COLORBLIND

1. Fortress America: I came here to get my audience out.

2. Terror Then and Now: What kind of architecture should be arranged for this performance?

3. Patenting Life: Provoke conversation.

4. How People Turn Monstrous: Feed each other’s speakers a host text.

4. Bataille and de Sade program folded and bent from the drive.

2. Randomly expose various lines, books to my left and a stack to my right. No writing is without invocation.

1. Never quit thieving, cutting, reconnecting layers of flesh and intimacy.

3. This is my moment of saying we are inherently this very interaction. This is my delivery.

2. I strip Reed Bye’s “…Planets” down to gas, land and water and bed him with Robertson. What better introduction than to expose the self to its insecurities and alienation.

4. A promulgation of the diaphragm is reduced to action.

2. We are reduced to action.

1. A distillation of human intentionality.

3. Every post-it note, every journal or diary, every message carved into a tree or graffiti on a bathroom stall is made public.

2. Nothing is private.

3. Public for the very reason that exposure is most crucial to language, therefore audience is precious antagonist.

4. Hide vulnerability beneath a pillow. Weep for days.

1. Instinct, curiosity, countered by proof of natural inconsistency.

4. But in saying this I must also advise the author.

2. OWNERSHIP…DO THEY NOT OWN EXPERIENCE?

3. Relativism!!

1. Based on the acquaintance, the association to memory…I say waterfall, you say ____.

4. Text is owned as much as text is conditioned to be owned.

2. Language is the driving force behind experience.

3. BASED ON THESE CONDITIONS, THESE MEMORIES, DRIVEN TO OWN, TO POSSESS THESE MOMENTS INSPIRED BY LANGUAGE. LANGUAGE IS THE DRIVING FORCE BEHIND EXPERIENCE, HUMAN RELATION. EXPERIENCE WILL EXIST INEVITABLY SO, HOWEVER THE EXPERIENCE, WITHOUT AUDIENCE IS CAVERNOUS, FORGOTTEN, UNMARKED BY THE DELIVERY OF EXPRESSIONISM, OWNERSHIP OF THE MOMENT AND THE UNDERSTANDABLY ALTERED AND REASSEMBLED CONNECTION BETWEEN AUTHOR AND READER.

4. Attempt to reach a hermaphroditic state where gender and authorship are unidentifiable.
They appropriate mirrors. Exhale a trembling entrenched music. Reflection diagnoses sickness. Cry loathing heave, arched through obedience of lips and wounds. Monstrous obsess. They are participants in a destructive and implacable frenzy. Indecent beings are comforted by perishable flesh. Hanging by their eyelids their fingertips their pubis is the conquest of territory. Understand the obligation of this role. My blood and organs are surging with carnality. Irreparable depths of thigh betray memory. The unconscious are stripped naked of eroticism. Profile a cold moon, a gesture spared for rare cruelty.

1. Extension of self: a place where the borrowed/stolen literature is a vehicle for expression, where originality no longer takes precedence the language, the interaction with this thought process, this creativity is then developed.

2. Steal me stealing language.
“Christ,
You’d think it would all be
Pretty simple
This tree will never grow. This bush
Has no branches. No
I love you. Yet.
I wonder how our mouths will look in twenty five years
When we say yet.” Jack Spicer

4. Writing and/or speaking with another affords you anonymity, a separation from ownership, possession, this desire to maintain an authority over language. Once you alleviate this notion of ownership, a text can exist cleanly, without any hindrances of singular emotion, a design of action acutely driven to an individual and their experiences.

1. The Age when one has ceased to Blush is a dissection of emotions and individual inhibitions. Write blind on an electric typewriter. Listen to voices. Compose a line. Become lost to destination. “Everything’s throbbing so much” “he expected it would be copy-edited.
You are scared too. You roll your eyes, quite disgusted
and distressed. You were less afraid when the blood flowed
from the veins I desperately slashed and you took me to the
pharmacy to save me, you didn’t faint, you had the gestures
and brave behavior of the savior—that blood seemed much
more estimable to you, you could bear its sight and behave
as a man you thought. --Catherine Breillat

2. Reduce tendencies to devise plot, linearity, cohesion around a specific dynamic, a specific objective.

4. Become anonymous, and distort perception.

3. An ice cube pops in gin and tonic.

1. I am an elusive condition acquainted with familiarity.

2. It is something peripheral, a phantom, a curtain moving in the distance, a shadow outside your window.

4. This phantom is completely hermaphroditic.

1. A culmination of spirits, aliens…

3. I myself probably used the seventy sonnets offered.

4. I say hermaphroditic because, while the text is perhaps more definitively revealed as from the hand of a male or female writer, it attempts to disregard gender, or perhaps even embrace all gender. It is sexuality. It is tenacious, a verve in the flesh continuing to pulse.

2. Secondly the inescapable witness authors the telephone. Do we offer a pseudonym? How do
make language anonymous?

1. It is by function designed for communication, and as young writers, many of us were directed to find our voice. What has been most revealing to experiences writing is that many voices deliver condition.

2. Hammer the keys.

3. After each writing session I read them back.

4. We extended outward beyond restriction, to achieve the dissolution of gender or whether it’s amplified.

2. Language exists in tremors.

4. An entirely alternative voice can decision over lines.

2. Mesh gender in linguistic accordion.

1. Let us conserve all the indeterminacy of the word for the moment.

2. For the stray considers himself equivalent.

4. The crowd milling on the bridge is the pure emotion of nature.

1. And if one imagines, and imagine one must, the revealed subject is captivated and then replaced.

2. Translators tended to be squeamish.

3. Don’t go away mad there is harmony already within melody.

4. Although we are interchangeable with temptation.

2. Nevertheless upon the body.

1. But the scandal of reason is grease on the hands. One that prohibits ulterior aversion. Seduced by this fatal advantage he seized the stain of love upon the world. Ambivalent hostility harbors a tactile image.

4. That edge of the black night sweeps into a sort of economy of aggressivity. The hemorrhage subsumes the others. All the grass dies in front of us.

3. Every time a man touches those areas is carnal concupiscence. A crazy orange sun; we cannot conclude wickedness from non-goodness. Conception is confronted with inaccessible folds. The fall of feet dancing in the different situations of the larynx.

1. I’m the buffoon at present. This technique brings into being a full sentence. No wound deeper than death, not knowing, the cause of two kinds of voice. Statements bare commentary.

2. Truth is a scrawl born of harmony alone. Mark lacuna in the clause. And what do distances have in common with our passions. Follow prayer or atonement.

3. In one breath, cutting and chopping. Such a distance produces what it forbids, makes possible the very thing it makes impossible. Hold the unsaid effective meaning of text. Push against a huge and unending door, an economy of signs is organized.

2. He was the teacher that famous masturbator there’s pleasure deep with hands he has a philosophical wet dream. A language now manifests itself in a women’s dormitory. Over and over not your face not your simultaneous bundles termed phonemes.

4. That symbolic law is not necessarily the superego. Some other experience deepens in the air of language, after having been its servant. Stop the hemorrhage by stressing taboo.

2. In another dream I’m hanging on to the blank part of the text the index of a differance. To preserve himself he becomes incompatible, a forever irreconcilable term. Nothing to worship but myself, my own body and the closure of the episteme.

3. What a fuss was made over the body being beaten. Moment to moment the body seems to me to be the battle of proper names. Accompany me to a non-object of desire. One’s come now to the graveyard in the theory of relationships. Does she not overly seek the surety of the professor?

4. And what surfaces from this discussion is that language is without ownership, or indeed can be owned by anyone who chooses to commit to that very language

3. How do we/you navigate through questions of violence and perversion, these flesh questions when they surface from the voice of a man vs. a woman? And as collaboration is communication, is any language restricted by gender, location, etc?

2. In fact it is not the text that requires authorship/ownership but indeed the writer themselves that demands recognition. This, though perhaps obvious, is one routed in sincerity. For without the obsession for identity, for desire for isolation from the masses via this acknowledgement for the act of writing, texts would appear as they truly are recalibrations of expired language.

1. In fact, often the only reflection of originality in language that I find consistently revealing is the mismanaged grammar and syntactical formations of my composition students, and they don’t even realize they’re challenging standard language, and sadly I’m in no position to congratulate them on this accomplishment in that particular setting.