throw of squares

Page 1

A THROW OF SQUARES

SONJA JANKOV

against imitation but by analogy. - Jacques Derrida

cover image: s-catfish walks into poincaré pancake by bojan mišić © 2009

Thanks to James, Andrew, Gabor, Federico, Teresa, Vladimir, Zoran, Bojana, Željko, Ana, Larissa, Sonja, Branislav, Vlada, Vida, Mladen and all those friends without whom I would forget that I’ve ever been writing these squares.

Abbozzo was firstly published in Berkeley Poetry Review Issue 41, 2010 Several sonnets were appropriated and presented in Shock Gallery in Novi Sad, as interventions on the gallery walls, December 2012

CONTENTS

rendering of squares un coup de cercles matutinal stereopticon equinox correspondence with poincaré’s geometric technique perfectly screened bachelors mondrian avenue shadows of chronophotographic resistance rainy syntax of umbrella’s mirror common “autobiographicalness” their descending poetry of hidden looks white letters on black background after hermann broch’s arrival an encounter paradox, pourquoi pas? yellow ships / yellow vacuum topical recursion after rainer maria rilke & mimmo paladino a repetitive energy of disappearing “y is unspeakable <indicible>” snapshot XXIII - seagull white diptych: rodin silent note blindness and insight flamingoes in a lake (0° 19’ S, 36° 06’ E) october sonnet cinétracts reflexivity of the line itself

riegenshpil in time lapse the dark trace di mezzo dali high heels uncrossing ampersand r.s.v.p. to damien hirst duchamp ascending the staircase abbozzo orpheus’ pupils sfumato dictionary train station, but not in monfalcone unused frame for split screen la défense: diptych blank limits of a grey form 17: 59 cut blue noise “drawing after Empty Words by John Cage” x with dash a) amarcord a walk through greenaway’s H b) amarcord three metres of unknown space: the negative of a footnote x, y, z op. cit. blinking sonnet trigraph: haetera sonnet no. 57 short ‘h’ synapses carbon dioxide the end of someone’s performance the last sieve

untranslatable remainders sonnet no. 65 “by declension: the invisible, the unrepresentable, the unthinkable” dittophony arcades - poeticism of prague epigrams Apolinère Enameled anamnesis

rendering of squares

line was the layer for him. again. words are few. layerings too. ‘images of...’ [unframed.] ‘alone gone.’ being not only the traces of their own artistic action. who is there, inside the second square[,] from the left[,] in the third row[,] from the bottom, in adrian piper’s here and now? without any subtitles that are those looks we don’t dare to take. screening of child’s bicycle passing[.] in front of the black and white stripes becoming a framed piece of conversation in the second part of a tram. going away[,] from cameras with wide angle lens[,] to slow motion. taking nozzled mechanic camera thirty six years old at the same distances in the city as are those of industrially placed holes at a venetian blind making the outer air to appear brighter than it could be, ‘besides the typographic screens of, hithim&thithering screens of…night!’

un coup de cercles

in order to be abyssal, the smallest circle must inscribe in itself the figure of the largest. -

Jacques Derrida, The Truth in Painting

outspoken poppy & soporific polemic over pop position of its portrait postulate hoisted by fork overshadowed, overseen, going on optically, the port of portfolio posing on the post-box preconceived in poem polyphonic spigot points soprano the pole of its hoar modal notion over overrun ozone portal obstacle outshining the locomotion of iodine logic one-sided journal overcasts nought loaded Kodak, knot is rolled pondering lode star

matutinal stereopticon

, to start with the second part coming up to us , nearer to memory, paper, eyes, that window , this time of the movie that covers the pupils , only obliquely while caution accepts it silently , not disregarding the humanity of movements , modern humanity of lightened surfaces' play , that divides the rectangle in ten equal pieces , presenting a white anatomy of spacious wall , making all movements behind glasses neutral , behind co[m]mas, figures, automobiles, prams , proclaims, [bi]cycles, cross-roads, handlings , lines, hospitals, passages, noises, voices, dots , roentgen rays, files, abstractions, days, hands , trams, tears, tea, implications, unnecessaries

equinox

have you ever felt being in between time periods, “embedded within the virtual structure” where each visual actualization signifies differentiation, creation? being in those uncategorised eight minutes between equally lasting day and night in march, called astronomical reflection, maybe only referring to remains of “pure opticality.” realising that each of three durations [blue] [yellow] [red] is un réalisme artificial, while you’re mapping its absence from the black screen and the negative of a photography uploaded – its continuous tone stating the poetic imperative over digital material, generated from code. changing the direction of looking for twenty degrees: the possible new vision included in the animate potential of a digitally constructed entity, the double exposure of an iron bridge - schémas visuels

in sequencing and duration. still, all of these are just the first few seconds of eight minutes, even when a new medium of formal expression would appear each time the code is translated. the rest is all achromatism - between jean loup sieff’s portrait of nureyev and dino pedriali’s. the first one captures the eyes, direct look and hands surfacing the first plan, probably from the stairs of the opera house, clear in front of large panel beside them: the image, virtual as “a description of language, as a tendency toward expression.” pedriali brings out only his face, hair unseen under a white towel, pupils absently confronting the floor, tiredness detouring an adjusted camera, instead of the portrayed one: it is between those two images, for eight minutes, where the virtual is “becoming-other,” describing the process of self-differentiation, his or yours.

correspondence with poincaré’s geometric technique

on the phrasal screen there are pasted only fragments of (h..) roundness, nouns constellated & made visible by shadowed (skin) sand dune – the rest, predicated, in dimension out of procedure, moving by the same (steps) winds until the exposure closes & background light throws our flat silhouettes over framed measurable space of conditional tense & the arrangement of knowledge it uses about “self” that doesn’t seem to affect any other case space, “sparematically logoical” as ours

perfectly screened bachelors non-interpretative, all hooked on ribs of visual ego

mondrian avenue

simulating, ante merīdiem, the segmentation of consonants within a new language, as modifiers of shadows in an unseen directly, distant city – for how long do they fall before being f[r]act[ured] over façades, newspaper automats; pasted, unabsorbed, cut between walkers’ steps: the place of these overlapping events defined by quotation lines (as simple as those forums for new dance – completely monochrome), op-

pressed as blackened space between columns mirroring a precise mechanism of proportions in uniting time of rearrangements and though included dans le nombre d’or whose new mode of use is to frame non-time spent in writing and to high-darken even more fixed, functional crossing of “&� - particularly those right angles behind or along strait blank lines, for most of times felt as verses (taking not only the course of breakings / before the next vertical, but of roundness illustrating the unrealism of absolute black) and mapping the number of corners / slashed by streets whose auto-poeticism is habitually mistaken with unrevealed ( ) instrumentality

shadows of chronophotographic resistance

under a white umbrella. [sunshade?] delineated profile of the visible, on its outside, extensive towards an elliptic term. the same tone, littoral, from one edge, oscillates (in times) between chin & shoulders, 2nd ending indistinctively in the shape of ‘threading suns’ – each hair’s ray leaving on the nylon surface a negative of sun’s, among which 1 splits quarterly across a fork: static by meat, 1 trebly, no, trilaterally in concentricities of eye circles, 1 doubly over an ellipsoidal glass edge [if cinéseen diagonally], 1 hundred&once over each graphic sign within the last joyce’s thunderword, when density of the alphabet’s blackness starts to reflect more light than paper’s pliable whiteness / & each of letters becomes broken, forced frame for fragmented light-grey surface – unwritten all over – empty – aesthetically disregarded: unnecessary: basic “: silence:” plain: the same: uncopied ::

rainy syntax of umbrella’s mirror

so many things i’ve never asked you – is “finita la commedia” quoted from Hero of Our Time, having or not its answer in Stephen Hero; is Fear and Loathing in Las Vegas on the syllabus since there is only one fulllength version of the film on youtube containing simultaneous translation into Czech; what if that “without arrhythmic changes in the amplitude” beginning of a poem is analogue to description of a sea at the opening of one of Le Voyageur’s paragraphs & the one with Cézanne’s words ≈ The Truth in Painting… nevertheless, the first days of March are always marked by empties, sometimes finishing with a dinner, wine, whose departure?, surrounded by large paintings & comments in Greek, each predicament resisting the night, binding up senses, making them focused in deliberate attempts to perceive all differences maybe for some of unarticulated lines always left for later, as everlasting Rome, never knowing how many breaths might we have between “the unvoiced” & “voiceless.”

common “autobiographicalness”

auto-portrait of a blind. written. starting with question. or anti-portrait. within disconnections of amnesia. sorrow¿ apology lost. all until his voice started dying i[an echo of its words. a portrait by invisible him / of unseen her. re]written. across the blind drawing of “cathedral”: the last narrative in the collection introduced by the same word. dis²appearing beneath the fingertips. appearing in altitudes of lateral windows, having unequal depth & dimensions as le corbusier’s poetry of surfaces, that sometimes meet in the same angle as those graphic sounds of apollinaire’s megaphone or of those in 116 65, R CZ causing this town to seem even more extensive in its internals that reflect portraits invisible through windows of a tram: lost graphic signs: stringed between seeing and reading.

their descending

long descending overwhelmed the ringing of ice cubes’ leaps □ ▫ each grazed at different corner that still redirected light during eye blinks between frames which would [n’t] include southern part of the town visible only from train while departing, leaving - how come we haven’t seen it before, those posters, while going north through trieste contain, the same irregularities in clasping of edges like these buildings; the tram went only till that place where we’re descending via duchamp’s fragments of the sight, capturing with ours the yellow-orange glare of night sky on rained domes, that seemed familiar to them also, with no parallels to moon, taxi cars or metro ticket unseen in sections of a dream through photography’s binaries of a lift with opened ropes & us, below, in a cube, elongated

poetry of hidden looks

but the discourse must go on. so one invents obscurities. rhetoric. - Samuel Beckett, The Unnamable

I carefully & without estimating graphs of shadow’s remoteness from the thigh, &ocrine engraphies of sliced screen where becomes visible shadow thrown by pigeon-blue shoulder–blades lapsing from the eye–lashes & coming illuminated by catalogue of photographs at the wall while brightening a day in March [being then completely mad]1: makes the sound of her words more realistic: Imgard and Zifrid, yes, Pictures from Exhibition… disappearing as the usual steps at pedestrians’ crossing from [so m]any years ago half between meeting & leaving towards many-windowed wall that while reflecting light underlined the sound passing about her footpaces & a distant Norwegian landscape: turning her step azure, now, [sp]reading towards a covered screen at night in an empty hospital room with neon lights turned off & Godard’s poetry pervading hers with graphic resonances: out of these windows, further down the streets, until the place near Hamburg where Einstein crosses Labe in only 3 sentences

1

[or rather usually medium unbearable, but only to yourself], “U unsingular case” (FW 251.32).

II by surface. like being of erin green hart. developing agent like menthol in colour sensitometry. being of looking whose only negative thought & appearance exists as a folding in the glass of camera obscura & then he sees in 5 minutes in a distant past tense how ‘d’ didn’t fix washing machine for a printer did[n’t] accelerate up to two lines/second of hamlet machine & when king steps between don carlos & the mask testing this blue camera for seeing portraits implicitly dividing < left from > right side & any event now is[n’t] more/less than any slide-show projection on a screen, unconnected with that printer starting: kortet gäller 72 timmar från påstämplad tid för resor inom Stockholms län enlight SLs taxebestämmelser.

III & “looking the hospital windows through yellow fog.” why. he didn’t pass further & I’d come home anyway, make the telephone call. Heissenbuttel's Topographies are equally insensitive for the eyes as much as. from ambulance car showing at first at the end of :this: street & then at the end of that verse; than again at the end of the next street. she crossed it. yes. I saw her. are you sure she was talking about that film. this bridge was iron. remember exactly how its shining seemed as light was falling from it over domes. not as going away/ coming through clouds. maybe fog. like the whiteness of paper under acrylic at the beginning of february, when it looks brighter. ‘errors of light without consequences’ spreading behind window-pane. no, it wasn’t about the film than. Das Ewig Weibliche zieht uns hinan. text, but it had two lines under the first and last paragraph, know. she is not there: am sounding like a broken tape. no, street lights are closer to her. hear you taking glasses, ice, carefully,

IV curtailed edges of ice cubes spreading across the table having the rhythm of un coup de dés jamais n’abolira le hasard, parallel to snowy, folding up sentences that appear by punctuation within those same margins of a page and one dot turning them into two-dimensional automobile lights at night. while passing over a bridge. flat. white. with vertical holders, uprising in a strait ┴ angle. carrier[s] of erasmus’ bridge in rotterdam - leaning, / joining [\], & while crossing it, he perceived his reflection below. [maybe.]: - ∞ < x < ∞ who’d know. to create all possible ways. till the last: № 333, or since then, since the first moment and breath, nerve impulse that brain, with limited presence of oxygen, receives being exposed to the neon light somewhere all around

WHITE LETTERS

this great, tragic playwright of classical Greece writes in poetic form the need to keep a ‘light sensitive substance in a dark room,’ in his poem Trachinierinnen. -

J.M. Eder, History of Photography

without ultra-marine walls for Baudelaire’s conscious kaleidoscope and unrevealed film, in all senses of the line, a dot thus comprehends sonnet. the sleepbeats of white strokes over newspapers at 5, rue de Thorigny, 75003 as those questions one didn’t ask about Pedriali’s exhibition at Galleria Foro Traiano 1 a Roma that was open only after half past ten pm while the last bus was about to leave, long-playing steps as indents revealed by obscuration as all those possible small cylinders hidden

ON BLACK BACKGROUND

in letters of a ticket, the left cut of frame leaves ‘ncorde’ part of poster: if a factor name for 1024 is yotta, for 1021: zetta, 1018: exa, 10-2: centi, 10-12: pico, 10-21: zepto and for 10-24: yocto, i don’t know to tell in what proportion would be all those black printed words that are so obviously missing at the photography of his walking down the street, only black shoes seen against the stone cubes of a footpath’s base materialism, exhibit bene: without Warhol’s green sunglasses with golden frames,

some punctuation in past time within the horizontality of a term discussed looking at Centre Pompidou from distance and not entering it even during the ‘white nights’ cinema cities thrown all over and differently sized plates placed as Duchamp’s kinetic poems s;i;t;t;i;n;g on flashing / negative images of a chair falling separated by few minutes of blank screen d’r’e’a’m’i’n’g or a fragment of text covered with electric hoar "%H%einz %c%ans %e%verywhere"(FW 581.5) where each 0 and 0 speaks of lode star and the silent logic of Kodak iodine journal speckled by empty lens without scope of phony reasons and landscaping pauses.

after hermann broch’s arrival

the allegories are somehow always meeting in lavender grey (Lavandula spica) shades of memory – that sixth lamp of architecture turning all leafs into gold (when spoken) azzura della magna is opening like the crystal palace. at first farewell to unwritten beauty of speed in the order of Augustus that no word should be destroyed. each one is still machine pour habiter, but only for later poets. leaving like mouvement, used in French much later than in German, moving through steel-blue waves of Adriatic sea or modernist vision of glass architecture, developed by Bruno Taut & others who are founders of reading. 2010, 16th March

an encounter

‘& the birds & the sky are pulsing the

ocean margin

in front of the

like chess’ he used to

leaving the

say once before reaching

desert behind him & all its sand

objective’s reflection / negation

&

¾

of

desert sand

that captures the limitation of the view by the objective through one point . two of them . visible x invisible and fractures :

: changing

sides:

one who sees

& who is seen by [her], like desert, but doesn’t see

the camera: objective :fracturing moment

\

separating them :

people, the gaze breaks all

through lens

: : doubling

broken by the

grains of sand

/ of a strange body within a

inside the

pupils of

still unseen

photographic surface as the ocean line

polishing

big pieces into lens round but

unknown to any of GAZEs : those, encountering through the breakings of

sun rays

through the

& [her] who enters field of view,,

PHOTO-CAMERA IN FRONT of the ocean

the camera

field of sand,,

VISIBLE

by [her]

look \ that restricts [her]

not until now when he ascends the film

2009, 7th September

yellow ships / yellow vacuum

after Hundertwasser

space between fingers drawn to left by perspective, a part functioning as divider, soft instrument measuring how many heart blinks does it take before a frozen button automatically responds to it, face-to-face. red logic signalling the popstmodern swiftian turn: “if you have no coloured fingernails, your hands should be cut off” while the redundancy of its opposed on-off positions is reduced by inner mechanism - maybe analogue to design of purposeless memory pieces in one’s mind [would the whole process collapse if those are not filled with anything] otherwise, but only interiorised, it should be crutched constantly by sights like this one, bound along those pink “concrete/ metal” specifications within technical drawing and pietro spica’s stylised,

but obviously organic forms, painted in fading surfaces stripes with intensive purple peaks as if coming near/into centres of circles spheres; ; she sees almost nothing at all; ; the whole painting based on cold-warm contrast, but here outside the sky is covered in grey and black buildings, portuguese guitar tones from the (maybe) second floor attracting the sight in its deviation to a few white numbers on concrete on right; sixty five years ago, as abstract as equitation the teacher was writing on a board were books pencil ribbon, having only dirt under nails and the hole on a sleeve - the look fixed (takes words) - just because her mother told her to pay attention, for that is what should be done in school. all the algebra successions not only an image

that can’t leave a child amazed, but the absence of anything lookable at all‌ there is left only a moment that can’t be contained in any of recordable forms: not to be [a]parted away. the shadow of trumpeted profile intersected by blue keys and few rachmaninoff scales, a swing in a park, the symmetry of its holder never to be framed in motion. seeing own feet at the top of a tree in front (how many flags contain stars) the sky not as high as horizontal metal bar when the possible act is highlighted in presupposed broken chain [anterior to pragmatic reasoning] it is photographically natural to be aware of yourself, of an image unrecognised by others [and the sky and the woke birds are

switching like tact of camera shots, opening-closing of yellow refrigerator during the year all of you shared an apartment in berlin] and the line of building roofs turrets pulsing like blinking reflex while looking up into the rain or coloured afterpulse after gazing at throbbing light (the forehear of people not passed yet). streets illuminated by interior lights, shop-windows asking at what point would highly enlarged photography represent technique of tone development on a surface [veiling the ego] since building in horizontal is much more difficult than building vertically. liège-guillemins station accompanying the new era of rail travel, its roof sheltering five platforms [using a construction technique developed to reduce disturbance to the active train traffic bellow]

which of all architect’s work celebrates a movement the most: façadeless structure frames the city laid before it that (by the scaffold bearing more frames than train windows) is more visible in this envelope; description of non-existence of postcards from which one could never see the emergency exit flashing above inwardopening doors (at least they are not wooden like london metro) or “psychology of suicides” by the toilet seat (the line of unsafeness [when it breaks there can be some comfort in silence]) unspoken swamps of fear while loosing their gravity, re-surfing the eye in the same way a film was projected over the open concert piano, wondering whether is there still something rotten in the country that produces coins with hearts

topical recursion

realising at ð & of ð day that it was composed like mimmo paladino’s carte siciliane [1998, mm 980 x 720] acquaforte a 8 colori su 3 lastre, insetti incisi su lastra di magnesio. ð morning – circled, spreading its radius from invisible centre: from somewhere inside: felt: by awareness: Ømm 1220 acquforte a 1 colore su fondo serigrafico a 5 colori. ð rest of ð day consisted of being at 5 locations: each of them intersected by a card differently coloured. paper with ð seal from post-office used for packing present: ð curve of letters surrounding ð seal vaguely like one at ð stamp with

reproduction of Veličković’s graphic. the whole process of memories: timeless narrations without negative catharsis contained within those few moments of choosing ð object that will change its position becoming quoted between his hands in ð evening. seeing it in ð shadow of his figure [lighter than darkness of magnesium], cubic twinings box made of tin: thé aromatisé au caramel et au miel (why in french? from all things? Have not noticed it). entering ð next room: staircase leading somewhere else, blurred with darkness.

after rainer maria rilke & mimmo paladino

passing beside someone who touched the part of a piano, broken piano, is to hear me. passing beside someone who stopped by the sail attached to a mizenmast, broken mizenmast, is to throw shadow over me. passing beside someone who photographed people crossing over the bridge, broken bridge, is to walk over me. passing beside someone who is broken down is to see nothing of me.

a repetitive energy of disappearing

1938 OLYMPIA, part one: fest der völker 3,269 m, part two: fest der schönheit 2,712 m becomes gone, gone, gone played by miles, & echoing ‘arivederla’ like the light from l.a. f.o.l.i.e. turning into sheet lighting [coming in flashes of diffused brightness] and flowerhead women within whiteness of sand embracing soft instruments, becoming cellist and pianist storiella as she is syung about fishermen, strawberry and devil crab being ten minutes older now, when dante chooses to be before &ed lobster [re]written during the 38th Twelve’s Night until George Brecht’s 1961 word event coloured like Elisabeth Arden’s mountain grape shadow, like ocean’s surface: dark wine brown and purple where (their) his wake is appearing left to be followed in

“y is unspeakable <indicible>”

“…more beautiful than lightning that soils white glass of your blood.” innumeracy was encircled by refutation. by silence, equivalence, variability that couldn’t be concerned only with the possibility of alternation. attending it[.] is like seeing “the linguistic coding of conspicuous, powerful and expressive frames developed after the pattern of a draughtsman’s sharp handwriting,” like reading about an image of her hand rising and the ring reaching light from the star and giving it to eyes of dying Virgil (Broch uses this meaning of logos and so does he, succeeding), searching for existence of characters in words that describe their lives presented in negative actions, absences, incomplete circuits of narratives (coming from

some of the following texts[?]), their expressions in unsaid, unwritten meanings coordinated by spoken phonetic binaries. the drawn spontaneous note about the works that [c]ould be submitted until the 15th November. Marlborough, London, circled with red within a graphic at one of those three solo exhibitions one has attended, the first one saw only for once (one watermark was left unnoticed), last year one of the exhibitions was held in Lisbon, Galey Antonio at the same time while talking about the 1909, still rural, unindustrialised, Italy: being invited to later, via posta prioritaria. innumerable drops “[‌] with mouth soiled with last starsâ€?

snapshot XXIII seagull white

the lack of her voice captured within those white benches that are riving the salmon of autumn trees, the stars windowed at Mont Saint Michel under snow, angles wider than those in marble of Oslo Opera House while Ennio Calabria’s sight becomes acrylic, liquid, like the movements made by woman of rainy antlers at the island built of stones those Perast locals kept putting into sea to have a pedestal for a church called Lady of Škrpljel, the same as the icon, placed there, needle-worked with one’s own hair that kept becoming

more and more grey while the years went by and there was no sight of her husband’s ship at the open sea: the sea illuminated with the shine of rosemary leaf and the reflection of St. Peter’s Basilica’s dome, as Michelangelo wanted it to appear while you’re approaching it from the square: André Breton could see it from his terrace, the poet said, as Ravel could see the reflection of the piano in his cat’s coat, retained, not in the eyes, but in its fur [it is less sharp in its artistry] and while the edge of one yacht’s sail meets the edge of dark Copenhagen Royal Library he will open his eyes and wish her a good morning over again

diptych: rodin

a figure of man surrounded by emptiness, falling under white reflector light and dancing no longer alighieri’s inferno: seen from left by august strindberg’s photographer (who considered the whole world to be inversed): at the beginning of colorimeter: window as content/context machine that renders mutable object itself (remembering the third side of the wall [in photography]); once the lyrical voice defined one place to be where “I overdose on jasmine tea and moon cakes.” now, missing punctuality, one step in stasis prolonging a pause; compressed perspective

in quoted detail from snapshot no. 27 with ›open angle‹ 46° - 220° and seeing the wideness[less] of titus andronicus’ april earth. one lightning fractured from a play about jupiter in notre dame: all portraits as they’re painted by h. bosch instead by hugo: ending the passage with kaleidoscope: ending his album with 143.3-28 9th picture: seven rainbow girls whose answer is “a callideorscape,” looking Loie Fuller’s experimental dance where fourteen electricians were needed, ‘directed by means of gestures, taps of her heal and other signals worked out between them’ still.

silent note

after Rachmaninoff’s Wake by Maja Solar

& occasional letters that drizzle throughout the whiteness of paper by splashing tears of era, unspoken under the mistaken silence of ‘one eyegonblack’ & its unseen complementarity of black pupil and fine rice-like tear [maybe for flying][;] before the morning had drawn it – could you, please, cut a piano by its keys? & wake the blinking of stars, wake the change in frequencies of their sound & light, move forward, [you,] a dipper affected by inexperienced dapple[!] having a forgotten smiling voice that was invented by the same thought as banana cream, as its lightness, [as without comparison, as without binary, as without as,] by eyelids like an ash, as those the poet fell in love with, suspecting that by their movement the star gave its last gasp. come back another dying note played in loneliness yesterday

blindness and insight

like so many years ago, when films were made outside, among ruins from the war, the very same ruins that could be seen later through the back window of w. wenders’ 1986 car, behind one whose ¾ portrait is seen on the left, black & white, [through another part of the film roll only ¼ from behind while sitting in the back of a bus,] but, earlier than wenders, cameras didn’t have auto-return mirrors, like it is in the case of ‘abstracted from time & space. self.’ although their selenium cell exposure meters produced their own electricity in the same way[.] like little solar cells. usually 10 x 30 mm large, having plastic lens that would concentrate the light on them. those were even smaller. like this. selenium as heliotrope, [but] degrades with sunlight. “abstract” photographs. any black & w. unseeingly perceptible by eyes.

flamingoes in a lake (0° 19’ S, 36° 06’ E) after yann arthus- bertrand’s photography

&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& &&&& & &&&

October sonnet

places don’t have

1.

19 1910 1922 19

2.

(I) have no

each name stars

could appear by that

chance calling [to] you

sand

[some]one

look[s]

3.

unseen

lost while

FALLING:

into

remember[s]

embracing veinless sky

deep

4.

now

blue

h

wide as complete city under domes

golden

round city, central 5.

14 verses

as much

x

as film hours

autumn 6.

white

benches

&

leafs

colour

in rain : : : : : : :

ed

:

like [salmon]

: : in Stockholm

then of orange reflections

7.

& retrograde consciousness after Trieste tristia

whiteness

in absent memory of

sun

: : : : :

ow

: tristia : : : : : :

14.

O O O O O O O

O O O O O O O

O O O O O O O

O O O O O O O

O O O O O O O

O O O O O O O

O O O O O O Old father Ocean ...

________________________ 1

idea for square of circles originally comes from logo for the October Art Salon in Belgrade

cinétracts

longer developed time by purpose of achieving higher contrast of negative >departures inverted > when the light at [un]known station is so strong that makes the outer line of your elbow invisible. a black stripe over a blind word in a piece of newspapers on the floor rotating in back under an arch while you’re leaving. an unrelated consciousness for extensiveness predetermining each one’s pre-cognitive relationship with the image. (can’t be the same for octopuses. changing colours like fireworks seen through round window of ‘rygerfjord’ nearby söder mälarstrand kajplats 12, 118 25 stockholm sweden.) longer time taken for coming from station by purpose of adjusting to the higher contrast of coming room’s emptiness vs. that hour spent in train. shadowy / vague visual memories 12cm behind legs of people walking to the next side of the street. as a flash of piano keys glanced while entering

reflexivity of the line itself

skyscrapers are our streets. said the poet. they are bases for our feet while moving the anatomy of our dance. becoming static to change the type of movement in front of the cube placed on the top: beneath the stars. lying on one angle: spreading three of them into different sides of the city. each of these sides unfinished: the inside filled with seats following the diagonal line: facing the opposed screen. the cubic form finished in glass. transparent between the auditorium & the stars: look, still, fixed horizontally to the screen. coming to the end of the tape: the end of the street, we realize that some others also end in this form. differently coloured surface-compositions on [shut down] screens. thrown: the dice indicate city’s unfinishness equivalent to our dance & prolonged looking.

riegenshpil in time lapse

seeming as static presentation of creative process. as an exhibited 1/8th part of a piano. one sentence . short. among many. in the line. like a car on the bridge. spotted by camera posited for documentary film. an achromatic lens including may 1968 “ art is dead, godard can’t change that.” 129 pages, b/w photographs, 32 pages colour section, A5, edition of 1000 of which 1/10th dated & numbered original dust jackets - printed during 1 version of schoenberg’s 12 tone technique. with inversions.

“ ” her look distant [hidden by hands like miles davis’ face revealing left eye {open} looking up to ð photo camera]. 40cm further left in ð bed: trumpet.

the dark trace

helicopter destroyed dostoyevsky: his spiders, epiphanies, pressures of heads reaching walls, fears, gripes, nightmares, [un]seen through såsom i en spegel. encircling sensitive surfaces, looking at helicopter tail, half round cabin, a quarter of x rotating in acceleration, an open lake under, seen from air. suggesting over hundred pages of unused material about ivan karamazov’s projection, found in notebooks, by humanist who was avant-garde to fyodor. was it fjord? could it have been when she said “our harbour was a dead cinema the stars on the screen rotted in competition.” all these stars as screws in roentgened shoulder. & the lake surrounding simple helicopter, like blitz around special medical objective. on its grey surface projected moving shadow like over the film, passing through security layer, emulsion and celluloid, deeper layer that disables light reflection. its surface texture portraying the course of time ending in front of unreached soft light

di mezzo dali

picture prolonged: what seemed unimaginable during all our previous periods trapped us as the only present desire: status quo. silhouettes of outcoming regions thwarted, symmetric like her stress_level_measurer: the drawing of an electronic light switch, at the same height by the real one. in mind’s outlands a line rises from an illuminated landscape far up, diagonally, between red & green the whole “solitary crossing with one eye / polyphemous regulated” grey turns into a chin, forehead, birth of a divinity, navigating its yellows inwards from purple’s blues, from eyes looking after fevered steps we are walking in towards this rebuilding of apollo’s whisperings, α & ω of all arts

Y

high s (for Zorana Blagojević)

poppy2 echoing in complementary to green aspects of stan brakhage’s 1963 moonlight spreading, within the speed of moving frames, overlapping images, underlined with dots of high heels, sounding periodically, harlequins, printing periodically, illusionary thrones for someone saying xxx, where in the space of 154 fragments the complex transforms and renews itself, generating a series of micro styles. ladders carried across a bridge, seen from below,

framed segments of sky passing by: 2,344m of das blaue licht [eine legend aus dem sarntal], first performed in 1932, 24 march. the shadow of a stick and an old man, alone within a frame, meeting with a leaden part of its originate, leading him ahead towards unheard tap-taps, symphonic groundings of the stick softened after broken glasses on 14 june, blurred, without blue converting filters to make the chromatic temperature higher, unseen in pink shadows of high heels, separated like the letters of a page separating the gaze and unknown sound.

uncrossing ampersand

reading e-mails that keep people in different rooms while Finn is falling from düsseldorf to palermo [shooting] verdi’s opera about Ulysses ends in crescendo of Ss changing ð focus distance [between lens and ð film] (i. e. diagonals of film) of his eyes and cognition intersecting a glance over an unused gramophone in ð Left corner: “hear her say […] Lui/Oui’s” see not only not prefaced but still not done photographic piece [using 16 for high quantum of light falling over ð film, ð riverlightruns

of sun] see: /x/, who never appears as red or by his mind that like roentgen film does not react on red: seeing /x/ “in the mIddle, somewhat elevated” part of turquoise spectrum. expressing ð distant presence without saying, ð stasis within a fragment of 2nd act, w. f.’s impressing the czar (1988) with soloist featured: sylvie guillem <http://artforum.com/video/id=20811&mod e=large&page_id=6> who should be seen separately? like ð essay on a portrait that is an autonomous part of ð book, thinner: possible to be torn out by anyone without seeing /or destroying everything else

r.s.v.p. to damien hirst

one voice out alone of another our fdocument of another our photography out of ð colours & ð one continuous coming: old movement together with one monologue on this word’s window documented among other nuances another noise would prove their own &. no one to be off ð onions fictionally to create [not] wise yahoo cows, or to reflect the old mode of colour, shadow, noise, light balance looking through notes/sketches from all the mommo’s rewords, symphonic long before spoken out of purpose together with only forgotten 3x oyes! a lone a last a loved a long the ultramarine opening, the eyes, once again none of the frames outlasted

our perception photographed long ago unwilling to mode another one’s arrangement of seeing outlined enough once until transcolouring ð known ocean’s line. to sit on ð white round proportionally located on the floor: ash tray. looking one warhol’s screen, together asking who? unknown and gone to yet unseen blankness of silent static words unspoken splitting it on new two circles: covers do contain all the colours spread across without touching, being in horizontal position & 2o7º from this field of view now: kinetic in front of round observed surface once exposed to a moving outgoing paint that objectively left our being out of any[one’s]: importance. vereinigungspunkt – whose trope is it?

duchamp ascending the stair2case

; ; ; ; ; ; ; ; ; ; ; ; ; ;

(After Eliot Eliofson’s photography for Life magazine, 1952)

2

(<http://www.youtube.com/watch?v=2lXh2n0aPyw>.)

abbozzo

to spend the night in a thought. once i have done that, i’ll know something its originator never dreamt of. W. Benjamin, June 1928

an image has been always about an un(informative) surface – usually the n[ewly] built one by fast substitution of several easily recognised, known [labels] prosthesis of psyche – those tickets dating cinema city certainly took the shortest period to be thrown away (graphic rhetoric scanned.punctured by blind screen light) or lost “n’est pas pensable dans la forme” as some woman’s cinnabar hair identical to her dog while entering the street & the Roman eleven is horizontally thwarted into six pieces: photography of one image reflected symmetrically without mime […] absinthe yellow named automatically after wormwood plant, Artemisia absintium - hygiene of

visual grammar - among all pre-archive works Morris Jackaman’s circular terminal as materialisation of thinking in circles - not emitting the emendations to untaken capsules & continued drawing (of) letters by rapidograph - 0.1 mm for window lines, 0.3 for walls, breaking into ‘- - - -’ particles for given view; still: innocent when you’re stealing a photo-camera which frames the lighting of ended dream behind opening eyes indifferent to unveiled Florentine pen - still in its original package; xylography inside of inaccessible museum gaining doors widely open after midnight – large white flag with printed details about the event & pre-electric-like lightning focused on

disguised notes in the town - pratiques of camouflaged dominating conceptual shafts of envy (ridicule) & smoking masks above hot water pipes in winter where dogs use to sleep even if those are on car roads / please, disinfect your hands take out your telephone & turn it off [through the window of scenario none of air-conditions: all are over the twostories high lobster red (Homarus vulgaris) & green flat façade, trans-phoning conversations this place is lacking of] hanging bottle of Bacardi so large that the building behind seems as an ice cube inside of it / a sound of telephone dropped “nothing wrong with it, no?”

- noticed by an old receiver reflexively turning in that direction, not asking if the seat is free - senility aggressively racing with the empty tact of fear – is he also crossing the iron bridge for the sixth time in one day? [not the same one (but three x 2)] this country never regarded the old […] nevertheless, at least the Aeolian percentage is behind the orange part of graffiti at the heading epidermis of wagon, vagueness of a quoted line in amaranth (Amaranthus spp.) purple - sound & warmness absorption coefficient of fingertips lettering: “It’s cold, snow is all around, none of white square metres is leading to an almond green. It is more than x years now since those airplanes were throwing

their shadows over people on the seacoast, all leaving in the same direction. It took plenty of time indifferently felt in duration or stasis to comprehend that northern sea is bitter, Greek more salted” somewhere in between midterritorialising stone cubes [under-feeting] the whole town covered in them as by ambrotyping process - a bleached glass negative of Jørn Oberg Utzon’s drawing during the constructing phase laid against Meier’s Tor Tre Teste in Rome - even the floor [as abutment] has reflecting character referring to non-Italian water – asymmetric syntax of azzuro oltremarino

* abbozzo is the sketching out of a composition in a single colour as a guide for a final work of art

orpheus’ pupils

thought that i saw you few days ago within the silence after repeated question “where does a desert begin?” where does the sea end assimilative like in ansel adams’ photographs inverted sight of letters inside of the electric writing machine used to be heard always in background no, don’t turn http://www.youtube.com/watch?v=Z6gE0b9x74U no one’s peripheral sight contains left parenthesis to capture, during anti-shadows of night, linguistic structure of your triestine dialect anyway, this time i turned back & you were not there

sfumato dictionary

the pause of eight seconds sequential appearance of spoken language as you might have thought has had nothing in common with chronophotography in the city, dante is telling about to everyone who regrets more because of not seeing it, its sculpturesque parts of squares rising in their whiteness during the night / telling to everyone who regrets more the distance from the city’s rising night than statusquoesque timeless position of the self this morning when sand ruled over the horizon & vague reflections were claiming cogito ergo sonnet during the scarlet fading of its acridity, it disappeared

train station, but not in monfalcone

sequence of a word & sight: the fundament of letter pattern first thing an eye notices a trace over an empty page swinging in its static l’informe & like a surface “selenely sure� behind exposure shutter behind lens the canned shadows & nuances of periphery style (the earlier parallax) & the paroxysm becomes smoothed within reverse Y of eiffel tower based on screws of stars within sound waves not realising that its iron was part of forgetfulness that makes its promises by cinematograph regardless of lessen sequences of words & sight

unused frame for split screen

two people seen in contra light: she is talking, Basquiat’s “asbestos” & nervous system are behind all the time (?) unchangeable like loud music or a part of kinetic two-dimensional surface that might be hanging on the unseen wall the dialogue undermined by symmetries of spoken memory before & after a few questions he asks doors opening & a ‘café irreal’ appears drawn by ‘X-Ink’ it is not a society of spectacle we are living in, but that of those whom you’ll never see again after having revealed your fear of not having them behind as contra light

La Défense: diptych

2o of the highest objects & those built or planed for 2oo8 – 2o15

Tour Total

Tour Défense 2000

Tour T1

Tour Europlaza

Tour Areva

Tour Descartes (IBM)

Tour Granite (Société Générale)

Tour Les Poissons

Tour Gan

Tour France

Tour Alicante (Société Générale)

Tour Franklin;

Tour Chassagne (Société Générale)

Tour Generali

Tour EDF

Tour Signal

Cœur Défense

Tour Phare

Tour Assur (AXA)

Tour Majunga

Tour Adria (Technip)

Tour D2

Tour Égée (Ernst&Young)

Tour AVA

Tour Ariane

Hôtel Méridien La Défense

Tour CBX

Tour Carpe Diem

blank

do you remember how dogs see? to see the colour of sunlight in an eye before it flees… one eyegonblue: aoi, turchino. acid blue that stabs the sky in automatically adjusted urban surfaces of windows - while drawing in dialogue with Vasarely is not a proof of long looking at his binary colours. having no Orpheus’ pupils to throw rabbit’s lens down into the hole while meeting them[.] dogs see black & white [perhaps not: ‘did Lucretius (ab)used insects?’ or anything else printed] & they see Bauhaus basic colours - 1: their eyes do not react on red (the same as roentgen film), nor see the overlapping of colours: green appears as grey-blue, or greyyellow, orange is almost completely grey, the same as meat or naked speaking cards playing Alice, instead of colour of prosthesis, they see the shining of a crown

17: 59 cut turning from friedrichstraĂ&#x;e. diagonally right. next thursday streets were vermillion, cars and pianos intensive pink and the only lacquer dark green was contained in flies’ quinine. mignonette dress spreading all around the body. but not in the back. a sudden appearance of white wall behind: stamps it. a turn causing the loss of balance in shoulders. horizontal position recovered by consciousness. the dress in front of blurred sight climbing and foaming. disappearing in light blue /- green details of the vehicle.

fast movement of transparent colourless bag on the right. hanging from a thin aluminium stick. maybe for flying <http://www.youtube.com/watch?v=rNPC nqVPWa0>. trying to reach epileptic photographer’s field of view, “<head>,” ‘he all but said of loved ones…’ square lightings passing above: negative of skyscrapers’ tops seen below. the corners of avenues bellowed by angles at airports between the asphalt & uprising planes. as hamlet-actor’s: thoughts suck the blood of all images. fading white stripes on the road on left: rosmarinstraße

blue noise

and they hear Thoreau's telegraph harp – called, within the cycle of stories about childhood, Aeolus harp – suggesting the necessity of wind, exclusive of magnetic circle between wires, & later within the “?” as hour glass: the whole novel composed as interrogative 17th chapter. each chord attached to the iron using one doth, circle, the third shadow defining those points to be compressed lp recordings of printed traces of lens on the ochre sand-covered surface: once, a pair walked over the ice, but instead of clouds below them, clouds behind them: blue sky above them in a place of aktuální člinění věty (functional perspective of a sentence) - a blank vanity of image stood - screen shot as a painting by Ingres, including them, embracing like forking paths of Dresden punctuation confronted so loudly, many years ago

drawing after Empty Words by John Cage 27-symbol “alphabet” (26 letters and a space) part IV… a cryptogram… “data stream” p. 69 / pp. 215 - 216 

 r a mnaiea ss stenmypr fmnc r kv y nth wly gfrch k t a s ae ooarywth aeo sta in h o ngte

eu e nv ns tbl i h

indss rlynd, b sprlph d. Th d o l To o a e c a l

e sp n kn tt arv blskevsar wst thraea

o

x with dash

not knowing, at first, how to describe behaviour of squares under someone’s feet if one enters the street through a retrovisor based at the end of it. [castelli di rabbia] the pantomime of absent deployments of the figure, the voice and off-street space “as sites of resistance” to fractured forms of identity: ֿ, x, maybe “emic” units necessary for unnamed other’s communication as alling creation of contexts which makes us to appear resized, like Richard Serra’s never touching lines of latitude compared to Trisha Brown’s choreography in front of them, so that the audience doesn’t notice for few minutes if it is possible to pass between them… autumn is coming: have you noticed those chocolate foliages that started falling to the ground, acid fingers of rain taking colours out of them, wind moves horizontally. their leafs - their roots in it

amarcord

like something based on compressed hours of stml into fragments of amarcord, biasing like a girl exposed, naked by those Antonioni’s introducing letters, not leaving the possibility of diachronic flexibility of peripheral sigh to exist, scenario du Xe underlining the kinetic time of the night when all semaphores start blinking the orange light - concrete telegraph poems (what happens with them during the electricity cut?) all the circles passing out the passing time, like those buttons, recuperating overwhelmed by Tchaikovsky’s crack waltz in lift at the Koebenhavn central station connecting the bridge and railway tracks, pairs in series of substitutive equalities: modes, insignificant, not enough, in concrete terms, as a relation of speed and slowness, while reading ‘stop’ as absence of capacity to be affected? eyes’ paths - small ellipses

a walk through greenaway’s H

pearlgray [226.01] 1) red lines suggesting a face and X incision in the black-green background appears lighter, the colour less saturated, revealing the right eye. words sometimes needle-worked. 27 A. RIRS. would need 92 maps and all of them fading, leaving Xs, immune on counting, unlike the paper landscape that kept repeating. Antilipe. there were no obstacles on the pitch. skeleton of the wind mill PASTE BDS WHITE IGSHT then a “DANCE” and RED RED RED RED [haplographic?] written in a place of reed development. O is group E, O is group F. TWENTY-ONE, TWENTYTWO… PINK PINK PINK / END. Mare x 3, and after letters turned upside down, concluded: now is the time to fly. - - - - - - - - - - - - - - - 23 miles - - - - - - - - - - - - - - - - - ‘kink’ the first day of redcircled partridge leading to _______ a ________ b___________ c ________________ further diagonally right to the Ceylon [seal]

a) amarcord

glass never associated with façade in last few works. all pieces transparent like a nylon at the poster for winter book fair – book packed to be stored in refrigerator, like a negative, before unpacking it. as D. Alighieri’s character’s monologue rising magnificently from mass of frozen bodies with lost possibility to speak. dentist’s character? no, Dante’s. sometime, in the second of eight parts beginning with Marey’s act descending staircase representing the care of the eye, anatomy of seeing is shown through Beatrice’s eyes – in place of which are photographs of female eyes changing while she speaks, and rings of vortex, changing perspective, become her aureole. have never seen something like that in a refrigerator. reflecting a boy asking, when realised that Chinese, whom he saw then for the first time, might open their eyes more, if they can see us whole like this

three metres of unknown space:

experimental narration in crossed discourses of coloured layers and background sketch in chalk, nouns half-hidden, an apostrophe, convex lens left somewhere in past, few scratches like writing of kymograph over the smoked paper, painting over them intensive red curves of hearing sensitivity, imprecise circles with displaced centres like helmholtz resonators aligned with few lines manufactured in lafayette instrument company, arrowheads never knowing where to point, kodak only knows, having manual mechanism of kodascope, text contrast apparatus without mirrors that could be used for measuring sound-waves as in a case of phoneloscope, one light green line over all these scribbles, one metre2 of photographs containing only the process of their development – grey surfaces in slightly different nuances, like concrete, later painted in white, in Ronchamp it is tema [theme] and each of its cubic windows is rema [comment]

the negative of a footnote

ample discussion is left to be addressed, without / by whimsical questions about an incomprehensible uneasy clearness. still, we knew nothing of Goethe’s apprehension of white light as the simplest to be perceived - we knew nothing of proportions between colours each one ever used, both regardless of those who proposed that strength of street lights in Paris should be adjusted by those standing near them. sometime retelling comparatively the evolution of verses within one novel instead of creating the periphery vision of a printed letter [cut from newspapers and pasted to oil painting] to re-surface every word not spoken between us.

x, y, z

so, there is 0 after all? thought that only susan eslick uses plenty of them in her work. speaking through funnel… as if there is answer whether any circle drawn by hand could be multiplied, id est possibility of it [except, maybe, within mathematic formulas], being unable to produce strict terms of use along with them, becoming the 1321st way of using newspaper, two veils of texts printed in different angles, one containing images of flowers, the second of nails. fluorescent yellow over dark red - pompidou funnel and all those mechanisms moving through water, provoking spiral or circling lines of the biggest cupola, in japan, the higher sphere opening and closing like an eye / santiago calatrava’s airport in bilbao, but being concentric than the inner sphere and smaller, only moves aside, while calatrava’s stretches in an elbow. ‘the funeral of two bacteria’ isn’t written over any of them as on this wall i’m standing in front of.

op. cit.

at the beginning of long exposition towards the latent image. expected. outside the visible domain. if spoken, never seen, the mechanism marked time and space. downloaded - mailed printed. an upper part capturing a dancer before cathedral rosette. hanging in the air on a dark ribbon of textile. one eyesight spotting on left 120 x 120cm of thick stratum of red oil colour. leaned against the wall. at a glance, the movement of pupils spreads it across the room. you are becoming wendling’s girl in a red dress that is homogenous with

the background, no lines to separate them. those are just between the dress and white surfaces with pale blue iridescences: neck – legs – hands – chest. one line redrawn into shade between the temple & the background being the same intensive red nuance like a part of the paper for her hair. the sound of camera ends a movement of dancer’s hand making it parallel with background window. its paleness coming from the glimmering halfrosette from the inside of henry muller’s writing machine to become one among the ‘unstable visual tropes of blurring.’

blinking sonnet

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trigraph: haetera

the eternal return is indeed the consequence of a difference which is originary, pure, synthetic and in-itself. Gilles Deleuze

1. only two red spots by the edges of transparent wings required the identical annotations as destruction of cities flinders-flavoured apart from interrogation of sense of time only three letters within the name were in a place of Ariadne’s thread leading towards The Lamentation of Dr Faust[ina] lente each tone used for further composing in contrast to the Ode in contrast to Adrian Leverkühn’s labour to repeat ad infinitum h-a-e _ h-a-e _ h-a-e _ h-a-e _ h-a-e regardless of narrator’s, not only love’s, reasoning lost

/ au e

2. le charme discret de la [‌] unfinished note on unsaturated blanks used for further speeches of blue puppets letters and characters to be revealed through them - trying to change the recourse of selective memory - personal printing, spontaneous, from an eye nerve (cornix cornici oculos non effodiet) running away from chronic lines of “xâ€? opposing (as) the number of years and metonymy of D. D. D. that is donating post-assumed readings of time spent in reconstructions

3. the irony of destiny that repeats within any comment on events in future pluperfect the phrase becomes a division line of objectless attributes, relations that are colouring the depth levels of re-circling thoughts / bilder of disappearing line of analysis cf. Norman Foster – over time those industries have changed in character and moved their location, generating in the process a semi-derelict words departed from their function to signify landscapes never attempted to imagine when out of nowhere a wall rises marking: “keep fire away�

sonnet no. 57

● ● ● ● ● ● ● ● ● ● ● ● ● ●

● ● ● ● ● ● ● ● ● ● ● ● ● ●

● ● ● ● ● ● ● ● ● ● ● ● ● ●

● ● ● ● ● ● ● ● ● ● ● (●) ● ●

● ● ● ● ● ● ● ● ● ● ● ● ● ●

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● ● ● ● ● ● ● ● ● ● ● ● ● ●

● ● ● ● ● ● ● ● ● ● ● n● ● ●

● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●m●re● ● ● ● ● ● ●

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short ‘h’

not knowing of him while / until he speaks incompletely throughout the white short lines, plain red, large black, “and since i have noticed that you have a morbid fear of a pen filled with ink,” have set ultramarintimatum to penSound, as discussed within polaroids of interviewed telephone under the thundershower and the latent image of unprinted alternated graphic: ‘all that prevented the happering of who if not the asterisks betwink themselves shall ever?’ leaving your ménos to speak out: ‘Come not nere! Black! Switch out!’ appearing by the analogical method under the cupola of the Glyptothek in Munich and Wir haben die Kunst, damit wir nicht an der Wahrheit zugrunde gehen, 1991, photographed flames

synapses

a in a box: a ; as canned as an umbrella, an exposure clear enough within the constellation of crossed words in the text, as contra light observed without cilium-meta-bi-sulphate [simulacra of beginning light demanding the aperture 9, appearing as narrator], by dream galore and all the treasures of his soul let to come streamingly. an old man in the centre of an ancient roman amphitheatre walking with help of crutches, observed by a cat lying on sun by the lower edge of the pgraph [light dropped by half, the proportionate aperture 6.3], signing, as a glass when held, weight and coldness, instead of taste and smell of white w

carbon dioxide

at first air was repeated of rome’s only poet, & than, comma, without pauses, without tears, without eyes, without reasons, one listened, without knowing how to, everything that has been standing still, while becoming overwhelmed from the obscurity of unrecognised memory by clarity of known voice, as previously used to spend so many hours in a train that kept going on, but have never dreamt it, rarely dreaming at all, people, only few of them, couple of years after seeing them for the last? time, like at this moment when the voice is reminiscent of them all, since we knew nothing of movement in time, even[.] when sieved through its fall into the ‘light fields technique from image-based rendering,’ as maybe written on left, ( )fortunately incapable of reconstructing reversed time, only walls to be seen by those who have not been between them - echoing, untouched

the end of someone’s performance

echoing walls? places that changed a place as full-dome scans created by help of a spinning mirror & having now reverse dimensions (but the same idea reflected) as the cans of deserted landscape with printed etiquettes appearing as a synergy of car shells & locutionary act of a figure standing near them – one shot becoming the whole photographic essay - those shells as a cemetery of war machines out of formaldehyde turning into rusty nuance, camouflaging into background, out of non-translated painted abbreviations over their sides, the articulation of epiphoric departure, abstract within this surrealistic landscape, leaving the desert, simulacra of orange & pepper, to cry out the blueness of distance above it & images of waking as a red semaphore light for fuori dall' ombra, as once for a choreography entitled as such while it echoed under the dome

the last sieve

eventually, an acrostic fell on back through the screen like a traffic abbreviation at the entrance to the night. no need to be[.] that view again (the sign is never an event). had wanted, on that eve, to retype it, since the interior monolog of visualization asked of an even place in the room with that screen, its flickering, out of it. but everting, at first lines, and so evenly every letter, the differance of typing mirrored itself as universe while it sleeps, placing the lens of stars under the giant screen & then going on sieving through roeg’s cinematography (of composition) the landscape, sand, articulating (film’s) narrative as much as gravitation or inertia of the written throwaway.

& even if it would mean leaving no possibility for cogs of heard zone of language to move, beside those of the spoken one, a thin line or dot of their cohesion - being sometimes like one poet “thrown between cogs of stars,” without even a possibility to collide landscapes in them as through the “nails of reading,” still are printed ladders for eyelashes wearing gloves of ice & fracturing through the wintery night, even though pupils might play, above [your] bits of noiseless system, a labyrinthspiel or chess, to stop throwing a light shadow, like a bamer, over all blanks left to be interpolated while being perceived during re-typing any part of the unwritten encoded message

untranslatable remainders

as they say, untouchable, as a line sometimes disappearing in the brightest part of figure percept & recognition takes place in a glance between repeated sight, as auto-poeticism framed around & within the 21st section where a few printed pages became neither more synoptic nor less Warholian by time, in each graphic point of theirs, palpable to leave unquestioned plausible sense of being, looking for a sentence: have you ever seen someone[‘s] filming [of] regard [as such]: ‘with regards to self,’ reflected in randomly chosen words describing an image: sky, absence of sails, lines [orange, blue, white ropes] ≤ camera on left ‘trying to form words’ out of interframed signs ‘the same lie lying denied’ writing itself, having so much to decentralise so many asymmetries glimpsed, endings within that shade’s tropes

sonnet no. 65

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“by declension: the invisible,

[&] the motionless line of lights by the road several kilometers long connecting one bridge with another [&] casting its end before uncertainty of presupposed ending of the town [&] simplicity of typed after-words “can’t wait to see your future Japanese kids” [&] the light at the end fades, later than a moment when our language faded developing the ‘silk effect’ of b/w surface graphs by differently posited and focused profundity sharpness [&] as a figure in movement [&] letters, fragmented words, printed on a white marble but still having no presentiment of its shape [&] all those signs around reminding how important it is to try to speak to you (even via unprinted punctuation marks) [&] logos by structure of their perception wanting to be seen when transmitted & put in motion like unspoken % of the &

the unrepresentable,

how is the first sonnet from La vita nuova discussed through the ballet Divina commedia requiring the deepest stage among all plays in theatre for re-presentations of hell scenes vague distant images of two figures crossing the river blue light a great number of female figures stepping down the stone staircase on the left in a slow forced rhythm shoulders fell down faces unseen shadowed eyes (E) unimportant unperceiving-unperceived a hand multiplied by their number makes grabbed chin to rotate convulsively the face that has forgotten the stars to look upwards forcing the elbow to became (O) the highest point of their being forgotten replaced by denotation of ancient gaze when neither head nor eyes could know of turning up the gesture so distant in past now as if / so it couldn’t be remembered prolonging the stasis in line, realization of unconsciousness presented ‘technics of (negative) perception’

the unthinkable”

a ballet that ‘should call for not more than about six dancers & last not longer than half an hour’ in year 1927 when someone imagined the presupposed subject inside of camera obscura as a non-involved spectator, the same as looking now at Rudolf Nureyev’s signature that is ending in red over Stravinsky restricting his orchestra to strings & to aim, as it is in black text on paper, ‘at similarities & unity in his music rather than contrasts & variety’ recently having need for a projection on screen to emphasize the aestheticism of every detail leading to comprehended field of visual perception [&] the graph’s position having only the ‘conditions of space and time’ as while looking at Berlin radio tower that has the same visual symbolism as Parthenon might have had not different from its side pictured (& unsaturated) behind 21 years old le Corbusier

dittophony

the paradox of photography is that it technologies perspective at the same time that it subverts the worldview in which perspective was invented. -

Gregory L. Ulmer

opened windows in the west part of Amsterdam appearing as parallel to rhythm of blinking [&] camera’s circle from the far town built under the aurora borealis affected by rain drop: consonantia of Florentine dust, golden, as sound of a gong that completes the strength of her voice earlier heard in its fullness. unclearly speaking from the radio: ‘The face. [Pause.] The face. [Pause.] The face. [Pause.]’ A Masked Portrait. silences no longer indicating places where meaning becomes a problem, nor the space for changing the coherence and successiveness of events. does each one word remember the previous while spoken, while saw, while heard as a pause

Apolinère Enameled3

“in […] Duchamp found a creative machine that couldn't repeat movements” - could it be language, having traces of repetitiveness in grammar rules, through missed seeing of “quashed quotations” and an unfinished side of the bed prolonging towards the line of horizon from readymade landscape image Pharmacy (1914) containing two coloured dots, as if reflecting the mechanism of stereo seeing (as blue and orange under the electric light sometimes appear as green and pink) and rayon de miel stands for the tone of sentences’ endings, also implied in them, within the verses used as pathways for the giant mute flocks of nombre illusoire that went on browsing and broadcasting the rest of the verses like bed skeletons for the future dreams in words 3

apolinère enameled in a mirror an open botanic encyclopaedia in french lying on a green bench in the kitchen, chinese tea cups used now for etc., a boat in the room instead of a wardrobe and velvet flamingo beside it, the collection of spiral sea-shells in the bathroom and base of sewing machine in the garden, father’s collection of cactuses, honey hue of a metallic bolster, the whole bed completed with christmas tree lights and (under the bracketed terms) two friends sitting on a sofa at a gallery behind the red queen who cut a head off gramophone needle, sensing the circling, did your sister paste all those black stars along the ceiling, maybe only one of all those wheels from sarah wigglesworth architects’ christmas tree cycle (london, bermondsley square) to lead to any of us now

ARCADES poeticism of prague epigrams (for

)

Who? Snapshot of wake lined by jasmine green dividing rain of sight’s light, marking time: “ ” / “[...] and wishing to be expressive of times, although how can one be expressive of anything else?”4 Ballet Biarritz & &y Warhol screen tests – Eat (1964) lasting through glass 41 minutes; then he read La Monte Young’s Serial Works “till he came to his own name,” being not in the room: silk flash reaching hands white – appearing from Maurice Bejart’s dark glass, disapprove of strait lines //nothing to be done// annotations, green box, camera obscura - T [Modes of Lighting] note relating to 1824: “Paris was illuminated, this year, by means of

* At first composed as triptych. Merce Cunningham, Space, Time and Dance, published in Trans/formation 1:3 (1952). Ubuweb sound, 19th April 2009 4

11, 205 street lamps... The entrepreneur has been hired to provide lightning for the entire city for at least forty minutes - that is to say, beginning twenty minutes before the hour prescribed daily, and finishing twenty minutes later; he can assign no more than twenty-five lamps to each lamplighter.� J. - A. Dulaure, Histoire <physique, civile et morale> de Paris depuis 1821 jusqu'à nos jours (Paris <1835>), vol. 2, pp. 118-119. & black silhouettes of printed letters on the toaster [white on white, silver line; blue lines around eyes on the wall of Prague Prinzhorn Collection] breakfast in time past, dining in streets spreading around the cathedral : : three light

ended windows, one dark pink, four lightened windows, second floor two dark pink, street lights turning on, becoming analogue to those across the bridge (in distance), tram passes one, two, three, four, five, six ]:[ seven, eight, nine lightened windows, dog’s luminous eyes, step. Sylvie Guillem’s demonstration from La vita nuova <http://www.youtube.com/watch?v=G0CPb9Mry Ck&NR=1> & the shade of its profile encountering Leni Riefenstahl’s. Each light like Iv Bonnefoy’s stars at the end of the line (Dante A. x 3: XIV, XXIV, XXXIV) darkness disappearing between the glass & bottle: sound. Sound. sand. behind the tape running in

silence. grey light. cube. the end of April. Kulturveranstaltungen des Bundes in Berlin. To undo the written madrigal? _ is not responding. Dull[e] Gr[i]et speaking, interrupting a quotation (from) De rerum natura: “pig - potatoes - soup can we have some more bread? - sad - walking is good - marlene-marlene-marlene - keep you warm - big cock - in a field, yeah - ten - balls! big one, small one - cake - bastard - a bridge and houses... good.” no. Hands reaching black wall vice versa heliotrope - the verge of sonnet’s solipsism: starts 1812 overture at the moment he enters, ‘imagined, remembered, believing its him,’ a tone

as agent of this signifying event. Never gone, while only the place changes the place: long black piano: capsule of music existing silently, by the black wall. Hands reaching it, a telephone, the line of a cable dividing rain’s lightness, the line of the tram closing sequences of lightened windows, passing “modern dance� transubstantiation (the angle of elbow changing the height illuminated by northern midnight sun, radio in the s)now & instead of a screen surface, when the relation aesthetic of shades & lights comes in contact with eyes, metaphor becomes blind come la notte bianca, insone, & then she takes the pen,

& depending on the mode ([of representation] of his own thoughts), the insight comes from there. Tangent of possibility, the edge of canvas captured in light coming through the window, no, no difference in time, free from printings & typed words, heavy paper – trace of distant meeting with few scratches on the panel, few becoming lines, away, by marble, by bones, in oceangreen by shadows, no, none of these, crossed not with lines, but with whiteness of heavy paper / colour is the keyboard. the eye is the hammer. the soul is the piano, with its many strings5 - each has a light pearl at one part, as a vibration passes further,

5

Wassily Kandinsky from Concerning the Spiritual in Art, in Art in Theory 19002000, ed. Charles Harrison and Paul Wood (Blackwell, 2006) 89.

reflecting the art of negative thinking, silence on and on / I don’t think I / silence and silence / no / after the arcades & blinded windows, regardless of columns, & after one line drawn by pen – blurred with white, touching textual detail ‘play sla am simp y la gh torchlight’ that moved the shadow of Parthenon, its columns white under the “stolen godfather’s straw, hay” [milky way] & with mind un-sealed yet, seeing: L’etra_: on the top, somewhat left, printed once & left as an opening line by the dge of a page & after ‘azure eyes of’ night & after &

Prague, 26th April 2009

anamnesis

& then we went of the Skeppsholmsbron. another island. reaching the window lines of Modernia Taidetta Tukholmassa Museet with <http://www.youtube.com/watch?v= Ds9CrdY3R2M> Rachmaninoff piano concerto no. 2: Van Cliburn & as many steps as pieces between “457. baby blue goes grey over you. work / thing / piece” & “645. art as therapy, as therapy. piece” + 18% of falling light reflected from a middle grey field dealing with optical unconsciousness. FAMILY ALBUM i saw the highest radio tower in europe. at first with Wim Wenders, in the city where

Homer thought along with the (manual) mechanism of a music-box. later, from Benjamin’s nicely baked Siegessäule sprinkled with sugar from childhood days. i thought once about the role of a radio speaker in one film. in the city where from time to time megaphones would pronounce what ten years ago was the signal for ended danger coming from air. i am someone who listened two years before 11th sep the national evening news broadcast on radio instead of television, beginning with the list of names & followed by the minute of the most paradoxical poetry radio medium has ever had. entering Jebensstrasse 2 / 10623 Berlin & standing in front of Leni Reifenstahl’s memories

After Mallarmé’s Un Coup de Dés Jamais N'Abolira Le Hasard

sonja jankov, 1985, Novi Sad, Serbia

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