[D]ig one thing or place or man until you yourself know more abt that than is possible to any other man. It doesn’t matter whether it’s Barbed Wire or Pemmican or Paterson or Iowa. But exhaust it. Saturate it. Beat it./And then U KNOW everything else very fast: one saturation job (it might take 14 years). And you’re in, forever…
the shudder of recognition, is it, in fact that we are not only not alone, but perhaps even indistinct in our experience? try as i might to say that i am not another, i cannot tell myself from them when i see them at their most desperate. this farce, all this being and all these selves. they scatter like breeze-blown ashes so readily.
Saturday, January 8, 2011
to close the eye
closes the distance
all is at the fingertip
reached out into a dark room
all is what is hard to the touch,
soft/warm/cold/empty
Tuesday, November 30, 2010
touch every 3rd thing
and drag your fingers across it
making
mapping slow days
it is not
put every 10th
to your tongue
and wait
confirm:
the space between ___ and
___ is thin and unimportant
what is more important:
how the space is formed.
Tuesday, November 23, 2010
These floorboards
have rotted through
and the sky shows
in the ceiling.
The last glass pane.
You say,
this is an epoch
this soft mold that eats the staircase.
You don’t say it like that
I don’t remember how you do.
It doesn’t matter.
The house collapses
and we are somewhere else
and haven’t spoken in years
Monday, November 22, 2010
not so difficult
that you can make
performing
always, in acting
production
is the constant,
divergence
is the still
faint light
reflecting back
the stars against the eyelid
pressed tight with fingers
Friday, November 19, 2010
Kinect drawing in 3d. As you draw, at random intervals everything spins away from you, crashes into itself or walls around you, and shatters.
Thursday, November 18, 2010
The difficulty is in having no confidence in the forms that present themselves to you, in the means of expression that your time prizes. To be not so inclined robs you of the ability to speak and to listen, to, in a word, converse, to make discourse. My faith in the means of discourse of our time is limited and the flaws I see with it as an an avenue of expression and understanding are at best deeply flawed, leaving massive chasms of incoherence and abandoning swaths of what it means to be human.
from christopher hawthorne
“…Asking voters to nominate single buildings necessarily produces results that give a skewed view of the way architecture — and more important, the way we think and write about it — has evolved in recent years.
Among critics and architects alike, there has been a rising understanding that architecture is not just about stand-alone icons but is tied inextricably to urban planning, real-estate speculation, capital flows, ecology and various kinds of networks — and similarly that architecture criticism means more than simply writing about impressive new landmarks, green or not, produced by the world’s best-known firms.
…
Maybe, in other words, the most important achievement in green architecture over the last 10 or 30 years is not a single building at all. Maybe it’s a collection of schools or linked parks or the group of advisors brought together by a young mayor somewhere. Maybe it’s a new kind of solar panel, a tax credit or a zoning change. Maybe it’s tough to hang a plaque on — or photograph for a magazine spread.”