogent crit 'cuz they don't have the wit for it, so they'll shoot a Poets work down with a number crunch, a petty solution, the money'd knockout punch ...

while they're reading a write I imagine their cunning-less-ness is at the base of it; while the Poetess is wet with over-flowed inspirations blissinging up her 'lectrikly sapient spine, making us feel an infinite-in, with her words flowing outwardly sublime -- however, those L'il-rat-eye'd critics with their pre-packaged-percepts cannot really see beyond their mediocre myopic certainty...

Tuesday, November 04, 2014

?¿ intertextual-fugue ?¿

an ?¿ intertextual-fugue ?¿ is here --> http://goo.gl/TsxBlQ <-- comic="" literary="" my="" span="">

What is an ?¿ intertextual-fugue ?¿

When we were children curious and free, we'd learn by mimicking what we see; sometimes it was frustrating and we'd jump and scream 'til we finally figured out what it really did mean; so maybe the planet and its people too, are in a cognitive-dissonance and just don't know what to do; 'til they do, when they become heart-centred again, that'll be the day for celebration then...

ComiX are ephemeral and topical, however, what comes around, goes around -- we humans are on the brink of falling-fatal to a heartless machine, doing our 'duty' as an ordinary-drone has-been -- or we can be rising-rapture'd in an organic-mutation within a few natural generations - then we'd speak in light's language of shadow sculpting time, moving to a music which only the heart can hear, simply-sublime, risen from the slime, dancing without any fear.

So the point-of-view is the field of possibility. What would 'objective' Art look like? -- ?¿Art-officially; it seems to me that there are two forms of Art. Objective Art and Subjective Art. Subjective Art comes in 3 flavours, generally, i.e., Intellectual, Emotional, and Physico/Instinctual. A quick example of each would be Picasso's Instinctual works, the Expressionists emotive works, and the Intellectual forms of the so called minimalist Post-Modern Art. Of course there are various blending of these 'subjective-types' which speaks to each of us on the level of our personal character, our relative perspectives and, to paraphrase Nietzche, all of our bad-education; hence the like/dislike quality of subjective art works.

With Objective art, like the Gothic Cathedrals of old, the Pyramids, and music such as Beethoven's 5th Symphony or Mozart's 40th, 41st and 42nd symphonies, each and every one has a similar experience. Lifting us up, out of our personal time/space habit patterns; lifting us in awe to the greater nature of life, like wings of wonder flying through the vast cloud-of-unknowing that is this sentimental-reality. So it is that Nature reflected in Art, seems to move us beyond our tunnel-vision, while the subjective forms tend to chain us to our comfortable habits of seeing and hearing, or that they provide us a temporary diversion from our methodically-inauthentic machinations at best.

Poetry (and I agree that ComiX are a form of Poetic representation) often reflects these 'small' miracles in our everyday struggle. Like most Art, it is subjective and produces few Saints. Art as a Language can speak to us within but without any reason, and often sings of a Love that cannot be named, in a music that only the Heart can hear. However, it is like having a 'Myth' which is like having a 'Map!' The Artist can share these 'stories' of her 'Map Quest', her experiences, and somehow in the sharing, we the readers and perhaps the Artist herself, are renewed! Nevertheless, ?'knowing' is like these Maps, but it's really not the Territory, that cloud-of-unknowing we're presently 'wondering' through...

In summary, tl:dr, 'we don't see things as they are, we see them as we are, and if we change the way we look at things, the things we look at change' -- and that's what these Poets of possibility arouse in their Art. It's why I read Poetry and Comix; or as Novalis averred, "We read Poetry (or ComiX) to heal the wounds that reason makes."

http://goo.gl/TsxBlQ



Friday, September 26, 2014

catabasis [kəˈtæbəsɪs]

Pluto just went direct -- Last April when Pluto went retrograde I experienced my first a-fib death cycle, during which I'm in the frequency of Spirit disconnected from ground -- and the body feels a weighted stone -- and these events reoccurred until recently, when I found a way to manage these cycles from within and also from help my Doctors and Naturopath provided -- nevertheless you can divine the rest

 Retrograde makes it an inner event -- so many of us made this trip recently, it was very far inside, where deep calls to deep... so now Pluto moves forward and ...

"What does not kill me, makes me stronger." --  Friedrich Nietzsche

I chose for the topic of my first essay Will Eisner's, "The Origin of The Spirit," The Spirit, 13 January 1946, page 2. The density of  the imagery, the bold colouring of each panel and the way in which the panels are divided up whimsically, all moving the narrative along, grabbed my eye right away. I found myself flitting between each section hungry for the action I was anticipating there. Then I became mesmerized at each panels portrayal of 'The Spirits' catabasis. His personal descent into hell for remediation and his spirited return with a dark vengeance.

That's my Thesis: "Hallelujah Anyway" -- Comics can be a cathartic catabasis [kəˈtæbəsɪs] -- it's story telling 101 -- by keeping it simple it resonates with the reader and a nontrivial empathetic inner event occurs -- the reader becomes alive to his or her own process of individuation -- or at the very least they find a voice that speaks to their personal tragedy, the wounds they suffered for their individual remediation, the withering they endured on their dark descent, and that they almost died so that they'd be stronger for it.

We see farther standing on those truly-squared shoulders of our chosen Dark Super Spirit-Sleuth ... I feel a pleasure of ebullience as I imagine myself the protagonist of this well written and boldly presented story. 

Even so, this is only one page promulgating these many reflections, and I'm allured, like Narcissus fingering his self-aware pool of consciousness, while Echo diminutively stutters in an arcane self-referential mystery, over and over again.

As the symbol of Ouroboros attests, we repeat in these things, as if all of creation stuttered out of itself toward this pure sapient frisson, which we are, which our stories reflect, and from which we emerge somehow more whole...

I've noted that our stories can be like a romance, and I'm constantly returning, rounding another catabasis, in an urge-to-merge, and I'm inclined simply to exist in that kiss -- oh to kiss the beloved with the same kiss the beloved kisses me, and in that kiss, mingle mystery -- oh our hearts know this, Love attracts Love is the secret of this kiss --



Back to the story: I met a dangerous man in black at Starbucks this evening

'Fuk, she's still not answering the phone,' I curse under my breath as I slip the device into my jacket pocket while opening the glass door to the coffe-shop, stepping into a room with dark roast cloying in the still air, and look into the dim light, where I have a meeting with, 'fate.' 

I’ve seen Pluto, that old black and dangerous God, at least three times. Probably more, and HE scares the shit-outta’ me every time! Every time a frisson falls up my spine, every time I feel spent, and I’m usually left traumatized and trembling from the Power I just experienced … The ferryman, I call him. He’s pitch-black, glistens with the entropy fugues of Galaxies pouring into their stuttering black holes. He was, well he surely is, but can easily exist in many alternities and Kaliterations, but way more than that, more than any human fear imaginable, he’s a dark Knight who’s a bringer of death and other blood fatal events onto our mortal horizons.

He always stands there, at the edge of his marvelous imminence of missing matter, which roils and churns at his skin, making him shimmer in blackness and chaos; and we’re just an itch he may scratch, an unlikely event on his dark occurrence.

He's kind of like a Comics caricature of an unconflicted Super-Hero whose abilities are to take succour of lost souls, eat them, with a touch of the dark vengeful knight of passion and determination. Except that makes him more approachable than he really is. If you meet him, it may already be too late.

There’s no solace in these meeting places where his creative-destruction is all there is, and that meeting with ‘HIM” is of consequence to all of manifestation…

So, at a local Starbucks this evening, where I met this very dangerous man, a man who’d made an elixir, an elixir he exclaimed to be the 'Red Lion,' and went on to say that he imbibed it 973 years before in a Bohemian castle. He looks to be a healthy middle-aged man with eyes of steel-blue, wearing an Armani suit that ripples upon his animal physique, shimmers blackness; the Alchemist, I wrote in my Journal on my laptop. He collected and concocted in many fields.

He approached me through an acquaintance to request that I write about him, for what he later called, ‘a power that could change the rules of the game.’ and he continued brooding, 'a power over death.'



a laptop
illuminated letters
complete with words
black on white pixels
scattered
lines on a screen
layered
sentences vibrate cyclically;
we see them in ourselves
‘story’
until these things happen again.

-enter-
I break-up with you
-> breaks give direction <- p="">
I break-down alone
-back-space-

with i n t e n t i o n
both unknown and known -
our home, a period,
our motion, a verb,
an adjective,
shift-insert

candles burn, wax wanes,
drips down, drys up sputtering;
warm glow of screen

quote

it was devastating
for all of human kind
who conspired with the fire of war
burned at both ends

unquote

Tuesday, November 12, 2013

Serendipity: the happenstance of meaning -- the happy dance of gleaning

             Sun 
          mEandering 
            iRonics 
      madE 
         soNics 
         briDge 
connectIng 
  hodgePodge 
   foundlIngs 
         faTal 
    happY 

            wIth
          woNder
 The
 languagE
          noR
 The
           wE're
 Xpanding
      negaTive-space
       langUage-weeps
 After-words
        whirL'd
 
            oF
            dUality,
  tremblinG
 Upon
           thE
     victimS,

sometimes meaning is an arbitrary thing we do to fill in our blank looks -- nevertheless, the thing we do with words to make them wing on feathers dipped in tears and laughter, to mime the looks we give each other, and woo our reader into our serenade of serendipity with the happenstance-of-meaning gleaming from their eyes... 

the happenstance-of-meaning is gleaning that we leak in language; A-lexi–thymia: Literally meaning “no words for emotions.” -- there is Beauty in unfettered language -- like Jazz, it becomes fluid and undulates meaning within the main components of the Poem -- 

the happenstance-of-meaning, foundlings of the great or small
the friction made from rubbing the heart 'n mind together
the imagination aspires from the limits of syntactical-chains
binding us to the tunnel-visions of common sense:
this present imperfect tense 

this present imperfect tense in the happenstance of meaning -- there is Beauty in these fettered phrasings -- as the tongue carries the forms-and-rituals of the word, sounds rolling as a tidal wash upon a wild-worn shore, tumbling, reaching forwards, then, where deep calls to deep, moving back-words for some more... 

intertextual ironics <--> uber-lexical sonics -- the happenstance of meaning is the happy dance of gleaning
                                   intertextual fugues <~> sǝnƃnɟ ןɐnʇxǝʇɹǝʇuıi

Somehow, the level of meaning, intended and happenstance in a write, are co-dependent upon the level of the reader gleaning, i.e., their 'comprehension' their 'wonderment' and all of their 'bad-education.'

it has become evident to me, that the 'meaning' envisioned by the Author will probably have been revisioned by the Reader. Hence the subjective like/dislike quality to the tale told. Engrams or HieroGlyphs branded in the brain via synaptic structures are inter-looped: there where you can gather more dendrites by adding new memories to old thus creating a modular set of precepts in the garnering of meaning. Musing further, to use Socrates validation, 'seeming is often master of the reality' and we therefore need to agree to terms for an agreed meaning to be garnered. To deter the 'revisionist' and march like 'soldier lemmings' off an agreed upon ledge, to 'meanings' fatal fall, to reasons fatal flaw ... that it is co-dependent upon Language=Syntax (agreements of form) for connecting, while Poetry is the flow and rhythm of words, sound-scapes which create meaning from word-movement; reflecting is optional!! and yet we 'disturb' meaning by recreating Language in our own image according to these HieroGlyphic-synaptic modules we've garnered. Subjective intertextual ironics made of objective (echoing Nature) uber-lexical sonics become the happy dance of gleaning meaning.

Language is a bridge, connecting, but the bridge has a syntax you gotta' pay to getta'cross what you wanna' say; Poetry is the stream below, murmuring, reflecting many Suns; meandering modulated-sounds for each 'n everyone!

In the phenomenology of Love coupled with the visceReality of joyousness which frissons up the spine, what remains is our own courage to change the world from inside out withoutta’ doubt, that lost Art of interior-design … it starts with wonder imbued in awe, unbound by the language of ‘reason’ nor by the fatal-skin we’re in, uncluttered with the pitter-patter of patterns promulgated by all of our bad education nor spoilt by the cliché of tribal-mediocrity!

Caput inter nubila condit.
She hides her head among the clouds. 
intertextual fugues 
The happenstance of meaning,
in a hodgepodge of words.
with inherent seeming allured. 
One is Joy, 
another addiction.
Like me, 
like my 
inflated sense
of word.
Flags waving,
look at me,
and my words
we are WRITEoUS!
We are what we
Write.
Write flowers
and streams
and
windy chimes.
Face facts,
Words escape
meaning
with cowardly
defenses like
paragraphs
and
syntactical
alliances.
Prepositions 
pasteurize,
so that whimsy
and
freedom are
battered,
suffering
split infinitives.
Similes with
spiritual
accents
and
distinctive
adaptations of
cunning.
Read liberated, inebriated;
fight the
oppressor, as
the maker of
meaning
is
you! 

    you        
           hear infinity in the conch of your ears hissing there 
                        while liquid last eyes 
                        see the numinous that's moving-us
into an ephemeral shining at the back of the mind,
illuminating the limits of the fatal skin you're-in -- 
let's be
dumb and        
stare at forever!
      let's be  this grinning 
                  empty, drooling,
                        free of meaning, ghost-hunter of the eye...

nevermind worrying in soft murmurs, 
let's linger astutely,  
then hardly at-all,
                then, nonetheless
           when it's all but over,
         wrap it up
            in many Mansions
                    for LotusBlossomslaughter. 

'til it's 
Xpanding negative-space

...from the eye
of a howling-pen,

language-weeps
language-weeps
after-words language-weeps
from the wounds that reason makes;

seeps from the wound of omission,
seeps from some super-scary-SaṃsKāra,
seeps from the whirl'd of tunneling-fear,
seeps from some gimme-gimballed duality,
the wound that is an imperfect rorriM:MirrorRorrim

where they're trembling from the loss,
from their lessons upon the alter, from getting stoned, over and over again,
in the wailing rhythm of suffering;

innocent victims, like you and me,
lost between infinite-Love and "I'm not worthy,"

there, you know, just there where the stretchered edges in longings go,
where we all strive to Love, yet stray only to affection,
and falter lessor still, yes, there where we whimper in the clinging,
instead of weeping for the longing Dream, 
there where were bursting at the seams
of what it all means...
                                             pop
                              there 
where it's dark and deep.

Thursday, March 28, 2013

Al'giber

Abu Mūsā Jābir ibn Hayyān (al-Barigi / al-Azdi / al-Kufi / al-Tusi / al-Sufi), often known simply as Geber, (Arabic: جابر بن حیان‎) (Persian: جابرحیان) (c.721–c.815) hence and cognate the etymology of gibberish, in which arcane mixtures, these 'darkly grace mixtures," which were known to have transmuting properties, which he then oh-oh obfuscated in his Poetic fugues, simply as a precaution; the door-between-worlds, or wormhole in space-time, this frequency-rift, could result in catastrophic consequences for one or both of these instances in alternity -- thus when his Zykir sonics rose in ebullience, in the rhythms that were known to open a portal, his visage would glimmer between worlds ...

Thursday, March 21, 2013

romanticism


the romantics like Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats move us with the rhythms of the numinous -- The Poet is often a Romantic and the vision of Romanticism echoes the Devotional Bhakti Yoga of the East. -- Novalis, the German Romantic Poet wrote, 'We read Poetry to heal the wounds that reason makes,' while I also garden for the same purpose, writing has often been a balm to what is lacking in the, 'please be reasonable' approach to living -- the Poem is never finished, the writer is always writing, grasping at the numinous, the unreasonable - guided by a pen dipped in laughter and tears, hopes and fears - aspired or enthused, drunk or merely called to a task he cannot finish as truth 'n beauty have no beginning nor end -- the writer is the pen and the words he has caught in the wind, a speaking heart singing a longing tale where there is only one Poem, one Story, one Song -- a deeply conflicted Romanticism -- a plaint of Beauty which cannot be captured nor knows any fear, yet is neither consummated in passionate embrace, a kissless kiss, a touchless face -- so sHe goes to that longing Love that shall ne'er be won, peregrinated to follow an ancient aching heart, 'til life is done --
in Romantic Mysticism the longing is often an allusion to the ever seeking Heart yearning for the beloved as the goal is Love; experienced but never sated - Oh, to kiss the beloved with the same kiss the beloved kisses me, and in that kiss live an eternity - Oh, our hearts know this, Love attracts Love, is the secret of the kiss -- and the law of attraction is a sympathetic-vibration, as above, so in you, as you're moved from wonder into awe, your eyes glitter with the beauty that you saw -- all Lovers invent the Beloved and then the Music, the Poem, the Story is always about that -- the Lover makes the music, the Poem, the Story as a texture of that ancient ache, a reality play which changes in innumerable revisions and realizations, forever voyaging with the heart as compass - always going, never arrived - Love has no opposite -- the opposite of hate is discriminating wisdom...

Saturday, January 05, 2013

mantra-trivia in Tibetan



yeah, I use to recite rote mantras in Tibetan 

like the Manjushri's di di di di di di di, man he was juicy concerning mental Mercury n' words that see, clearly - that 'n others reading the scripts on long sheets of idiogrammatics written in 'lil tics -- 

nevertheless, light reaches the eye, bounces around inside 'til chemically driven, you sigh a wonderin' why, all these reflections are a cussin' conjectures 'n objections, becoming brainiacchtungs that are rungs down the ladder of your holes, where all your dirty cloths goes -- 

and you get sick 'n tired of slogging soggy jeans, that means nothing more than you're wired obscene, mired in the darkness of obsessisve bad dreams, dead-locked and it all seems to be about you, about you, oh it's bad -- 

but when all the words fall from synaptic trees, contraries 'n clarities, oh won't you, won't you please, dive deep up there beyond your event horizon, your suffering version of the inner idiot disease, and it's something farther than you'd ever seen with eyes blinded by the light of 'lecktricity, with reflections bouncing off of your mediocrity, back to where you've already been -- 

oh, but you want to, you want to, get it back so bad

after we'd recite in alacrity, we'd meditate on where the words dare not go, 'n learn to relate about what we did already know, in a language only that the heart can show, and it's clear 'cause it's not about you, no, it's not about you, anymore...