e-x-c-h-a-n-g-e-v-a-l-u-e-s ideas about first take-second why the old is called old the new the new

Interview with Tom Mandel by Sheila Murphy

This interview with poet Tom Mandel was conducted in two phases – Spring 1998 and Winter 2007-8.

The first phase focuses on Absence Sensorium, the book-length poem written collaboratively from 1993-1995 by Tom Mandel and Daniel Davidson, working via email and phone calls. Dan committed suicide in 1997 as the book was going to press.

Absence Sensorium comprises 526 seven-line stanzas; each line is either 7 or 11 syllables. The form is Spanish, called a silva, and was used by Luis Góngora, among others. Published by Potes & Poets, Absence Sensorium is available from Small Press Distribution .

The second phase of the interview began in late 2007 after the publication of Tom’s most recent book To the Cognoscenti.

newer metaphysis's blog great digital piece

miss heard playing 'slips of the ear' (echo notes 3)

I've been thinking... this interest in sound I have running is a paddock (think field) much wider than language, grammar and word...and sound. Its borders on music and sound performance, yesssirey, but its in some other county, its its total unworded-ness that interests me. Phrases for the definition of it are as shifty as the word for sqeeze-box (what is that thing!)... but each frame be it plosives or frictatives (they're parts of sound in speech-just showing off- nice sounding words though) and other more common frames like pitch, loudness, quality and the time/duration frame, are all waiting , sitting in speech itself all lined up like ducks , just waiting for some one to unhinge them from their fragile common sense. Some ripping needs to happen. A shake up, a reshape. The rhythms of this english (full of itself and scraps of the others) the stresses on words and phrases, the whole melody of it, pitches, transitions and contours are when shewed... for me, the first step OUT.

The contexts, theories and the fabuloso tecno-texts that are blossoming around new media poetics are mainly defined to mash-ups, sound clashes and bootleg remixes of music...which is just brilliant and excites me to my eye teeth, but the remixing of text and voice and thats where my interest lies at the moment, are virtually untouched, if you think relatively. If you don't thats OK.

Gertrude Stein liked 'Ford cars, bill boards, filmstrips and the view from planes'... this sounds like the web in an earlier reincarnation to me, not literally but ideas wise, breadth of scope wise, speed, perspective wise. She cut up so much common sense that it made it real again and the cardboard of language started singing.

'There is singularly nothing that makes a difference a difference in beginning and in the
middle and in the ending except that each generation has something different at which they
are all looking- Miss Stein "Composition as Explanation"

I'm very keen to see what my 'looking' is seeing, in this generation, now...and it's ALOT of text and a voice in echo that is dry dry dry dry.

'Print is similar to the lecture' Dianna Laurillard "Rethinking University Teaching"

I'm with Creely...
'Anyhow I know where you can get a lot of words for potentially nothing, though you'll have to figure a way to get them home.' Robert Creely "Day Book of a virtual Poet" - referring to the web.

The re-contextualizing and remixing of text and media appropriated from existing film etc into performances, installations and web projects, is what I am doing and extending into an ongoing examination of possibilities for a new media poetics... of voice.

Ibitsu (click HERE), left me a comment on my post "Luigi Russolo, experiments with music, sound, noi...":

Great post. I am using Russolo as somewhat of a starting point for my thesis on noise music, as it is one of the first recorded attempts at bringing noise into music.

I am curious though, do you think we even need to delineate the categories of noise at all? In
breaking them into such sections it seems perhaps in a Deleuzian sense we are striating noise, restricting it in some way.

Should we not though allow noise to refer to the nomadic, to that which can never be caught; thus signaling a paradigmatic example of how noise can explode categories?

There is a bit in the manifesto where I think Russolo calls for us to destroy the piano (if I
remember correctly). But I feel nothing should be excluded from the musical composition;
rather than shut down one element to open another should we not let the piano resonate next
to Intonarumori?

What do you think Majena?

And I think... oh yes, I agree oh yes, Deleuze's voice (ideas) make a librato out of cardboard. Love that mind. Me though as an explorer, more like a cow girl really, setting of from the shore of my 'known' , well I have no instruments bar these pithy words to steer out and AWAY (but probably through) from. Cause theres got to be a gate in here somewhere. In my text-work I break (with delight) common sense, grammar, dictionary definitions, spelling, BUT the breaking of voice is so sooooo conditioned even more than written text, it started earlier- the frames laid down in our first interactions with the world, the naming of things. (think Lacan's symbolic)... so I'm applying like a grip the same strategy to undo it. I don't know if its even possible but I'm on my horse and I'm riding out onto the prairie... and I have a few maps in my pack and they are all stuck together over the top of one another... (there are corrugations between them though)... I know not where I will end up. Thank you for your questions. I'm hoping we can continue them fuuurrrthur.

Anna Akhmatova - The Muze (1924)

the great Russian Poet...reading

The Muze
When at night I await her coming,
It seems that life hangs by a strand.
What are honours, what is youth, what is freedom,
Compared to that dear guest with rustic pipe in hand.

And she entered. Drawing aside her shawl
She gazed attentively at me.
I said to her: "Was it you who dictated to Dante
The pages of The Inferno?" She replied: "It was I"

ubu webs sound artists index- its luvly & looooog

ubu webs updated artist and sound artists index click HERE...

Joyelle McSweeney

Kristi Maxwell

Ana Bozicevic-Bowling


Luigi Russolo, experiments with music, sound, noise, and the grain of the voice

Luigi Russolo (1885-1947) Italian Futurist, painter, musician and composer


Ancient life was all silence. In the 19th century, with the invention of machines, Noise was born... by selecting, coordinating, and controlling all the noises, we will enrich mankind with a new unsuspected pleasure of the senses."

The Italian Futurist, Luigi Russolo came to sounds from painting through poetry. Russolo invented a series of individual instruments 'Intonarumori'. They were named and categorized according to their sound, its pitch, frequency, and intensity — creating a music that let the instruments "speak for themselves". Russolo presented his musical theories in a manifesto entitled 'L'arte dei rumori' (The Art of Noises) in 1913. The noise-generating instruments (hand-activated large scale boxes with megaphones attached) allowed the inclusion of 'noise' into musical composition. Russolo's first 'art-of-noises' concert for 18 Intonarumori', caused a huge scandal in Milan (1914)

"We must break out of this limited circle of sounds and conquer the infinite variety of noise-sounds." —Luigi Russolo

Russolo invented noise machines called intoners (Intonarumori)

arranged in 6 groups

1 rumbles

2 whistles

3 whispers

4 screeches

5 noises made by percussion on:

6 voices of animals and men:

With the 'art-of-noises', Russolo wanted to open the concept of 'music' to the very noises that music traditionally excludes. Russolo participated in all Futurist soirées and exhibitions. In 1914 Russolo and Marinetti gave twelve performances of the 'Intonarumori' at the London Coliseum. Marinetti claimed that 30,000 people had witnessed the music of the future. In 1921 Russolo held three concerts in Paris with an orchestra of twenty-seven 'Intonarumori'. Russolo's noise instruments found their uses in silent films and influenced musicians and composers such as Maurice Ravel (L'enfant et les sortleges), Eric Satie (Parade), and Igor Stravinsky (Rite of Spring).

Russolo work starts to give me a frame to categorize aspects of sound and or make up my own, which has kept me a bit stuck for a while now.

baudelaires colour

Charles Baudelaire wrote his well-known sonnet Correspondences: "Les parfums, les couleurs et les sons se répondent", a poem in which he stresses the relations of the different sensorial perceptions. In his exploration of spiritual space and depth, Baudelaire was intrigued by the intermingling of the senses, when he wrote:

"What would be truly surprising would be to find that sound could not suggest colour, that colours could not evoke the idea of a melody, and that sound and colour were unsuitable for the translation of ideas, seeing that things have always found their expression through a system of reciprocal analogy."

Aaron and the Ladies

Aretha Franklin - amazing grace (an excerpt) as sound

amazing grace and different sounds

amazing grace and alot of 'other' different soundses

pop fields of sounded sound at blog breamer

Pop Fields

Will Schrimshaw on beamer, posted these short sound pieces
"excerpts from improvised performances that seem to make sense on their own. Often short excerpts like these would end up as parts of a larger pieces. I found them in some of the darker corners of an external drive while trying to find examples of work for a project. I’m doing less recording these days, perhaps as a result of this I’ve grown to like these miniatures, short snippets of a performance documented only when I remember to hit the record button, left to rot for a while and then unearthed further down the line."

click to download:
(c)Inns + Full Field + crl + Cutter

These fragments are yummy, the idea that they have laid in the corner for a while interests me allot as well. Will's blog space breamer has allot of very good and interesting info and ideas rattling around re Deleuze and sound/the unsound...listening his pieces made me interested again/still in the cross overs between theory and the creative work...why we go with one thing and not the other, why we choose a particular sound/image/idea to work with etc.

I went to a master class in the States a few years ago and Camille Roy the writer in residence there, snapped at us one session, for even considering not 'living' (-ie activating in our lives), the theory we were drawn to and absorbing so veraciously. Deadly serious play was what she threw at us. And I caught it...I've never forgot that. And now in trying to expand both my practice and my 'use' of the theory that so delights and expands me, I am constantly questioning myself...how do we do that without repeating whats already in that space. One way I'm working is I'm getting interested in ERRORS, repetitions that are of, off key/colour as in jokes etc...

This is not to say I think this work above is stuck or anything. I think its good and interesting. And I know through the site that theory is big/important, so it just brought me back to that question, grinding away in me...

WHAT & HOW? and then WHAT & HOW again and again and again...I love the creative life.

new journal anti-

Issue #1 of Anti- is now online:


" Anti- is
contrarian, a devilsdvocate that primarily stands against the
confinement of poetry in too-small boxes. Anti- wants to provide a
single arena for a wide range of styles and ideas, so these different
kinds of poets and poems can either fight it out or learn to coexist.
We want to be a venue where voices from the margin can be heard next
to more established ones. Were also interested in work that blurs
boundaries: between verse and prose, traditional and cutting edge,
metrical and free, humorous and scary, narrative and lyric and
linguistically fragmented."

image from pipilotti rist video


karsten schimdt fantastico four letter word frame...it slips and dances around- it umms and errs

This is really worth a look...

at Visual Complexity
Karsten Schmidt’s Institution:

Project Description:
Four-letter words have a special status in the English language and culture. Counting in at over 1650 words, in most cases the term is only used to address the cruder, sexual subset and its use has been effectively eliminated from the language of "good" society, mainly due to its negative connotations with lack of education, etiquette and status. In a way, the use of those four-letter words reflects the schizoid prudence and class system in English speaking societies, still evident today.

base26 is a startling interactive visualization project that attempts to give a spatial overview of the entirety of this part of English language heritage, as well as to explore and visualize relations between all those words. Letters are interpreted as 4D coordinates, shown in a smoothly transforming 3D space, produced with Processing.

kunal anards beautiful song lines

Glancing alternative song structures with Graphvizh
These horizontally extended visualizations are based on previous/next words of some of Kunal's favorite songs.

As he wrote on his blog: "I am interested in comparing some of these alternative song diagrams to more radio/poppy ones. I might even try looking at all the tracks of an album too. (...) I am leaving all the analysis to your interpretation. After all, music is an art. I am merely curious if it is possible to visualize a possible hit".

The first image represents the song structure of Falling Away From You by Muse, while the second portraits a detail view into A Day in the Life by The Beatles

echo note 2. not the how the what for in writing -majena mafe

Writing is writing. Itself. The making of writing is one shaped word after another. A winding sheet. In place. Writing is present …present again…and that is it all and that is enough.

To speak. To speak of writing as an addon. Inserts. It sucks over writing. Polops of dry areola. There are echoes between speak because there are gaps. And there are echoes inspeak because there are holes. Enough. After the word. But writing is there still, as writing. Writing is steel.

Words can soon go empty.

Self and writing are not the same there is no same of either or. But self and writing have each other’s inside obliquely. At a lapse to their shoulders.

A self emerges in writing that collapses when the writing is not.

A self is a subject. But it is gone now.

The discursive subject is gone. Once stated. The restating of bird as a bird is a bird was a bird, is the bird remembered re-membered. Each time. Each time the subject is differed. Is moved to the here now this shape. In this way.

The writing self

Not a comfortable possible I build a word and move out from there. There places that there is no feel home or comforted in …in the nothing. In the nothing there are still now and more frequently there then …arising questions that across the gaps…and a substantial slice of bread and butter.

At here…I am histories… histories lost restoring to them. Each place is gone from. Gone from.

I was not raised in the world yesterday. I am raised by myself inside myself, now. One thing good it is big and full. From it’s contents found there, from its shaky spindly opps gone, structures made of its stuff that goes by the definiteness called commonly none-enly nonsense and rubbish: rhymes, patterning, whispering, leaps, humming and singing sighs, and signing’s to myself and listening for echoes existing in the same world: rocking and carrying myself around inside my arms, crossing my fingers, burying my self in the fur smell of animals, living in walls, pulling at sores, smelling my knees, pulling tears from my ears, walking on cracks and watching the light across everything and inside the nothing at night… I scraped out a scaffold to hold my self on out from…

Writing restores. Re- store. The grown to sounding through silence of the stuff of its hollowness.

I am a little girl I am a very early age, I am old I am gone. I feel that things every-thing’s… seems finished for me. Then time. Trickle by time everything feels from that place is an extra long to hang on to the frail cavalcade wires of hope and there was a lot a lot of space.

The wire become me and my eyes are formed from there I watch it all stones- her face - stale bread - and super market glut-tonies…matter feeling situation because I am building a from like an engineer I am aware of what bridges the ravine first then second… a history as a filament of hoped for girders.

To write is the before it has passed.

In a dream I find red kittens, they are loved instantly. I ride a horse with the kittens on my lap. I hold tight to his neck collar…he throws me off. We enter a place to live that I must share with others I tell them I don’t like them and I watch over my daughter sleeping in the back of a car and wish for my husband to come away from a book.

image by me

emma kay remembers/makes up historical stories

Emma Kay confronts us with our culture’s desire to pinpoint an individual who can embody and authenticate the ideal of encyclopedic knowledge. Highlighting the effort and absurdity of flexing the mind muscle, she discloses the humor and beauty of its inescapable limitations. She explores the capacity to retrieve knowledge from memory in works like Shakespeare from Memory and The Future from Memory in order to address the fantasy of the human capacity to acquire universal knowledge.

Very interested in this approach, she has done work like. listing al the objects as they appear in War and Peace 2,117 of them...this memoring and ordering of the contents of text is a fabulous strategy for underlying what its made up of...



mipoesis interview with Rachel Blau DuPlessis


new unsound text image voice pieces by majena mafe

Film - By Samuel Beckett (Part 1)

An almost totally silent film (no dialogue or music one 'shhh!') in which Buster Keaton attempts to evade observation by an all-seeing eye

27 sounds manufactured in a kitchen - John Cage

John Cage SOUND pt3

John Cage SOUND pt2

John Cage SOUND what is it pt1

Nathalie Sarraute

Gertrude Stein The World Is Round - WHICH LITTLE GIRL NAMED ROSE

Gertrude Stein - A Grammarian - Part 3

Gertrude Stein- Resemblence

Antonin Artaud

The Seashell and The Clergyman-part03

The Seashell and The Clergyman-part02

The Seashell and The Clergyman-part01

The Seashell and the Clergyman was directed in 1927 by Germaine Dulac, after a surrealist screenplay by Antonin Artaud.
The first authentic surrealistic movie.

The Idea Of North - Mas Que Nada

16/32 Short Films about Glenn Gould - The Idea of North


Tim after Tim - Episode 3

You Suck at Photoshop #3

ania walwicz - travelling


the train goes and the station moves away what time is it we're going to a jungle hot palms i fall asleep drunk talked to himself i know what i have to do did you see the house on fire out of the window did you see the house on fire out of the window did you see the house on fire out of the window where are we now in my map i don't know too scared to ask am i on the right train are we going the right way where are we now voices in the train soldiers coming loud louder then soft softer then they go away i was asleep then i woke up voices come back then loud then softer then they very soft now softer whisper it is dawn first little pink line in the moving sky gets lighter can i roll the blind now put your blanket little lights of waking towns pass us at night houses sleep in the field dawn drunk gone i didn't see him my ticket and coffee my cup jumps they play cards and laugh little reading light i can't sleep the ship in my port they opened the porthole the ship moves to sea huge wave curls near my fingers shining on edges surges wave rises curls slowly near me i can touch it i can touch it sun on water green deep bending a wave right near me crashes i am wet i woke up at the middle of the night they lit a fire in a field they stood around and warmed their hands near the border when the plane lifts there is music and lift we fly in a soft cloud the train flew over the lake i couldn't see the rails the bridge flashed by with girders with girders with girders the boat leaves the pier swims away the lake was so still you couldn't see horizon oars dip are we moving it is quiet now the dusk is the same as dawn over india red soil i flew above the alps they were below me sharp peaks model mountains the train goes into a tunnel it is dark and dark i'm scared it was hot my feet got too big for my shoes we were going back there is going to be a war he told us the train is slow we were standing in the middle of dark there was an accident at the railway crossing we have to wait when is the train coming the station had big black numbers on each platform my sister told me funny stories we were cold put your arms in your trousers put your legs in your jumper on my feet i wear my hat i put my pants on my head i was laughing and laughing and laughing i lost three hours on the plane it gets earlier all the time people stand in my lit up window did i pack everything did i leave the window open it's too late we are far away now i left my jacket i ride backwards we eat red lolly berries he was talking africa and tigers she was with her son she gave him an apple she eats sausage greasy fingers talk how to use a camera i can't listen greasy fingers and the sausage a book of lists and murders fall asleep it's faster how the lens goodbye at the station she waves her arms and disappears i am flying little cars he went away plane a dot in the sky at night houses have lights on and look warm the city below sparkles diamonds the last tram at night travels home

Ania Walwicz is one of Australia's best-known experimental writers and performers. Widely anthologized in Australia, she is the author of three books: "Writing" (Rigmarole Books, 1982), "Boat" (Collins/Angus and Robertson, 1989) and "Red Roses" (University of Queensland Press, 1992). She has performed her work in Switzerland, France and Japan.

image by misaki kawai

hortus conclusus on a beautiful site called flowerville

quote 'Conversely for Fauré , the "Jardin clos," hortus conclusus as the Song of Songs calls it (long before Charles van Leberghe), could only be a silent garden, the garden of quietude, just as the islet whose mystery in evoked by Rachmaninoff (with Konstantin Balmont) is all silence, all somnolence. This second kind of silence is no longer the limitless ocean or the unformed grayness of the ἄπειρον (infinite); rather, it delimits a well-circumscribed zone within the universal din. Rimsky-Korsakov's operas like to carve out a like in the midst of their swarming landscapes, and this lake is a zone of solitude and silence: because a lake, which is itself closure, hortus conclusus - the silent island - clears a mute space at the heart of the din, just as the island of sonority is isolated within the immensity of silence'.

Vladimir Jankélévitch - music and the ineffable

found on Flowerville LINK HERE yuumy


manualist plays bohemian rhapsody on his hands!

Man doing wonderful and useful thing with his hands.

Blixa Bargeld - Rede Speech 4

Blixa Bargeld, the guitarist who

played with Nick Cave in the Bad Seeds. He's got an

ongoing performance project in which he plays with

language and sound:


bixaaaaaaaaaaaaappppeal tubular echoes exquisite cavernous sound aahhhhh

Blixa Bargeld oooing in Oslo

this is beautiful...
experimentating more with his voice-sounds-methaphoric-fonetic noises!

Blixa Bargeld - Ein Gleiches

this is from a poem by Goethe arranged by the Tim Isfort Orchestra, sung by Blixa Bargeld...amazing


k.d. lang sings 'Hallelujah'

yumo... just learning this song (I've started proper singing lessons - to sound) ... KD's version is amazingly, I think the next clip/version is the best... Its a Leonard Cohen song, interesting to hear the variations by different performers and at different performances.


Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this
The fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah

Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew her
She tied you
To a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

You say I took the name in vain
I don't even know the name
But if I did, well really, what's it to you?
There's a blaze of light
In every word
It doesn't matter which you heard
The holy or the broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

I did my best, it wasn't much
I couldn't feel, so I tried to touch
I've told the truth, I didn't come to fool you
And even though
It all went wrong
I'll stand before the Lord of Song
With nothing on my tongue but Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah
Hallelujah, Hallelujah

I love that bit...
"There's a blaze of light

In every word
It doesn't matter which you heard
The holy or the broken Hallelujah "

there are many broken hallelujah's lying around unnoticed.

K.D. Lang sings Leonard Cohen's Hallelujah

Hallelujah (Leonard Cohen) - Allison Crowe live performance

John Cale - Hallelujah

Leonard Cohen Hallelujah

sound questions sound questions

Sound. What is it? In writing, reading, listening. Do you sound out what you write and read? and what you listen to? What does that mean, to sound out? A gesture? What sort? Where is that sound on the page? How is that sound on the page?

Is sound a figure of speech? an -emic trend? a social material in words?

divisible into words? Does sound exist prior to, or through, or even despite words' formation, or exist only in letters, syllables, morphemes, syntactic categories? Is sound part of the ambience of writing (Pound's wordless rhythmical humming)? What ambience?

What is sound as an aesthetic dimension of writing that links to past rhythmical and rhyming traditions? What is the musicality of poetry's "real thing"?

What is poetic sound as a subjective state? or as a descriptive, empirical dimension of language as language in poetry?

Is sound the oratorical aspect of the reading performance, and the open window? Which reading performance? When? The motor and acoustics of the body? Which body? Where? When?

Is there influence of specific songs?

Is the sound not gendered? How?

Speech and speech alone? Noise alone? Noise inside speech alone?

The mimological, the Cratylian of language, onomatopoeic and phonosemantic mimicry by sound itself embodying meaning? Sound as system in poetry?

What is or has been an important sound for you as a poet in any of your work? Does the internet medium in itself impressionistically suggest today a particular quality of sound or of soundlessness?

A mix of the above? Some other mix? An other?


Gertrude Stein Tender Buttons. 1914



A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.


Nickel, what is nickel, it is originally rid of a cover.

The change in that is that red weakens an hour. The change has come. There is no search. But there is, there is that hope and that interpretation and sometime, surely any is unwelcome, sometime there is breath and there will be a sinecure and charming very charming is that clean and cleansing. Certainly glittering is handsome and convincing.

There is no gratitude in mercy and in medicine. There can be breakages in Japanese. That is no programme. That is no color chosen. It was chosen yesterday, that showed spitting and perhaps washing and polishing. It certainly showed no obligation and perhaps if borrowing is not natural there is some use in giving.


The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable.

Callous is something that hardening leaves behind what will be soft if there is a genuine interest in there being present as many girls as men. Does this change. It shows that dirt is clean when there is a volume.

A cushion has that cover. Supposing you do not like to change, supposing it is very clean that there is no change in appearance, supposing that there is regularity and a costume is that any the worse than an oyster and an exchange. Come to season that is there any extreme use in feather and cotton. Is there not much more joy in a table and more chairs and very likely roundness and a place to put them.

A circle of fine card board and a chance to see a tassel.

What is the use of a violent kind of delightfulness if there is no pleasure in not getting tired of it. The question does not come before there is a quotation. In any kind of place there is a top to covering and it is a pleasure at any rate there is some venturing in refusing to believe nonsense. It shows what use there is in a whole piece if one uses it and it is extreme and very likely the little things could be dearer but in any case there is a bargain and if there is the best thing to do is to take it away and wear it and then be reckless be reckless and resolved on returning gratitude.

Light blue and the same red with purple makes a change. It shows that there is no mistake. Any pink shows that and very likely it is reasonable. Very likely there should not be a finer fancy present. Some increase means a calamity and this is the best preparation for three and more being together. A little calm is so ordinary and in any case there is sweetness and some of that.

A seal and matches and a swan and ivy and a suit.

A closet, a closet does not connect under the bed. The band if it is white and black, the band has a green string. A sight a whole sight and a little groan grinding makes a trimming such a sweet singing trimming and a red thing not a round thing but a white thing, a red thing and a white thing.

The disgrace is not in carelessness nor even in sewing it comes out out of the way.

What is the sash like. The sash is not like anything mustard it is not like a same thing that has stripes, it is not even more hurt than that, it has a little top.


Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle. So then the order is that a white way of being round is something suggesting a pin and is it disappointing, it is not, it is so rudimentary to be analysed and see a fine substance strangely, it is so earnest to have a green point not to red but to point again.


More of double.

A place in no new table.

A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of coffee is not a detainer. The resemblance to yellow is dirtier and distincter. The clean mixture is whiter and not coal color, never more coal color than altogether.

The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the same sore sounder, the intention to wishing, the same splendor, the same furniture.

The time to show a message is when too late and later there is no hanging in a blight.

A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if it is cheap is not cheaper. The amusing side is that the sooner there are no fewer the more certain is the necessity dwindled. Supposing that the case contained rose-wood and a color. Supposing that there was no reason for a distress and more likely for a number, supposing that there was no astonishment, is it not necessary to mingle astonishment.

The settling of stationing cleaning is one way not to shatter scatter and scattering. The one way to use custom is to use soap and silk for cleaning. The one way to see cotton is to have a design concentrating the illusion and the illustration. The perfect way is to accustom the thing to have a lining and the shape of a ribbon and to be solid, quite solid in standing and to use heaviness in morning. It is light enough in that. It has that shape nicely. Very nicely may not be exaggerating. Very strongly may be sincerely fainting. May be strangely flattering. May not be strange in everything. May not be strange to.


Dirt and not copper makes a color darker. It makes the shape so heavy and makes no melody harder.

It makes mercy and relaxation and even a strength to spread a table fuller. There are more places not empty. They see cover.


A charm a single charm is doubtful. If the red is rose and there is a gate surrounding it, if inside is let in and there places change then certainly something is upright. It is earnest.


A cause and no curve, a cause and loud enough, a cause and extra a loud clash and an extra wagon, a sign of extra, a sac a small sac and an established color and cunning, a slender grey and no ribbon, this means a loss a great loss a restitution.


A single climb to a line, a straight exchange to a cane, a desperate adventure and courage and a clock, all this which is a system, which has feeling, which has resignation and success, all makes an attractive black silver.


If lilies are lily white if they exhaust noise and distance and even dust, if they dusty will dirt a surface that has no extreme grace, if they do this and it is not necessary it is not at all necessary if they do this they need a catalogue.


A large box is handily made of what is necessary to replace any substance. Suppose an example is necessary, the plainer it is made the more reason there is for some outward recognition that there is a result.

A box is made sometimes and them to see to see to it neatly and to have the holes stopped up makes it necessary to use paper.

A custom which is necessary when a box is used and taken is that a large part of the time there are three which have different connections. The one is on the table. The two are on the table. The three are on the table. The one, one is the same length as is shown by the cover being longer. The other is different there is more cover that shows it. The other is different and that makes the corners have the same shade the eight are in singular arrangement to make four necessary.

Lax, to have corners, to be lighter than some weight, to indicate a wedding journey, to last brown and not curious, to be wealthy, cigarettes are established by length and by doubling.

Left open, to be left pounded, to be left closed, to be circulating in summer and winter, and sick color that is grey that is not dusty and red shows, to be sure cigarettes do measure an empty length sooner than a choice in color.

Winged, to be winged means that white is yellow and pieces pieces that are brown are dust color if dust is washed off, then it is choice that is to say it is fitting cigarettes sooner than paper.

An increase why is an increase idle, why is silver cloister, why is the spark brighter, if it is brighter is there any result, hardly more than ever.


An occasion for a plate, an occasional resource is in buying and how soon does washing enable a selection of the same thing neater. If the party is small a clever song is in order.

Plates and a dinner set of colored china. Pack together a string and enough with it to protect the centre, cause a considerable haste and gather more as it is cooling, collect more trembling and not any even trembling, cause a whole thing to be a church.

A sad size a size that is not sad is blue as every bit of blue is precocious. A kind of green a game in green and nothing flat nothing quite flat and more round, nothing a particular color strangely, nothing breaking the losing of no little piece.

A splendid address a really splendid address is not shown by giving a flower freely, it is not shown by a mark or by wetting.

Cut cut in white, cut in white so lately. Cut more than any other and show it. Show it in the stem and in starting and in evening coming complication.

A lamp is not the only sign of glass. The lamp and the cake are not the only sign of stone. The lamp and the cake and the cover are not the only necessity altogether.

A plan a hearty plan, a compressed disease and no coffee, not even a card or a change to incline each way, a plan that has that excess and that break is the one that shows filling.


Any neglect of many particles to a cracking, any neglect of this makes around it what is lead in color and certainly discolor in silver. The use of this is manifold. Supposing a certain time selected is assured, suppose it is even necessary, suppose no other extract is permitted and no more handling is needed, suppose the rest of the message is mixed with a very long slender needle and even if it could be any black border, supposing all this altogether made a dress and suppose it was actual, suppose the mean way to state it was occasional, if you suppose this in August and even more melodiously, if you suppose this even in the necessary incident of there certainly being no middle in summer and winter, suppose this and an elegant settlement a very elegant settlement is more than of consequence, it is not final and sufficient and substituted. This which was so kindly a present was constant.


What is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current.

What is the wind, what is it.

Where is the serene length, it is there and a dark place is not a dark place, only a white and red are black, only a yellow and green are blue, a pink is scarlet, a bow is every color. A line distinguishes it. A line just distinguishes it.


A dark grey, a very dark grey, a quite dark grey is monstrous ordinarily, it is so monstrous because there is no red in it. If red is in everything it is not necessary. Is that not an argument for any use of it and even so is there any place that is better, is there any place that has so much stretched out.


A blue coat is guided guided away, guided and guided away, that is the particular color that is used for that length and not any width not even more than a shadow.


If the speed is open, if the color is careless, if the selection of a strong scent is not awkward, if the button holder is held by all the waving color and there is no color, not any color. If there is no dirt in a pin and there can be none scarcely, if there is not then the place is the same as up standing.

This is no dark custom and it even is not acted in any such a way that a restraint is not spread. That is spread, it shuts and it lifts and awkwardly not awkwardly the centre is in standing.


A widow in a wise veil and more garments shows that shadows are even. It addresses no more, it shadows the stage and learning. A regular arrangement, the severest and the most preserved is that which has the arrangement not more than always authorised.

A suitable establishment, well housed, practical, patient and staring, a suitable bedding, very suitable and not more particularly than complaining, anything suitable is so necessary.

A fact is that when the direction is just like that, no more, longer, sudden and at the same time not any sofa, the main action is that without a blaming there is no custody.

Practice measurement, practice the sign that means that really means a necessary betrayal, in showing that there is wearing.

Hope, what is a spectacle, a spectacle is the resemblance between the circular side place and nothing else, nothing else.

To choose it is ended, it is actual and more than that it has it certainly has the same treat, and a seat all that is practiced and more easily much more easily ordinarily.

Pick a barn, a whole barn, and bend more slender accents than have ever been necessary, shine in the darkness necessarily.

Actually not aching, actually not aching, a stubborn bloom is so artificial and even more than that, it is a spectacle, it is a binding accident, it is animosity and accentuation.

If the chance to dirty diminishing is necessary, if it is why is there no complexion, why is there no rubbing, why is there no special protection.


A bag which was left and not only taken but turned away was not found. The place was shown to be very like the last time. A piece was not exchanged, not a bit of it, a piece was left over. The rest was mismanaged.


A purse was not green, it was not straw color, it was hardly seen and it had a use a long use and the chain, the chain was never missing, it was not misplaced, it showed that it was open, that is all that it showed.


What was the use of not leaving it there where it would hang what was the use if there was no chance of ever seeing it come there and show that it was handsome and right in the way it showed it. The lesson is to learn that it does show it, that it shows it and that nothing, that there is nothing, that there is no more to do about it and just so much more is there plenty of reason for making an exchange.


Enough cloth is plenty and more, more is almost enough for that and besides if there is no more spreading is there plenty of room for it. Any occasion shows the best way.


An elegant use of foliage and grace and a little piece of white cloth and oil.

Wondering so winningly in several kinds of oceans is the reason that makes red so regular and enthusiastic. The reason that there is more snips are the same shining very colored rid of no round color.


Enthusiastically hurting a clouded yellow bud and saucer, enthusiastically so is the bite in the ribbon.


Within, within the cut and slender joint alone, with sudden equals and no more than three, two in the centre make two one side.

If the elbow is long and it is filled so then the best example is all together.

The kind of show is made by squeezing.


A color in shaving, a saloon is well placed in the centre of an alley.


A blind agitation is manly and uttermost.


No cup is broken in more places and mended, that is to say a plate is broken and mending does do that it shows that culture is Japanese. It shows the whole element of angels and orders. It does more to choosing and it does more to that ministering counting. It does, it does change in more water.

Supposing a single piece is a hair supposing more of them are orderly, does that show that strength, does that show that joint, does that show that balloon famously. Does it.


A courteous occasion makes a paper show no such occasion and this makes readiness and eyesight and likeness and a stool.


The meaning of this is entirely and best to say the mark, best to say it best to show sudden places, best to make bitter, best to make the length tall and nothing broader, anything between the half.


Water astonishing and difficult altogether makes a meadow and a stroke.


A season in yellow sold extra strings makes lying places.


The sudden spoon is the same in no size. The sudden spoon is the wound in the decision.


Coloring high means that the strange reason is in front not more in front behind. Not more in front in peace of the dot.


A light white, a disgrace, an ink spot, a rosy charm.


A star glide, a single frantic sullenness, a single financial grass greediness.

Object that is in wood. Hold the pine, hold the dark, hold in the rush, make the bottom.

A piece of crystal. A change, in a change that is remarkable there is no reason to say that there was a time.

A woolen object gilded. A country climb is the best disgrace, a couple of practices any of them in order is so left.


A pleasant simple habitual and tyrannical and authorised and educated and resumed and articulate separation. This is not tardy.


A shining indication of yellow consists in there having been more of the same color than could have been expected when all four were bought. This was the hope which made the six and seven have no use for any more places and this necessarily spread into nothing. Spread into nothing.


What was the use of a whole time to send and not send if there was to be the kind of thing that made that come in. A letter was nicely sent.


A winning of all the blessings, a sample not a sample because there is no worry.


A cool red rose and a pink cut pink, a collapse and a sold hole, a little less hot.


In between a place and candy is a narrow foot-path that shows more mounting than anything, so much really that a calling meaning a bolster measured a whole thing with that. A virgin a whole virgin is judged made and so between curves and outlines and real seasons and more out glasses and a perfectly unprecedented arrangement between old ladies and mild colds there is no satin wood shining.


Colored hats are necessary to show that curls are worn by an addition of blank spaces, this makes the difference between single lines and broad stomachs, the least thing is lightening, the least thing means a little flower and a big delay a big delay that makes more nurses than little women really little women. So clean is a light that nearly all of it shows pearls and little ways. A large hat is tall and me and all custard whole.


A feather is trimmed, it is trimmed by the light and the bug and the post, it is trimmed by little leaning and by all sorts of mounted reserves and loud volumes. It is surely cohesive.


A brown which is not liquid not more so is relaxed and yet there is a change, a news is pressing.


A little called anything shows shudders.

Come and say what prints all day. A whole few watermelon. There is no pope.

No cut in pennies and little dressing and choose wide soles and little spats really little spices.

A little lace makes boils. This is not true.

Gracious of gracious and a stamp a blue green white bow a blue green lean, lean on the top.

If it is absurd then it is leadish and nearly set in where there is a tight head.

A peaceful life to arise her, noon and moon and moon. A letter a cold sleeve a blanket a shaving house and nearly the best and regular window.

Nearer in fairy sea, nearer and farther, show white has lime in sight, show a stitch of ten. Count, count more so that thicker and thicker is leaning.

I hope she has her cow. Bidding a wedding, widening received treading, little leading mention nothing.

Cough out cough out in the leather and really feather it is not for.

Please could, please could, jam it not plus more sit in when.


Elephant beaten with candy and little pops and chews all bolts and reckless reckless rats, this is this.


A table means does it not my dear it means a whole steadiness. Is it likely that a change.

A table means more than a glass even a looking glass is tall. A table means necessary places and a revision a revision of a little thing it means it does mean that there has been a stand, a stand where it did shake.


To be a wall with a damper a stream of pounding way and nearly enough choice makes a steady midnight. It is pus.

A shallow hole rose on red, a shallow hole in and in this makes ale less. It shows shine.


A little monkey goes like a donkey that means to say that means to say that more sighs last goes. Leave with it. A little monkey goes like a donkey.


A white hunter is nearly crazy.


In the middle of a tiny spot and nearly bare there is a nice thing to say that wrist is leading. Wrist is leading.


Suppose it is within a gate which open is open at the hour of closing summer that is to say it is so.

All the seats are needing blackening. A white dress is in sign. A soldier a real soldier has a worn lace a worn lace of different sizes that is to say if he can read, if he can read he is a size to show shutting up twenty-four.

Go red go red, laugh white.

Suppose a collapse in rubbed purr, in rubbed purr get.

Little sales ladies little sales ladies little saddles of mutton.

Little sales of leather and such beautiful beautiful, beautiful beautiful.


A shawl is a hat and hurt and a red ballon and an under coat and a sizer a sizer of talks.

A shawl is a wedding, a piece of wax a little build. A shawl.

Pick a ticket, pick it in strange steps and with hollows. There is hollow hollow belt, a belt is a shawl.

A plate that has a little bobble, all of them, any so.

Please a round it is ticket.

It was a mistake to state that a laugh and a lip and a laid climb and a depot and a cultivator and little choosing is a point it.


Book was there, it was there. Book was there. Stop it, stop it, it was a cleaner, a wet cleaner and it was not where it was wet, it was not high, it was directly placed back, not back again, back it was returned, it was needless, it put a bank, a bank when, a bank care.

Suppose a man a realistic expression of resolute reliability suggests pleasing itself white all white and no head does that mean soap. It does not so. It means kind wavers and little chance to beside beside rest. A plain.

Suppose ear rings, that is one way to breed, breed that. Oh chance to say, oh nice old pole. Next best and nearest a pillar. Chest not valuable, be papered.

Cover up cover up the two with a little piece of string and hope rose and green, green.

Please a plate, put a match to the seam and really then really then, really then it is a remark that joins many many lead games. It is a sister and sister and a flower and a flower and a dog and a colored sky a sky colored grey and nearly that nearly that let.


Rub her coke.


Black ink best wheel bale brown.

Excellent not a hull house, not a pea soup, no bill no care, no precise no past pearl pearl goat.


Aider, why aider why whow, whow stop touch, aider whow, aider stop the muncher, muncher munchers.

A jack in kill her, a jack in, makes a meadowed king, makes a to let.


link to my latest text work -majena mafe

comments gratefully received and appreciated

ron mueck and the ugly gossips- oh dear

Don Mueck is a London
-based photo-realist artist. Born in Melbourne , Australia , to parents who were toy makers, he laboured on children's television shows for 15 years before working in special effects for such films as Labyrinth, a 1986 fantasy epic starring David Bowie.

Eventually Mueck concluded that photography pretty much destroys the physical presence of the original object, and so he turned to fine art and sculpture. In the early 1990's, still in his advertising days, Mueck was commissioned to make something highly realistic, and was wondering what material would do the trick. Latex was the usual, but he wanted something harder, more precise. Luckily, he saw a little architectural decor on the wall of a boutique and inquired as to the nice, pink stuff's nature. Fibreglass resin was the answer, and Mueck has made it his bronze and marble ever since. His work is lifelike but not life size, and being face to face with the tiny, gossiping Two Women (2005) or the monumental woman In Bed (2005) is an unforgettable experience.

meredith monk: notes on a voice

Theatre practitioner/choreographer Meredith Monk writes these 'Notes on the Voice', published in
Terpsichore in Sneakers: Post-Modern Dance:

  1. The voice as a tool for discovering, activating, remembering, uncovering, demonstrating primordial/pre-logical consciousness.
  2. The voice as a means of becoming, portraying, embodying, incarnating another spirit.
  3. The dancing voice. the voice as flexible as the spine.
  4. The voice as a direct line to the emotions. The full spectrum of emotion. Feelings that we have no words for.
  5. The landscape.
  6. The body of the voice/the voice of the body.
  7. The voice as a manifestation of the self, persona or personae.
  8. Working with a companion (the accompanying instrument: organ, piano, glass, etc.): repeated patterns or drone creating a carpet, a tapestry of sound for the voice to run on, fly over, slide down, cling to, weave through.
  9. The voice as language.
  10. History: Beginning - 1967, duet of voice with Echoplex reverberating unit
    (Blueprint), the free voice as electric impulse [...] Continuing - 1970, duet of voice with electric organ [...] The traveling voice (moving through dreamscapes). Now - [...] the voice of the 80-year-old human, the voice of the 800-year-old human, the voice of the 8-year-old human [...] the full range of the voice (pitch, volume, speed, texture, timbre, breath, placement, strength); the voice as a vehicle for a psychic journey
found on the poetic practice journal link

meredith's official website here

listen to her beautiful sound here at ubu web


echo notes 1

...while the mocking birds mock, they don't copy the human voice singing.
their voice-s are imitations without reciprocity, forms of echo that stop at that point.
Parrots learn human sounds but Herder says they "have learned enough human sounds; but have they ever thought a human word?"...there are so many ways sound insinuates into and under and forms language.
Last night, leaving a gathering of people at dusk, the trees outside were teaming with black starlings and moving leaves and branches and the whole lot was swimming/screaming as one big mass...what does it mean when sound breaks down the form? The edge? the noun tree dissolves. The noun bird is all guttural cry. The incomplete becomes very very big...at this point 'more' can and does happen. In singing this happens how? In poetic language how? In texts ? In the body?

The samuri at a certain point stopped their killings and became interior-the Fuke sect, the wandering monks of this Buddhist lineage, known as the komuso, became famous as the Zen Priests of Nothingness...they understood that it was possible to sound on the flute a note that would break through 'the everything' one sing sound the unsound.