To be concentrated enough for each word to provide pause clarification & quo, considerate of terminology within colloquist vernacular generics (removed from onerous commerce as spoken [ c-h-a-r-a-c-t-e-r ] via phonetically or kinetically expressed symbolic composition) open to variance like a post humous ! ‘first folio’ which composes ‘late-pat-stage-to-page’ – PERFORMANCE – compositions within this essay-medium (formal/substratum). Accesses to the process, function and cold water retreat from textual bias as well as the disservice of ‘post justification’ after fact stand in juxtaposition thus erring closer to sound than definition !

Eureka as found by; not discovered upon

All quotations, reiterated text, seeming vagrant – in slow pronunciation of sequential symbolic letters forming images in a string of language in this work, can be interprted as performance because this essays composition was completed within the realms of a ‘well made play’ over the span of 6-7 hours, one sitting.

Like continual climaxes ‘femin’ without the [redactive] ‘ist’ or ‘ism’ suffix attempts to clump movements. Like a tautological look at the word ‘mend’ – all content within this context is para phrased and from procedural memory connections. As in most of the text I remember has also been spoke; physicality will remember where a gap of intellect may not.

Typing and having typed before. Penning as having a stylus before. Index as the fingers lessen the point to stroke…

As such, highly concentrated and in the [reffuse] of grammatical norms each [referencia] is an attempt out of and into the limits of expressing something phenomenal in the limits of the ‘eye'(s) ‘larry to randal’ capacity to comprehension left to right (direct to indirect) western mediums of sequential order Alphabet gets a bit Omega (!)

The choice of the audience to elaborate or let be (in whole in part) entertaining artistic curated positionings of semantic or synesthesia matrices: linear actualities, like talking with the TV or Radio as active engagement with media as oppose to passive and eventually explosive angry uninformed unfortunately critically unaware censorship

Reception and ‘flicking on or off’ is a choice that’s possible and perhaps meaning is closer with the audience than any hopeful formal intention

To be critical of ‘define and conquer’ and not being cliche chaos is to gain the truth of the medicine wheel. Certainly looks like medium pizza, an umbrella, or a compass rose (8 pointed star) yah butterfly (…)

The narrative here presented contends with the subject and the ‘figure in the grounds’ in contrast and in this Performance Piece is more important than a belief system or illogical action. Almost Anarchic Conservative it’s luxury to have a moment to interpret (…)

Now the memory of finding an abridged symposium of the expansive works of Carl Jung in a three story book store book out of the shelves of St Catharines’ peppered pages with decade old business cards from the Sears Drama Club posing as book marks now lost/stolen somewhere in San Francisco… and the self glad to have read, reread spoke and contrast notions that affect my life currently, “being, thinking, knowing and believing:” a tetradic certainty of dialogue after the eternal process of duality.

As time went on it continued to repeat because it wasn’t something it was an ‘uncarved block’ & wasn’t isolated to feel found and to continue to reason about Being as Being (quite unnecessary to decide or fathom yet let), Thinking (constantly how my impulse responds to stimuli all too immediately to reconcile for the rest of days), and Know (as the least arriving and most dangerous when immovable) ,Believing (least important personally and beneficial to what is true way later in life).(

Did the margins with notes upon notes house the text in a solid colour. Crossing out doesn’t omit something but writing over it and over it again lets a solid colour. Notes and edite and bespoke has been forgotten. To write in the margins until the text has a boundary. The just margins go lightly dark with notes and musingins

The choice, act and process of reading is more a performance than the artists composition as it positions here in archival present-pace-press.

How something is presented to the audience has more to do with the apparatus of the stage and a performers ‘collective’ choice than a personal impetus. What brought about something isn’t what occurs and reverberates in the self. Nothing will ever be fully interpreted as intended ever and sometimes the adaptation then stands in for the ‘thing in and of itself’.

The arts allow for a leeway and a lean-to where something without a solid foundation or keystone will eventually crumble. Merchant , cast, crew, craft and creed. Hardcore is a different sort of base. And yet Id continually seeking bedrocks to be of ergo tech-tonic!’ (therefore) and soothe the self never really saw or felt the body move in a 90 degree angle and opening a door the entire process, nob to pull to push to…

might ye be the most unnatural thing your body does all day trying to escape the carpal tunnel and avoid the BS ergonomics ode doorways temperment to leave or on get-

Sometimes to be a performance , effacement or a removal of bias is necessary to pretend.

To be a dog part of being a man is left alien and titanically tiny!

It’s important to know oneself and to ‘thyn own self be true’ and take a lifetime to decide and a moment to listen to the heart, resound in the biome and know that the brain has usually already made the choice. Humanity has the luxury of saying no. Like science sound, smell, colour, sublimation, or I fell dated not ether and alchemy happens similar to : A costume change and the sun change quick positions position as a soda opens Canadian pops.

Personally, performance and the theatre is my metaphysics. How complicated is it to prepare for every trade, every role, every art and every season

Responsibility to self and similarity first ‘mirror neuron’ movements, like salivating to a mound of worms, on the worm moon, decomposing the scraps of nibbled vegetation, “It took much longer when the medium of poetry was stone” a “title like a guide” in a ‘frosty’ omission bobbing about wasn’t a failure to the lexicon, cadence and verse; a pestilence to the collecting editor who totally knew what was meant and going to happen and reasoned without in the careful rendition of entire works, scraps and notes-

Thank you [performer]: gender and all species neutral

Humanely upstaged by a cat or dog continually yet recognized as performer with the juxtaposition of the stage.

Thank you, performance, unpoliticized, forevern distant from the stolen military failure in definition of terms: act, actor.

There are no bad actors on the stage just failed preparation and missed cues.

There is no act that affects the real world if even we spend half our lives sleeping and blinking.
The word itself – performing l – distant from action doesn’t work as a sound byte and so recaptures like b a l m, topical, immersed.

As definition sort of beveled or embossed ‘makes’ language understandable to concurrences, refutable and vulnerable in its lack of ephemerality re-composition and existence unfortunately in absentia of being qua being;

When so-me-thing is spoke means more to content and context than deciding as to rein after the fact again, “there’s sixty eight quadrillion [googleperplexing] ways to not even speak; clearly meaning… dialogue” to exist and consider this performance piece et al.

No great artist has ever stolen anything; understood, adapted, contemporized, been affected by, screamed influences to tout, meditated on, dwelt in margins, refused to waste a wish on the past to not have known how all encompassing some awarenesses have hold resonance and frequency

The influence and undying [ deamonstration ] lives with the hope of choice – at almost every instant – choice, sharing, varying scope, sphere and frame to deradicalize a pro pro and enjoy life affirming merit and repetition wob

A grateful bow, the chair wipes out again, the audience might not accept everything, there’s times to be the pits and forget about it; such is with dialogue. Nothing has to be, its okay to quote ‘without force’, and refuse to be subordinated to premis and position being interpreted as stagnant ‘well this to me so now you!’ embrace failure, mistakes and flaws. One bit a day ends up to be thousands of minuets min us

Both rehearsed and improvisational the metaphysics of performance is quite the origin theory ; close enough to finally see yourself in another’s vital trusting visual embrace. How the body and posture holds more memories than one’s reason ever did.

Creativity is a collective pool like the ‘dread of ideas telegraphing’ in tandem only to be ‘slid down the razor blade of life’ and oppose immateriality becoming patented. Hence why the ‘poets in the hills’ exempt from the wars have born the depictions of terrible beauty. re:[frains]

Imagery as a tactic, former and latter in this piece as a process and stilln’t; prosaic. The act of (typing) is performance, critical reception is performance, safe to self recognize hazards, quality of carnate like the bounce on the keys the image of ambiguity in the nomenclature ‘keys’ like each letters a door is yes performance

nasty reality

And than the beet poet cadence shows up, a vain cliché attempt as singe happens. Anyone can explain how ‘On the Road’ was modern abandonment waiting on the wire and the next relief from ‘concrete inequality.’

Varient metre and verse is a druids tale, and before, don’t dare to be an exile, like Havals’ ‘Daniel’, you can be anything always and [forevern], yet to dare to be compromises the self to be caught up in the fanatics of another.

Parallel , perpendicular and intersection might express the same point. An ‘everlong’ is nevern really too far from likeness. Novel isn’t new. Young Ancien

The cold analytic clinique and inaccessible langue is lost to experience… Expectations of both the intellectual and the poet tink away from the virtue of thesis. Pastiche just now, is viewed as the norm to downplay the personal impetus actuality and expansive procedural repertoire of lived theorem and output.

To be clarity at this moment in this association as a performer strictly of the theatrical stage, dramaturgical in empirical: sense as empire, performance (pre-liminal-post) exists in repertoire upon a locus (of status interplay) ‘counter-environment’ that of the stage. Audience / Performer / Performance / Stage / Experience / Response/ Affectations
As power to power and outside with at least an archway, cloud, or planet
Via negativa (finding out or expressing what something is not) might be a more efficient to understanding.

What something is knot avoids bias in ways that what something is may position.

In the wings of the choice of repertoire et al: “A subjects choice works favour ab infinitum – ab absurdum – certain, yes please medium being quality & one n’ another was, shall and is (!)

Make steady haste, be two at least one at most.

lol

Adieu type adieu tisn’t missing information anymore because (…)”


A light casually directed to not be put out

Fernel!