I will update you. I will tell you. I have a book out.
It's available from The Knives Forks and Spoons Press.
11/05/2010
BOOK LAUNCH: CUTTING MOVEMENT
I have been absent. I have been writing. I have had deadlines.
I will update you. I will tell you. I have a book out.
It's available from The Knives Forks and Spoons Press.
I will update you. I will tell you. I have a book out.
It's available from The Knives Forks and Spoons Press.
23/02/2010
Examing and Experiencing Eleanor Antin
Examing Eleanor Antin's essay WOMEN WITHOUT PATHOS.
Experiencing Eleanor Antin's PORTRAITS OF EIGHT NEW YORK WOMEN
a response to "Women Withour Pathos":
she. agree over and with
she. for for us this focussing
she. striking with. an authority
she. pose position. positioning she.
she. as she a matter. positioned subject
she. us a la fem. she matter subjectively
she. to con si dher. a her
her. contained. she argue her
her. of a part. of she glamour
her. mirrored she. ehs
her. woman to mirror
her. this as of subject. A she
her. the victim. the passive. the under
her. the as she. her the as fem
fem. leaved becomen and lest
fem. negatived her she leaves. host
fem. fled womyn. fled her host. she
fem. live off. she of. her of to live
fem. non natured romantic. she walk
fem. her site. away guard. she her away
fem. away guarded novel. un her lock she
she. fem pathos. she helplessness. non
she. less same as night. her fem she a
she. flood. the over of a her. fem in
she. her lessness. this fem terrant as
she. terra guistic. her sculpted fem. non
she. measured and her between. sculpther
she. object as fem sculpt. her fract
her. as thos and fem. she gaze
her. rend her ing. fore she portrait
her. she portraits. her portrayed. fem portraying.
her. act shine. she chromeatic from fem hard
her. monetary is she. fem surge. sculpt her
her. vast fem vast she. detach. as object
her. in a she as portray. her she of body fem.
fem. site in fem through she as her body
fem. she. femumable. her. devour and
fem. she. her out. fem lay. she distance as her
fem. her through fem out as she. to
fem. pose her. as she formed. this
fem. she for present in her. fem as she
fem. is she. in her. in fem. is fem.
Experiencing Eleanor Antin's PORTRAITS OF EIGHT NEW YORK WOMEN
a response to "Women Withour Pathos":
she. agree over and with
she. for for us this focussing
she. striking with. an authority
she. pose position. positioning she.
she. as she a matter. positioned subject
she. us a la fem. she matter subjectively
she. to con si dher. a her
her. contained. she argue her
her. of a part. of she glamour
her. mirrored she. ehs
her. woman to mirror
her. this as of subject. A she
her. the victim. the passive. the under
her. the as she. her the as fem
fem. leaved becomen and lest
fem. negatived her she leaves. host
fem. fled womyn. fled her host. she
fem. live off. she of. her of to live
fem. non natured romantic. she walk
fem. her site. away guard. she her away
fem. away guarded novel. un her lock she
she. fem pathos. she helplessness. non
she. less same as night. her fem she a
she. flood. the over of a her. fem in
she. her lessness. this fem terrant as
she. terra guistic. her sculpted fem. non
she. measured and her between. sculpther
she. object as fem sculpt. her fract
her. as thos and fem. she gaze
her. rend her ing. fore she portrait
her. she portraits. her portrayed. fem portraying.
her. act shine. she chromeatic from fem hard
her. monetary is she. fem surge. sculpt her
her. vast fem vast she. detach. as object
her. in a she as portray. her she of body fem.
fem. site in fem through she as her body
fem. she. femumable. her. devour and
fem. she. her out. fem lay. she distance as her
fem. her through fem out as she. to
fem. pose her. as she formed. this
fem. she for present in her. fem as she
fem. is she. in her. in fem. is fem.
18/02/2010
Documenting: CYCLES
LAUNCH of BILL GRIFFITHS: COLLECTED EARLIER POEMS (1966-80)
Published by Reality Street in association with West House Books
Wednesday 17th February 2010, 7.30pm
Birkbeck College, University of Londonin Room 203, Clore Management Centre (Torrington Square, facing Birkbeck main entrance)
featuring a reading of the complete Cycles
by Sean Bonney, Ken Edwards, Allen Fisher, Alan Halsey, Geraldine Monk & Maggie O'Sullivan
All welcome - Free Entry
***************************************************************************
***************************************************************************
On this evening I endeavoured to react and respond to these readings. This series of Cycles is upon me listening and hearing and interpreting and reacting. This series of Cycles is a document of a reading and only a reading. I have had no further involvement with it. It has had no further interference. It is:
***************************************************************************
///
CYCLES
CYCLES
CYCLES
///
***************************************************************************
CYCLE 1.
Using new collective – worry one arm currently.
Brown’d cords
On Dover- i
ictus- knock
within
saught smight note fore be
OR-
Razors
Buckets- question sea
Limb’d- to talk ion language to limb
To pressing harder
Nature is involved BACK BLACK
Iow of To repeat a ONE
ONE.
VERT chalked to a loss
Circle pointerdly A child portrait
A son
***************************************************************************
CYCLE 2
WANT- Exploding to solitary Holy to rolling loops
an aerial pathed out horsed out runner
blooded – score linked more ing-
outMILED INTRICATE
TOES SPLINT SEE OUT-
Jay
Restlers-
Girl
she moved.
Directed out – like a – like a oil from fresh
We are on holiday
We are full of blood
C / C / C / C D replicated in a row
marched tails
musily grave – rejects Again a kid plays
sanded at, unwedded
or so it’s memorised
WHAT
***************************************************************************
CYCLE 3
Walking slightly – Brixton how – epileptic – like a
left foot riding up to jacked
up
to
man
leant think NOT I am this
see to remain stand cell a cellular
a girl a bloke a cunt
Bluwed a long neck to rattle
to question – to carry Johny
TO RED a classic an unshurt an
rohy floating – SAYING – he saw quickly
twisting lung -The new soul.
***************************************************************************
CYCLE 4
accented female
Jonathon Martin
Open to a blue french to dared – Knight concreted
an Oh’ wall an. Oh pile – a dagger a
stoned head
clasping – Gag bo – lay to queen grufflled out
a looking a come outt a wall
centre-
A / t / t / t son – men
Black lavender smell scrubly- braimed and arrog_nead
branched off
leopard dutid – seized spit scylle
biz EMBRAN jurra sane – DEAD gra grra – scour
emphasis on qui quick may
stuft rof voluting logentred through police go KARANEUMS
grated grat. sighes – slow the strained out quantly loudened THAT
THAT
P/P wro wro curo
scrab – teethes
in shine in shutter
but ch.
present
TO PRESENT
P several nave viewing view the at
***************************************************************************
CYCLE 5
Dalston glowing dalston @ the bottom
too an arc to get three
headed to blore – 4 got shecl – lips
five screws – come to thieft tanog thieft too
6. dis- butter – my – then – may
7. needle under cum
8. disney
9. photo doc
10. siren see
11. quarrel one
***************************************************************************
CYCLE 6
In reading detached from water
EARS- left fossil – main traine – Shore shorne utter.
pocket
termina eager elvish ba
been to can cancelled –
com lain on mud
turned to grounded good and brigdeld
work /wintre femur aligned kneened [cough]
***************************************************************************
CYCLE 7
Mr James
Curious trouble strag empty
noises
CAMB SOUND o R/ IS BIN CLOD / REAG/
rounded Bands a canon bu ex man her
STOT WE
and we wandered like a sheathed culling poin
SIBOXTIASULC
in young women this closet like a stand like a
but this ex she she such a prevailed
ivory to turn to yellow
ONBSTILIDAINDSCH A RATCItt MO PACIRCARN CA
KINISTWO
groins dim murmur small chew bitten wind popped earth pipe
its this note this and a
ONL QUITLS GLISTUO REI ROORE VA
rounded tableaux to inching glassed tablet pink
LIMN MOUI OPSHOP
music earth field cowship play heal up a regularly bind to
collect a mind aimless beats sue see and yes
the cactus
PUN WOOTREE BONES BOWLS PUPSIT
sundelen to bite
MALISTCAS MOVEM
dance to gather sun to high he loose he weak
As people wind barnes to which a dorming po uniseen
As
night part to contact fence looked
they there do to f to.
***************************************************************************
CYCLE 8
Elizabeth
Fragi the vista no sociat exploit the
Sand based trombonate the lavels
the sig sa so sing to diamond
low
low Cyc a ma ma bottle ai out
loooking well to r now str
to sound bo st hoc BRIGHTON call. Red
comple
upon shi
on to egile go – gold
a line – a line Bricked curved
a line a collide extra
sec. sentre
TK / tur yellow to beaked YOU
Cora from out ancient to move near golds get
DOT
Fall
Eli Zarea
“after the end”
Veluminous washy ways scates full light
Sudden pent hasp popped
Summer plants con
Break choak a still rolls not start new
newer
She lu ocea OUT
***************************************************************************
CYCLE 9
MAPS
Vol narl colour calling fra
tricky
inde wat hitty arch ar arch
beau
prof sell patt on aerate
So mor dressed greenly slides still
Stairy lines fisher
BOOM
direct ship life to direct dead “I”
get loose
Oh turmin room hey drum here smell
compacted
Her print
the state, nuts as
Is it – is it the?
Dis – localized bcoint – humone
apart
away
boy
blow watches fous vailed
bu bust got feet
bull full heard heard hot ows bars Aye
Air – bound story vasted
arm laws
other rain don’t, carry cliff – it is was is a reb
sobes chase sweetened axi meander
***************************************************************************
CYCLE 10
Darth dreames
lied Dryed
wet bast bast
reckoning get closed bowls
stair stair beadience
walk to
the thick
the marks
clavig
fleshy pumping cider eye – turn
CHRIST
stars oenned between river
mist and lasted and animals
in distance paddle bowl waves
who pulls slow turn – Re – know twist
like frame
like no
nothin’
NO
***************************************************************************
CYCLE 11
N who talked Buy me
I have
little and
little and
little
burn and red
Trec- eagle hearted stated I tell
soak tole customed arc wooden sea
eel – he’ll one – nots from we – co –
BODY setting and
***************************************************************************
CYCLE 12
lea
Aloy smart to weal
As what
As thick
GOD a
I plum
thief park wolves and caught slag
rock theft watch walts – butter wizand
butter today windin
cleft go
turn a – spite – a – child – glue – grati
chase 2 – 3 m
what wall war – bone
PART – sout . . shif who wall
decreate clock sh
sha se s- co sand
pli plee I stand doubt buzz ya
TAB smog chess wake blow
indie are grave crab meane somber
flower seed poppy goal love nods
pose shallowed L / L / L / L / L placed
a horse goal – rag thistle mock the live matt the rifle
leaning style – lion – plumb
that
DIS.
***************************************************************************
CYCLE 13
A
You expe sta just go gold,
Bom gold
Be corr – rem
Stunning S / ST cat
Purale take eye sing to cross tete
St cos lipped angel colour
“SWS” – define this GOD
Police journey kill white sky – us
Us is
jest don’t that’s tably rusted
Rust can a – can – a
Bleached wide PICK
AND
SEN
Stand piots and anger public butter fly
Similars wets can cut and waves
***************************************************************************
CYCLE 14
Brag
tree verse beare
at back
laurrie seen
body
mud winced flu
collar wall u
sen fatty what
no fin no not
dead do baby
ap – pare
som – skid
blits corner – tes Rd n, cat, n blister to
stamps to “K”
I snap file me kid
daughter please
Fos wide cento look
***************************************************************************
CYCLE 15
Kilburn 23:30
Cliff granted tall / T / T / T acidic
C blue
eye I see chim rock
bush
fold shouted S – sun – tank know now TIT
suckle fitter Today and matter
ME splutter pass stonge sto geo –
see – listening porous – P – P – white bars
like a
like a winged cold pineappled when ----
in of a grande to signal greatest sitting peas
moved moved a cello ehined comps top end
being jolt being joint saw – sudden glace
un – un
beauty
shook sea see
not calling
I
I
I shook snorted sneezed seeing
snow
kicked it the swallowed god – no miles – no – a mast
beneath pray sicted
chest bit
then they gull fielded scared eyes ran whenst the
monk colder DO
savage saw none in me –
look as
as me
and small ice
and ship
holes – nothing
***************************************************************************
CYCLE 16
DIGING GROUND
OUND
SPARED GRAVE NOT GOON
CHINA’D WHITE
TEETH ROLLED DISS-ALICIOUS
roaring mounted – in/out macros sconed
judy – Buttoned quick
tough diced gripped BIG
to live
to stick
to sun son
roundless summer tots
as on long blue
long – draw a royal as was
as was took
as blue
ages sit back pump p
bundone paused pat
cane, little black b / b / soft
dumpt able cove – new as
ringing
hose as though vulva
no-oned as ruby mediature head twist
rip and fried and chained
to FOLK lerbed, booked, “if that escapes”
***************************************************************************
Published by Reality Street in association with West House Books
Wednesday 17th February 2010, 7.30pm
Birkbeck College, University of Londonin Room 203, Clore Management Centre (Torrington Square, facing Birkbeck main entrance)
featuring a reading of the complete Cycles
by Sean Bonney, Ken Edwards, Allen Fisher, Alan Halsey, Geraldine Monk & Maggie O'Sullivan
All welcome - Free Entry
***************************************************************************
***************************************************************************
On this evening I endeavoured to react and respond to these readings. This series of Cycles is upon me listening and hearing and interpreting and reacting. This series of Cycles is a document of a reading and only a reading. I have had no further involvement with it. It has had no further interference. It is:
***************************************************************************
///
CYCLES
CYCLES
CYCLES
///
***************************************************************************
CYCLE 1.
Using new collective – worry one arm currently.
Brown’d cords
On Dover- i
ictus- knock
within
saught smight note fore be
OR-
Razors
Buckets- question sea
Limb’d- to talk ion language to limb
To pressing harder
Nature is involved BACK BLACK
Iow of To repeat a ONE
ONE.
VERT chalked to a loss
Circle pointerdly A child portrait
A son
***************************************************************************
CYCLE 2
WANT- Exploding to solitary Holy to rolling loops
an aerial pathed out horsed out runner
blooded – score linked more ing-
outMILED INTRICATE
TOES SPLINT SEE OUT-
Jay
Restlers-
Girl
she moved.
Directed out – like a – like a oil from fresh
We are on holiday
We are full of blood
C / C / C / C D replicated in a row
marched tails
musily grave – rejects Again a kid plays
sanded at, unwedded
or so it’s memorised
WHAT
***************************************************************************
CYCLE 3
Walking slightly – Brixton how – epileptic – like a
left foot riding up to jacked
up
to
man
leant think NOT I am this
see to remain stand cell a cellular
a girl a bloke a cunt
Bluwed a long neck to rattle
to question – to carry Johny
TO RED a classic an unshurt an
rohy floating – SAYING – he saw quickly
twisting lung -The new soul.
***************************************************************************
CYCLE 4
accented female
Jonathon Martin
Open to a blue french to dared – Knight concreted
an Oh’ wall an. Oh pile – a dagger a
stoned head
clasping – Gag bo – lay to queen grufflled out
a looking a come outt a wall
centre-
A / t / t / t son – men
Black lavender smell scrubly- braimed and arrog_nead
branched off
leopard dutid – seized spit scylle
biz EMBRAN jurra sane – DEAD gra grra – scour
emphasis on qui quick may
stuft rof voluting logentred through police go KARANEUMS
grated grat. sighes – slow the strained out quantly loudened THAT
THAT
P/P wro wro curo
scrab – teethes
in shine in shutter
but ch.
present
TO PRESENT
P several nave viewing view the at
***************************************************************************
CYCLE 5
Dalston glowing dalston @ the bottom
too an arc to get three
headed to blore – 4 got shecl – lips
five screws – come to thieft tanog thieft too
6. dis- butter – my – then – may
7. needle under cum
8. disney
9. photo doc
10. siren see
11. quarrel one
***************************************************************************
CYCLE 6
In reading detached from water
EARS- left fossil – main traine – Shore shorne utter.
termina eager elvish ba
been to can cancelled –
com lain on mud
turned to grounded good and brigdeld
work /wintre femur aligned kneened [cough]
***************************************************************************
CYCLE 7
Mr James
Curious trouble strag empty
noises
CAMB SOUND o R/ IS BIN CLOD / REAG/
rounded Bands a canon bu ex man her
STOT WE
and we wandered like a sheathed culling poin
SIBOXTIASULC
in young women this closet like a stand like a
but this ex she she such a prevailed
ivory to turn to yellow
ONBSTILIDAINDSCH A RATCItt MO PACIRCARN CA
KINISTWO
groins dim murmur small chew bitten wind popped earth pipe
its this note this and a
ONL QUITLS GLISTUO REI ROORE VA
rounded tableaux to inching glassed tablet pink
LIMN MOUI OPSHOP
music earth field cowship play heal up a regularly bind to
collect a mind aimless beats sue see and yes
the cactus
PUN WOOTREE BONES BOWLS PUPSIT
sundelen to bite
MALISTCAS MOVEM
dance to gather sun to high he loose he weak
As people wind barnes to which a dorming po uniseen
As
night part to contact fence looked
they there do to f to.
***************************************************************************
CYCLE 8
Elizabeth
Fragi the vista no sociat exploit the
Sand based trombonate the lavels
the sig sa so sing to diamond
low
low Cyc a ma ma bottle ai out
loooking well to r now str
to sound bo st hoc BRIGHTON call. Red
comple
upon shi
on to egile go – gold
a line – a line Bricked curved
a line a collide extra
sec. sentre
TK / tur yellow to beaked YOU
Cora from out ancient to move near golds get
DOT
Fall
Eli Zarea
“after the end”
Veluminous washy ways scates full light
Sudden pent hasp popped
Summer plants con
Break choak a still rolls not start new
newer
She lu ocea OUT
***************************************************************************
CYCLE 9
MAPS
Vol narl colour calling fra
tricky
inde wat hitty arch ar arch
beau
prof sell patt on aerate
So mor dressed greenly slides still
Stairy lines fisher
BOOM
direct ship life to direct dead “I”
get loose
Oh turmin room hey drum here smell
compacted
Her print
the state, nuts as
Is it – is it the?
Dis – localized bcoint – humone
apart
away
boy
blow watches fous vailed
bu bust got feet
bull full heard heard hot ows bars Aye
Air – bound story vasted
arm laws
other rain don’t, carry cliff – it is was is a reb
sobes chase sweetened axi meander
***************************************************************************
CYCLE 10
Darth dreames
lied Dryed
wet bast bast
reckoning get closed bowls
stair stair beadience
walk to
the thick
the marks
clavig
fleshy pumping cider eye – turn
CHRIST
stars oenned between river
mist and lasted and animals
in distance paddle bowl waves
who pulls slow turn – Re – know twist
like frame
like no
nothin’
NO
***************************************************************************
CYCLE 11
N who talked Buy me
I have
little and
little and
little
burn and red
Trec- eagle hearted stated I tell
soak tole customed arc wooden sea
eel – he’ll one – nots from we – co –
BODY setting and
***************************************************************************
CYCLE 12
lea
Aloy smart to weal
As what
As thick
GOD a
I plum
thief park wolves and caught slag
rock theft watch walts – butter wizand
butter today windin
cleft go
turn a – spite – a – child – glue – grati
chase 2 – 3 m
what wall war – bone
PART – sout . . shif who wall
decreate clock sh
sha se s- co sand
pli plee I stand doubt buzz ya
TAB smog chess wake blow
indie are grave crab meane somber
flower seed poppy goal love nods
pose shallowed L / L / L / L / L placed
a horse goal – rag thistle mock the live matt the rifle
leaning style – lion – plumb
that
DIS.
***************************************************************************
CYCLE 13
A
You expe sta just go gold,
Bom gold
Be corr – rem
Stunning S / ST cat
Purale take eye sing to cross tete
St cos lipped angel colour
“SWS” – define this GOD
Police journey kill white sky – us
Us is
jest don’t that’s tably rusted
Rust can a – can – a
Bleached wide PICK
AND
SEN
Stand piots and anger public butter fly
Similars wets can cut and waves
***************************************************************************
CYCLE 14
Brag
tree verse beare
at back
laurrie seen
body
mud winced flu
collar wall u
sen fatty what
no fin no not
dead do baby
ap – pare
som – skid
blits corner – tes Rd n, cat, n blister to
stamps to “K”
I snap file me kid
daughter please
Fos wide cento look
***************************************************************************
CYCLE 15
Kilburn 23:30
Cliff granted tall / T / T / T acidic
C blue
eye I see chim rock
bush
fold shouted S – sun – tank know now TIT
suckle fitter Today and matter
ME splutter pass stonge sto geo –
see – listening porous – P – P – white bars
like a
like a winged cold pineappled when ----
in of a grande to signal greatest sitting peas
moved moved a cello ehined comps top end
being jolt being joint saw – sudden glace
un – un
beauty
shook sea see
not calling
I
I
I shook snorted sneezed seeing
snow
kicked it the swallowed god – no miles – no – a mast
beneath pray sicted
chest bit
then they gull fielded scared eyes ran whenst the
monk colder DO
savage saw none in me –
look as
as me
and small ice
and ship
holes – nothing
***************************************************************************
CYCLE 16
DIGING GROUND
OUND
SPARED GRAVE NOT GOON
CHINA’D WHITE
TEETH ROLLED DISS-ALICIOUS
roaring mounted – in/out macros sconed
judy – Buttoned quick
tough diced gripped BIG
to live
to stick
to sun son
roundless summer tots
as on long blue
long – draw a royal as was
as was took
as blue
ages sit back pump p
bundone paused pat
cane, little black b / b / soft
dumpt able cove – new as
ringing
hose as though vulva
no-oned as ruby mediature head twist
rip and fried and chained
to FOLK lerbed, booked, “if that escapes”
***************************************************************************
13/01/2010
a portrait: voiced
Working through a live and lived performance of my Medusa: speaking.
considerations being made:
considerations being made:
voice
interference
voice
interference
voice
voice
levels
voice
voice
female
voice
voice
texture
voice
voice
body
voice
12/01/2010
Post thoughts: 10 performances
Post thoughts: This is thoughts in an alternate location. This is thoughts on the train. These are thoughts post thought I will transcribe in their exact state. I will not interfere with these post thoughts.
___
The aesthetic of so much of the work was similar- someone commented that it was “generational” the impact of the machine on the text. The control of performance being passed to the machine. What impact does this have on the ownership of the writing?
I am interested in this being “BEYOND TEXT” when so much of the work concentrated on the PRESENCE of text and showing text. I am not criticising this aesthetic but am interested in why, in most of these performances text was not undergoing any change. Liveness brings with it a risk to expose the materiality of the text and this was not being done. In Robin Deacon’s work at the end of this piece he reads from a variety of scripts – provided by his father- his live reading of these created a new text in performance. It allowed for interaction between text and body which was spontaneous.
SPONTANEOUS: LIVENESS: versus DEADNESS
(this term DEADNESS was mentioned by an audience member in the discussion following the performances. I will use this term, not as a term which implies a deadness of the performers, but as a term to address the binary of live.) The materiality of the LIVE text was not dealt with in performance- texts were eing typed in front of us BUT they were not being produced. This is what interests me. the text which was performing was not live. All these artists engaged with the materiality of writing and exposed the “act” and “action” of writing, but we did not see this truly as- “generation” of text was not happening.
I suppose this is why I raised the question of all of the mistakes in the typing- I asked why mistakes made in the live typing of text which was being projected to the audience, why were these mistakes corrected? Are these mistakes not a true mark of liveness? Of the body? Of the present? Of the space? It is these mistakes which were glimpses of true liveness for me, which generated a document of the performance, which encouraged a new, live generated text to come into being. These mistakes allowed a translation of the prewritten text to be created through performance. And in performance we are translating; moving from a page to a bodily enactment. This process through body, which all the performances dealt with is of interest. These mistakes act as a trace that this performance occurred. These mistakes show that performance is a translation not a reproduction.
I was interested in how these two words come into play.
TRANSLATION of the text in performance and REPRODUCTION.
I am unsure whether these are the right terms – but I will explain them as I see them in terms of performance.
TRANSLATION: to undertake change from one form to another. From one language to another. To translate is to communicate. To translate a text is to communicate it to another. To change its form – to communicate this “new” form using the tools of this “new” language.
REPRODUCTION: to reproduce is to RE-produce. To produce again to produce again. In a reproduction we expect no faults, we expect the production the reproduction.
So now I have returned from these statements and considered translation to be of more interest, of more relevance to exposing text and its status as object. I want to say I enjoyed this event. That I appreciated all the hard work. That I appreciated the coming together of people and level of audience interest. To see where text is now. To see how text is being treated in performance. To consider where text should be. And why it should be in performance. My words of documentation are written in the dark. These words now are written on the train returning to Waterloo. These words are considerations of the ongoing question. These writings are asking and answering questions. These writings are the effects of a day spent with people. These writings are reactions. These writings will continue. And these writings are writing.
___
The aesthetic of so much of the work was similar- someone commented that it was “generational” the impact of the machine on the text. The control of performance being passed to the machine. What impact does this have on the ownership of the writing?
I am interested in this being “BEYOND TEXT” when so much of the work concentrated on the PRESENCE of text and showing text. I am not criticising this aesthetic but am interested in why, in most of these performances text was not undergoing any change. Liveness brings with it a risk to expose the materiality of the text and this was not being done. In Robin Deacon’s work at the end of this piece he reads from a variety of scripts – provided by his father- his live reading of these created a new text in performance. It allowed for interaction between text and body which was spontaneous.
SPONTANEOUS: LIVENESS: versus DEADNESS
(this term DEADNESS was mentioned by an audience member in the discussion following the performances. I will use this term, not as a term which implies a deadness of the performers, but as a term to address the binary of live.) The materiality of the LIVE text was not dealt with in performance- texts were eing typed in front of us BUT they were not being produced. This is what interests me. the text which was performing was not live. All these artists engaged with the materiality of writing and exposed the “act” and “action” of writing, but we did not see this truly as- “generation” of text was not happening.
I suppose this is why I raised the question of all of the mistakes in the typing- I asked why mistakes made in the live typing of text which was being projected to the audience, why were these mistakes corrected? Are these mistakes not a true mark of liveness? Of the body? Of the present? Of the space? It is these mistakes which were glimpses of true liveness for me, which generated a document of the performance, which encouraged a new, live generated text to come into being. These mistakes allowed a translation of the prewritten text to be created through performance. And in performance we are translating; moving from a page to a bodily enactment. This process through body, which all the performances dealt with is of interest. These mistakes act as a trace that this performance occurred. These mistakes show that performance is a translation not a reproduction.
I was interested in how these two words come into play.
TRANSLATION of the text in performance and REPRODUCTION.
I am unsure whether these are the right terms – but I will explain them as I see them in terms of performance.
TRANSLATION: to undertake change from one form to another. From one language to another. To translate is to communicate. To translate a text is to communicate it to another. To change its form – to communicate this “new” form using the tools of this “new” language.
REPRODUCTION: to reproduce is to RE-produce. To produce again to produce again. In a reproduction we expect no faults, we expect the production the reproduction.
So now I have returned from these statements and considered translation to be of more interest, of more relevance to exposing text and its status as object. I want to say I enjoyed this event. That I appreciated all the hard work. That I appreciated the coming together of people and level of audience interest. To see where text is now. To see how text is being treated in performance. To consider where text should be. And why it should be in performance. My words of documentation are written in the dark. These words now are written on the train returning to Waterloo. These words are considerations of the ongoing question. These writings are asking and answering questions. These writings are the effects of a day spent with people. These writings are reactions. These writings will continue. And these writings are writing.
08/01/2010
Documentation and response to 10 Performances at Roehampton
I open this with the hope that these words are gestures towards what occurred on Thursday, November 26. These words are a series of thoughts and writings which took place during the event. These are my writings and are live writings. They are scrawled and I have not re-read these writings till now.
I will transcribe these writings as they are written in as honest a transcription I can make of the mark. For speed between performances each one is numbered and so please refer to these to see which document matches performer.
1. Rachel Lois Clapham and Alex Eisenberg: 10 Performances +1
2. Akillas Karizisis: Man, 52 yrs SELF PORTRAIT
3. Johanna Linsley: Like to know
4. Robin Deacon: UNTITLED
5. Tamarin Norwood: What To Do
6. Matthew Goulish: Gratefulness Performed by Lisa Alexander
7. RESPONSIVE SESSION: Lis Austin, Efrosini Protopapa and João Florêncio
8. Cathy Naden: All that I can remember
9. Mark Caffrey: Collective Spill
10. Barbara Campbell: All that I can remember
11. Theron Schmidt: This text bears false witness
12. Danae Theodoridou: A Single Voice 3000 English words in the hands of a T.J.
13. RESPONSIVE SESSION II: Lis Austin, Efrosini Protopapa and João Florêncio
Find further information here.
I begin.
I will transcribe these writings as they are written in as honest a transcription I can make of the mark. For speed between performances each one is numbered and so please refer to these to see which document matches performer.
1. Rachel Lois Clapham and Alex Eisenberg: 10 Performances +1
2. Akillas Karizisis: Man, 52 yrs SELF PORTRAIT
3. Johanna Linsley: Like to know
4. Robin Deacon: UNTITLED
5. Tamarin Norwood: What To Do
6. Matthew Goulish: Gratefulness Performed by Lisa Alexander
7. RESPONSIVE SESSION: Lis Austin, Efrosini Protopapa and João Florêncio
8. Cathy Naden: All that I can remember
9. Mark Caffrey: Collective Spill
10. Barbara Campbell: All that I can remember
11. Theron Schmidt: This text bears false witness
12. Danae Theodoridou: A Single Voice 3000 English words in the hands of a T.J.
13. RESPONSIVE SESSION II: Lis Austin, Efrosini Protopapa and João Florêncio
Find further information here.
I begin.
1.
Repetition of a binary of plus
One writing offering thought on
Plural forms of making and deconstructing
Live speech - interruption to form
A new rhythmed construction2.
typing free typing But non correcting
and then correcting - relationship
between non correct and correct
between instant change and non
change.
- actor female - her relationship to
words on screen – The present
joseph Beuys – mouse trails
screen down. Quiet voice
relationship to the first
text created in front of us and
the ongoing texts which
are pre-loaded – What
is the relationship between
live text and lived text
Sounds vs words vs thoughts
(misspelling vs correction)
It ended with FINITO3.
Gesturing bodies
Shifting of of a of end a count
bodies in a
place – elevators
Humour - one lines
Hand (left) on hip
Spoiler
Then Body - sequence -narrative
Moved - ruffled.
Conversation – email text __
Step in and
Out of who She is – step in
and out
Biographical info
Is revealed – strokes of seriousness
Colombo
The Wire vs Bleak house
Contextuality __
representation
of connectivity.
Parallels – narrative __
connections
Tinged always
tinged with
The set up of the presentation4.
_____________________________________________________________________
_______________________ZEPHYR___________________________________
what will happen if he
doesn’t write this down.
2 camera – perspective
mouth on 1 – ear now
mouth – framing to open
mouth
black hole of mouth –
VOICE:
Terminally open mouthed
poses – gestures
watching open mouthed.
Displacement of sign and noise
^ (text being
(open mouth) heard)
relation between text and body
>mismatching.
now typewriter
The act of making text –
but where has
text come from
> non improvised
(Foucault- Body + machine)
(EYE)
( )
OBJECT – Recordings
inhabits
inhabits of machine – the machines
unconscious.
we can
them for the Clinic
the ver truth I have to
5, like and shin away doorways
chewing marry lurings
per cardboard known my
sonnel new factory
approach
still one
going But constantly kept some degree
will occoesion said she got
see charity pause
things
advantage I
have position broken
official lowering history
cab brains clogging manifest
while stay he cut it fine wont
you table fish end
stir up simply and what
position in loyalties spilt out
tell what dilly and
table perplexed jelly
Number One
___________ collectiv but
How engaged after chair struggle
they Jude
cosy we’re all
Call I forget to convey
humblest well probably
in read then
________ end ––––––––5.
molecules: a liner gesture
teaching - fast - no fluxuation
___________
/ pause]
turn page
specific speech __
speech unable
relate to – und to
iferantiated
linear
non sensity – PAUSE
inability>
(turn page)
objects – sorting and arranging
sorting
/////
//// constant water stream _________
//6. –––––/////////–––––––
invention
Word – consider – this is
an after
Thanksgiving
moment a shifted def of
part
condition
attitude vs a
full = vessel
to begin carrying – a found word
he wears a bend – half my age
posing – FLINT
Demolish – shrinking Domnate __adult life
of a word
–– the entrance of
concealment
concealed –
planting outline –
a ghost of hidden
concealment of recordings recorded
existence
placement of trace –
recording it
praise the not me
me vs not me
trace an engagement of trace and
a biographical
patterned replacements – –__
grateful and not meeting
gratefulness7. Response
between – between – between
dialogue.
(i) Before – preparation – rehearsal
obsession
Question – NOWNESS
LIVENESS
NOWness } contains
LIVEness } pastness
Imagining – Imagined
Nowness – how past (rehearsal
Forms the nowness)
(ii) academic
thought in quotes
contaminate thoughts
text has a verb
text is a doing
(1) “BEING” “DOING”
“BEING” “DOING”
“BEING” is “DOING”
(2) OBSCURE – CREATES/ED
“THINGS” “ACTIONS”
(3) Platos thousands – “INDIRECT”
“DISCOURSE”
“FORMER”
“ESSEMBLEDGE”
“RELATIONS”
“DETACHED”
“ASSEMBLEDGE”
“MUR MUR”
“VOICES”
“FROM”
“MOLECULAR”
“DEPENDS”
“SPEAKING”
“WRITE”
“SELECT”
“IDIOMS”
“I”
“WORD”
“VOICES”
“BUT”
“TRANSFORMATION”
––––
relation to we see
(iii) composed vs thought
composed: relationship to text
Cage/Austin ––
Beyond text –– what of now
What now –– towards
What paradigms/ frames
Unhinged?
see in performance
unhinge what text
Research
DIALOGUE
Thoughts:
Structures of silence
STOP
Absence vs Presence
Readers
audience as
reader
WRITING AS PROCESS
[IN]
–––––––––––––TEA–––––––––8. labour of projecting –– text on screen
a lot of ellipses
are you really
are you reading reading
CURSOR
text again –– all double spaced
Ryan made a point about perspective
earlier
for a third time text. I’m
watching her index finger on mouse
move—BODY vs TEXT
Blank
slow scrolling
how fourth time text
5 smaller amount
of text.
6th time only 2 lines now
7th time = um
8 text again
Underlined areas and repeats
Slower
9th time =UM
10= 1 line
11 – text
12 closer
13 the same closeness
14 the same closeness
15 the same
16 the same longer line
17 one line
18 separated by
same closeness
same closeness = 2 return
20 UM
21 –written
and lost
21
22-
tt 3:46 PM it has 94% battery
CURSOR
23
24
I remember
25 refers to.
26 white chapel
STOPPED SCROLLING
start
white space –void _silence
27 ?
What choice suggest
A rhythm
28 = UM
28? Find my way back
/ GAP
3.51
29
the misspellings are highlighted
with red squiggle lines
throughout
There are 2 laptops – What is
the relationship
between
30
Communal reading – why on screen
What does this do.
PAUSE /VOID/white
space
waiting – is there a signal
system
31 @ 3.55
words enforcing a silence
text forcing a silence
noisse creeps in
discomfort
heard
we are still
on 31?
_________________________
\ thankyou /9.
Female Male
((0 \0
For the first time
Story he is writing out
writing over
SAID – saying present saying
tense
\ /
\ /
\\ //
\\
her to him
(discourse)10.
rolling text and a line
lines.
breaks become important
Bad dis being in n[arrolated]l
Body is being textualised
(F would like to
Body is in being
consider a textual script
for the body – a scored
script for the body )
Is this document of BODY?
She her with the laptops
the performer is choreographing
our reading
Is this her reading
Is she reading
We are not bearing
Witness to her experience
She is
in control of
our experience
silent reading BUT
not private reading
I want to read
out loud
time – matching real time
to this pre written time
It’s 4:21 as 11 passes
[11:00]
The Gaze = is interest as
audience member on the
body controlling the
text or i s i t on the
text itself
I now follow the in str
uctions
I follow the instructions
to set about my own
performance and bodily
alignment with the
text ___ a physical
reading
_a play of
with/the/on text
I ended blinking11.
[Note before: Running theme of
projected words projected
pages
Focus not on language
in relation to body
but to machine
Disembodied text]
shifting position of
words on a screen he
he writes this __ is aware
of process /place.
believe what you read?
believe what you hear?
materiality touched on
relationship to
the text we are
seeing & reading
as audience &
to you creating
it?
Is there something
of a translation
a medi ati on
between per fo rmer
and text ,
Also text is
performing.
where is this
text coming from?
Is it now a true
trace of performance
occurring.
NB In the break
With Ryan + Karen we
Talked about text
being produced in
performance – text
in a state of construction
and de construction
- we play with its materiality.
I’m interested in why he
deletes his mistakes
these are what make
it a trace of now
and this
experience
are we programmed
to do this
It says something
about instinctual
instinctual mark
making and body
in relation to text
this is perhaps
removed by
machine.
text on screen
do we consider
words as single
objects -Karen
said this
transcript he
is transcribing12.
I don’t think I
the need to
directly copy text
onto another document
what is interesting?
*ownership of words
relationship to spoken
text & projected text
what is this?
again we read > this
conflicting between
words we
see and hear
* PAGE as STAGE: online
onscreen
There could be play
But there is linearity
performance and liveness
STATUS of TEXT in performance – here the screen has one
The text as being a
performance like a human
voice has slippages
yet its human instinct
to correct it – is
this allowing text its own
Space to perform.
- question of liveness
- live mark making
- idea of trace of performance13. Response II
(i) generational
Economies of labour
07/12/2009
Medusa: speaking
Medusa speaks and laughs through Helene Cixous. This is a reactionary text. It is engaging with Carla Harryman’s Adorno’s Noise. It is reacting to the concerns of a poetic practiced theory. A working through theory practically. Here it is Medusa who is concerned with finding her voices within Cixous text. Medusa speaking to find her body of text. Medusa: speaking
1
By by by by my owned offering of body spoken as it is of speaking contemplate bridge of a must no way is by way by as it comes from by non by product essential production. To speak engage directly non negotiable forward pushing of rupture tearing period as lawless partnership strung up against over future tensual tense turse tursive textual providing own own own own to push harder on pen is direct birth of own penhership considerable offer wordly negating land as a herstory bodified periodically penned organed out toward the non forward non where a without reason non request To gain from present a forced speech inherent inherent inherant in her ant in her ant in her aunt in her aunt in her aunts in her auntsv in her auntxi in her aunt true in her aunt cixous in her in her in her in her in her in her from a behaviour of chorality her fem femality across her ment.
_____
2
standing as I do at a platform prepared to become liminal preparation of time equats to a non sequence – her control over against the periodical attempts of a clock is brutal. Convergence brutality of a bruised minute. She within a carriage already will not stop here a non convergence but a straight linear fielding of time outward window foregrounded a force non passé decibal over shall I say sixty. Convergence a breath of veins to look up at tree to teach roots function to preserve upon a fledging greenery willing itself to remain present. Convergence non likening to a liminal on one edge faced to break – delineate
for delineate deliniat delinia delini delin deli del ded _ post terrant of winter
mark made
_____
3
_____
4
Write this facing a windowed reflection of write this as a window reflection toward outside- shifting of subject from non focus glance of recollecting non facing and inevitable must a paler convert convention
can propose to write now under non disclosed as write on window. Outside common a non general forthcoming talk of non voice an hertividual her a classification denies plural form of shared body. Undergoing a home geneous presence con alterification begin faltering stream NON NEO to place a NEO offering a non way non way to negotiate non way to pluralise NON way to define non. Way to offer me non way to say now now way to element body non way to digress across non way of her plateau non way will non way to talk non way to write non way be non way as woman way non way __write non way be non way as woman way non way
_____
5
Poise not allowing for a comfort a slight
and upper. non chanced imaginary
encounters non deliverances from early
age touch was the base for cleansing as
a woman leant against green grass
blowing out breathes wind thou to.
Rest. I call it meadow from before
filted degrees apparent thant light tormel.
Will flaunt to can a memory so seemingly resuilt
in you fore presenting an isolation a fore
to dress pursed to non touch gen the
an inscribular no verbal request concerns.
O slight resting over curious at
age of self can consume a non
window facing for willing non
willing as an attempt concave
depending palm concave ever
so slight pleasant grounding eye
wider to sit as a rest is as ever a gain.
a a a vowels to form resonating
understanding stand in base of
a fledgeling glimpse of that
eye in a to task of an inked
to tilt till it
to burn over breath
concave beneath control
birthing breast purely
subtle rippling against
jagged
unfurling a width
su down a right draw
curling under between pedi
resting breathes non to plurality
boundless a rub over a
as touch pen as
folded against and resting
placement slight to frame
sea tulping after tulping
to tide venus up tied over
freedom at age in non in but
against this stretch against for non
latten against to tilt against
to touch against
to line against
to against
to against
to against
_____
6
Wishing from a sovereigned goal facing
Empirical streets of women from over bountiful plains. A recircling would ask to draw in from you non negotiating but counting newness amongst friend amongst gender amongst my form Consider where internal allows for gap of a space a void to be framed filled to bursting. A seizure upon voided offering shall we consider the veil
a rustling papered body in which conjunctions thwart outwards. Pressing over and through and around a passing from anxt towards. A veiled towarding A veiled can I ask you about desire?
for a momentary relies upon veiled frames. Preparation of a veiled begins by reframing an intricate panting from breadth to re paint. non premium place – when I asked around desire please stop. Halting within a framed negotiate tempered cannot walk within I didn’t respond to your desire believing from withstanding own for fore, A
puncture within veil bleeds void onto your desire puncture of veil to bleed hair forth out write. To begin with a punctured veil insist of no desire desire desificates a non unity a puncture invent practical infinite bleeding out – a breadth _out out towards from. She veiled void consist of a pre-supposed passing counting newness amongst friend amongst gender amongst form. to bleed is unwilling is waves seeping outwards bleed is to be non accused non thought reaching beyond voided veil bleeding excess elivinity punctured veil bleeds from about punctured veiled bursted for your desire,
_____
7
shouting can you walk to the edge of your room begin shout SH OUT SSH OUT SSSH OUT OUT presence secure presence of breath upon you to out. At age before considering when out will come when some will exude into multiple. At the edge of your room standing facing wall breath upon paint panting upon wall chipped out through body chipped against. Sore surface because facing because writing because it because you because you because you
To bury
To forget
To excuse
To edge
To secret
To punished
To didn’t
To irresist
To come
To go
To be
To face without excuse Attribute surface forward Standing aware of feet Facing surface To shout To sh out To ssh out to sssh out
_____
8
to embrace against paged machine Forge a bearing of won page own body as machine mechanism of hand over nail towards pen Against for now economy Reason for to dwell on Reason to dwell on economy to dwell on object to dwell on for transpositional convex transvex trans vex trans sex Against for no reason but myself –female –trans –of off of off economic trans economic pre trans economic –pre your of my – facing ed I tore mechanism for chan ism.
_____
9
conquering lay at plural cause for this is non play categorisation over me body for your body forward and convex for concave speaking fluidly she vexed lays seize at the sink To look passing over water refracts a “belief” lay at plural valley concave facing convex inherent void inherent waste inherent non inherent inherent in her ent in her end in her in her in her in looking Fluidity fluidity standing at the sink dailey from looking in her looking for vexed lays out convexing before her convexing out water confirms presence balanced concave she vexes concave she vexed concave she vex,
_____
10
Enter the past, Large white triple doored wardrobe where legs dangle, over the bed. praying can be heard on landing. RED. fuchsias scent pale. powdered mantle boxed. beneath leg/ enter the forget. desperate to tell colour of carpet it is not heath non preserved non alive non memory non. Gapping over gap causal of condemnment. to condemn. to non memory. to dangle. frigidified.[1] non rest. fidget memoretically. fidget to find – non locality powdered fidgeting legs pale. dangle. where doored praying the mantle can. white fuchsias beneath boxed leg. triple on landing. RED. bed be heard large wardrobe scent/ enter the forget.
_____
11
Lowered perspectives as legs dangle a road a green penetrable elipsed steps behind echoe forward now. Confined. Dangling between internal knees resting upwards torch penning to the right. darkened responsively
darkened
loss can cause and inflict
lack of being lack of
to know being lack of
placement to
because am in room am in room am in room. Because he is in woman he is in woman he is woman.
_____
12
Convex remains eyes at point stress looking. Lacausal can strike logic. Looking strike anti-looker. To strike away strike and remove strike a look put on lipstick and strike upon him remain eyes lashes at point of looking strike to past anti and remain mirrored graciously to strike lashed and lipped
_____
13
Mouthes lined thick culturally
Becoming non voided image
Painterdly licking coloured lips
coloured and activates mouths
_____
14
Poreal breaking at the introduction signals resurrecting welcome system gesture praying outwardly to transcribe over it transcription of corporeal to begin mirrored introductions. Extending. Yes.
_____
15
unification presumes a unit
of whom you I they we are
units from to in at of
unitary in wholeness of time
_____
16
This in present. decidedly questioned?
Unit as solidity
_____
17
In early voice heard. Aired banded of her and this new. Pleasant from one to this now. Rooted voiced in linearity. Must early voice left for this now. Echo upon hills from this now.
_____
18
Returning to shelves. The fact can often be clearer from a fas. Returning to shelveds. The fact can often be inscribed from a far. Returning to shelf The fact can data be and this if not a
and when not
and certainly not
and why not
and what not
and she not
and fact not
and she fact not
_____
19
Let you insert here. a parent remark
[for my marked gains political social and economic frustrates area, For admittance takes below For land plateaued is resting For marks made must bury]
_____
20
TO REMEMBER TEXT BOOKTUALLY NON INSTIGATED HERE. FOR NOW. PLEASE BEG FOR THE ENTIRE. RESTING ON MAT IT SWALLOWS HARD. TO REMEMBER. OFF ONCE DEEPER. MAINTAIN. SELF- SELF- SELF- CENTRALITY COME. IN REASONED. TO REMEMBER. TEXT. HEARD. BEGS. A. SELF- A SELF –A SELF.
_____
21
lying non now non now pushing a breath on a page to sweep over and against and deepened it with a code. of lined against lined scented traditional non rushing if you could see look at them eyes her bring it on a gallop a lunged noise a rooted vein. pulsing. Inner ear he would say thru is the rub as she rubs she rubs he there to her Lying trough on and around papered over with body against non tell wired from within for her lunged down tilting. tilting. papered tilt lined against forefinger penned for rub non negotiate with her penned story.
_____
22
Believe. as one does not deathed.
_____
23
Pooled between remain separated. To create present. To presume. Convex. Multiple.
-- dangled and lurid the between convex and concave liminality attains and utters its growth. A cattled being, woman. seeks to turn from without itself. immensively cattled tapped by inability to hear a called from a fear but to call the liminal non. Fielded and grazing considered there a dangled place but to become to hear to write calls upon and toward breaths sourced to tear away thwarted
without itself. Risk of a push pull relationship offer non resolve non restolution –
the digression of rest locates her breath in a non place. Sonically vacuumed a direct pushing communicates the uncodable between. To rid the between is to buy place the culling of the liminal; a begin of Her
flawed we beg in Her.
= sitting hands under thighs a sitting to listen a sitting to listen a sitting beginning to a sitting biting of lip A sitting aware of temperature A sitting looking down a sitting raised shoulders a sitting heavy feet a sitting dry mouth a sitting a sitting willing TO BE OPEN MOUTHED VOICE OF STRAIGHT TONE AN EVENT ABLE and then hands actively
lip
temperature
looking
shoulders
feet
mouth
willing
raised and forceful anti silence words spill for you must work catch loud the voice asks to lie between body and mine. Waging an occasion of speech beyond. For liminality is broken in the live. The presence forces plurality. The presence of heard voice forces body upon body upon body upon body upon body upon body upon body upon
_____
24
Once governed as a hunted voice to now hunt out a silence Resembling governed can we come to the edge of border. Resting place. from. around. through. reserving place over order.
_____
25
Utterances public utterances lay bare. utter an she says. From behind table. Drawing on body. Shall I listen to the entire list. Bodily. Duggest. Calm. TILT. Forward becoming traceable. Utter on she says utter pursed the rub of public lips shall listen. Public in a tilt shift to trace in aired voice.
_____
26
page pressing face facing pressed page. Two feet facing away pulling between tonsil to toe chords tighten forming distress – paged stress.
_____
27
dangling between tonsils between wombed. A pilling of device internal rebuilt of text la langue dangling between in from her role as child to role upon age to dangle a front to flood. Between body to tilt slight tense up piling devisal convexing salivating paged to breath through page.
_____
28
Sourced. A running tongue over teeth convexically lexical for to mean between place. stand. Body against body for can we define. Hovering over to flutter up through. seemingly eyed she it rests upon (body) or (bodies) it rests in ( ) and ( ) with (body) is all which leaves space in ( ) is a don’t not don’t make.
_____
29
Drives from momentary values. This radical will might over. She system bases seizes reactionary.
_____
30
Pre-
_____
[1] placement causal breaks mematic memory. banish may be strong usurped at a bodily youth placement breaks memory. memory breaks placement
1
By by by by my owned offering of body spoken as it is of speaking contemplate bridge of a must no way is by way by as it comes from by non by product essential production. To speak engage directly non negotiable forward pushing of rupture tearing period as lawless partnership strung up against over future tensual tense turse tursive textual providing own own own own to push harder on pen is direct birth of own penhership considerable offer wordly negating land as a herstory bodified periodically penned organed out toward the non forward non where a without reason non request To gain from present a forced speech inherent inherent inherant in her ant in her ant in her aunt in her aunt in her aunts in her auntsv in her auntxi in her aunt true in her aunt cixous in her in her in her in her in her in her from a behaviour of chorality her fem femality across her ment.
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2
standing as I do at a platform prepared to become liminal preparation of time equats to a non sequence – her control over against the periodical attempts of a clock is brutal. Convergence brutality of a bruised minute. She within a carriage already will not stop here a non convergence but a straight linear fielding of time outward window foregrounded a force non passé decibal over shall I say sixty. Convergence a breath of veins to look up at tree to teach roots function to preserve upon a fledging greenery willing itself to remain present. Convergence non likening to a liminal on one edge faced to break – delineate
for delineate deliniat delinia delini delin deli del ded _ post terrant of winter
mark made
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Write this facing a windowed reflection of write this as a window reflection toward outside- shifting of subject from non focus glance of recollecting non facing and inevitable must a paler convert convention
can propose to write now under non disclosed as write on window. Outside common a non general forthcoming talk of non voice an hertividual her a classification denies plural form of shared body. Undergoing a home geneous presence con alterification begin faltering stream NON NEO to place a NEO offering a non way non way to negotiate non way to pluralise NON way to define non. Way to offer me non way to say now now way to element body non way to digress across non way of her plateau non way will non way to talk non way to write non way be non way as woman way non way __write non way be non way as woman way non way
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5
Poise not allowing for a comfort a slight
and upper. non chanced imaginary
encounters non deliverances from early
age touch was the base for cleansing as
a woman leant against green grass
blowing out breathes wind thou to.
Rest. I call it meadow from before
filted degrees apparent thant light tormel.
Will flaunt to can a memory so seemingly resuilt
in you fore presenting an isolation a fore
to dress pursed to non touch gen the
an inscribular no verbal request concerns.
O slight resting over curious at
age of self can consume a non
window facing for willing non
willing as an attempt concave
depending palm concave ever
so slight pleasant grounding eye
wider to sit as a rest is as ever a gain.
a a a vowels to form resonating
understanding stand in base of
a fledgeling glimpse of that
eye in a to task of an inked
to tilt till it
to burn over breath
concave beneath control
birthing breast purely
subtle rippling against
jagged
unfurling a width
su down a right draw
curling under between pedi
resting breathes non to plurality
boundless a rub over a
as touch pen as
folded against and resting
placement slight to frame
sea tulping after tulping
to tide venus up tied over
freedom at age in non in but
against this stretch against for non
latten against to tilt against
to touch against
to line against
to against
to against
to against
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6
Wishing from a sovereigned goal facing
Empirical streets of women from over bountiful plains. A recircling would ask to draw in from you non negotiating but counting newness amongst friend amongst gender amongst my form Consider where internal allows for gap of a space a void to be framed filled to bursting. A seizure upon voided offering shall we consider the veil
a rustling papered body in which conjunctions thwart outwards. Pressing over and through and around a passing from anxt towards. A veiled towarding A veiled can I ask you about desire?
for a momentary relies upon veiled frames. Preparation of a veiled begins by reframing an intricate panting from breadth to re paint. non premium place – when I asked around desire please stop. Halting within a framed negotiate tempered cannot walk within I didn’t respond to your desire believing from withstanding own for fore, A
puncture within veil bleeds void onto your desire puncture of veil to bleed hair forth out write. To begin with a punctured veil insist of no desire desire desificates a non unity a puncture invent practical infinite bleeding out – a breadth _out out towards from. She veiled void consist of a pre-supposed passing counting newness amongst friend amongst gender amongst form. to bleed is unwilling is waves seeping outwards bleed is to be non accused non thought reaching beyond voided veil bleeding excess elivinity punctured veil bleeds from about punctured veiled bursted for your desire,
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7
shouting can you walk to the edge of your room begin shout SH OUT SSH OUT SSSH OUT OUT presence secure presence of breath upon you to out. At age before considering when out will come when some will exude into multiple. At the edge of your room standing facing wall breath upon paint panting upon wall chipped out through body chipped against. Sore surface because facing because writing because it because you because you because you
To bury
To forget
To excuse
To edge
To secret
To punished
To didn’t
To irresist
To come
To go
To be
To face without excuse Attribute surface forward Standing aware of feet Facing surface To shout To sh out To ssh out to sssh out
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to embrace against paged machine Forge a bearing of won page own body as machine mechanism of hand over nail towards pen Against for now economy Reason for to dwell on Reason to dwell on economy to dwell on object to dwell on for transpositional convex transvex trans vex trans sex Against for no reason but myself –female –trans –of off of off economic trans economic pre trans economic –pre your of my – facing ed I tore mechanism for chan ism.
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conquering lay at plural cause for this is non play categorisation over me body for your body forward and convex for concave speaking fluidly she vexed lays seize at the sink To look passing over water refracts a “belief” lay at plural valley concave facing convex inherent void inherent waste inherent non inherent inherent in her ent in her end in her in her in her in looking Fluidity fluidity standing at the sink dailey from looking in her looking for vexed lays out convexing before her convexing out water confirms presence balanced concave she vexes concave she vexed concave she vex,
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Enter the past, Large white triple doored wardrobe where legs dangle, over the bed. praying can be heard on landing. RED. fuchsias scent pale. powdered mantle boxed. beneath leg/ enter the forget. desperate to tell colour of carpet it is not heath non preserved non alive non memory non. Gapping over gap causal of condemnment. to condemn. to non memory. to dangle. frigidified.[1] non rest. fidget memoretically. fidget to find – non locality powdered fidgeting legs pale. dangle. where doored praying the mantle can. white fuchsias beneath boxed leg. triple on landing. RED. bed be heard large wardrobe scent/ enter the forget.
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11
Lowered perspectives as legs dangle a road a green penetrable elipsed steps behind echoe forward now. Confined. Dangling between internal knees resting upwards torch penning to the right. darkened responsively
darkened
loss can cause and inflict
lack of being lack of
to know being lack of
placement to
because am in room am in room am in room. Because he is in woman he is in woman he is woman.
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Convex remains eyes at point stress looking. Lacausal can strike logic. Looking strike anti-looker. To strike away strike and remove strike a look put on lipstick and strike upon him remain eyes lashes at point of looking strike to past anti and remain mirrored graciously to strike lashed and lipped
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Mouthes lined thick culturally
Becoming non voided image
Painterdly licking coloured lips
coloured and activates mouths
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Poreal breaking at the introduction signals resurrecting welcome system gesture praying outwardly to transcribe over it transcription of corporeal to begin mirrored introductions. Extending. Yes.
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unification presumes a unit
of whom you I they we are
units from to in at of
unitary in wholeness of time
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This in present. decidedly questioned?
Unit as solidity
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In early voice heard. Aired banded of her and this new. Pleasant from one to this now. Rooted voiced in linearity. Must early voice left for this now. Echo upon hills from this now.
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Returning to shelves. The fact can often be clearer from a fas. Returning to shelveds. The fact can often be inscribed from a far. Returning to shelf The fact can data be and this if not a
and when not
and certainly not
and why not
and what not
and she not
and fact not
and she fact not
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Let you insert here. a parent remark
[for my marked gains political social and economic frustrates area, For admittance takes below For land plateaued is resting For marks made must bury]
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TO REMEMBER TEXT BOOKTUALLY NON INSTIGATED HERE. FOR NOW. PLEASE BEG FOR THE ENTIRE. RESTING ON MAT IT SWALLOWS HARD. TO REMEMBER. OFF ONCE DEEPER. MAINTAIN. SELF- SELF- SELF- CENTRALITY COME. IN REASONED. TO REMEMBER. TEXT. HEARD. BEGS. A. SELF- A SELF –A SELF.
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lying non now non now pushing a breath on a page to sweep over and against and deepened it with a code. of lined against lined scented traditional non rushing if you could see look at them eyes her bring it on a gallop a lunged noise a rooted vein. pulsing. Inner ear he would say thru is the rub as she rubs she rubs he there to her Lying trough on and around papered over with body against non tell wired from within for her lunged down tilting. tilting. papered tilt lined against forefinger penned for rub non negotiate with her penned story.
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Believe. as one does not deathed.
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Pooled between remain separated. To create present. To presume. Convex. Multiple.
-- dangled and lurid the between convex and concave liminality attains and utters its growth. A cattled being, woman. seeks to turn from without itself. immensively cattled tapped by inability to hear a called from a fear but to call the liminal non. Fielded and grazing considered there a dangled place but to become to hear to write calls upon and toward breaths sourced to tear away thwarted
without itself. Risk of a push pull relationship offer non resolve non restolution –
the digression of rest locates her breath in a non place. Sonically vacuumed a direct pushing communicates the uncodable between. To rid the between is to buy place the culling of the liminal; a begin of Her
flawed we beg in Her.
= sitting hands under thighs a sitting to listen a sitting to listen a sitting beginning to a sitting biting of lip A sitting aware of temperature A sitting looking down a sitting raised shoulders a sitting heavy feet a sitting dry mouth a sitting a sitting willing TO BE OPEN MOUTHED VOICE OF STRAIGHT TONE AN EVENT ABLE and then hands actively
lip
temperature
looking
shoulders
feet
mouth
willing
raised and forceful anti silence words spill for you must work catch loud the voice asks to lie between body and mine. Waging an occasion of speech beyond. For liminality is broken in the live. The presence forces plurality. The presence of heard voice forces body upon body upon body upon body upon body upon body upon body upon
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Once governed as a hunted voice to now hunt out a silence Resembling governed can we come to the edge of border. Resting place. from. around. through. reserving place over order.
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Utterances public utterances lay bare. utter an she says. From behind table. Drawing on body. Shall I listen to the entire list. Bodily. Duggest. Calm. TILT. Forward becoming traceable. Utter on she says utter pursed the rub of public lips shall listen. Public in a tilt shift to trace in aired voice.
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page pressing face facing pressed page. Two feet facing away pulling between tonsil to toe chords tighten forming distress – paged stress.
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dangling between tonsils between wombed. A pilling of device internal rebuilt of text la langue dangling between in from her role as child to role upon age to dangle a front to flood. Between body to tilt slight tense up piling devisal convexing salivating paged to breath through page.
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Sourced. A running tongue over teeth convexically lexical for to mean between place. stand. Body against body for can we define. Hovering over to flutter up through. seemingly eyed she it rests upon (body) or (bodies) it rests in ( ) and ( ) with (body) is all which leaves space in ( ) is a don’t not don’t make.
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Drives from momentary values. This radical will might over. She system bases seizes reactionary.
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Pre-
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[1] placement causal breaks mematic memory. banish may be strong usurped at a bodily youth placement breaks memory. memory breaks placement
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