new darwin inn

it is closing in.

it changes the colors of the walls.

it makes bones tilting inwards.

suddenly the dvd collection seems impossible burden.

the building structure the work of creatures of some superior order.

and then somebody says top chef will surge the ratings.

and not top physicist for instance or top philosopher even as comedy.

centauri proxima. yes. but till then its just europe.

timespace, and the f continuum. the f dimension

the f of aggression. the f the mother of traumas. the f of miracles.

زمان" זמן"

lost trajectories

now if i turn my head, sideways, looking away, will you cease to be ?

are you really there, when i m not looking ?

are you here, take a t, or give

will you was, were you will

is this the thing. this the pillow case. the purple duvet cover. the antique bedside table.

that dream, the breath, those steps

the trivial, the burning,

the bloodcells. the words. the story of some past, yet to happen that lies ahead. give an a,

(or take)

here lies. and truths. and all in between. and those bursting out from the cracks, and right in

beyond the measured and the named, yet right within it. meas...uring, nam...ing

is this a question that i care to answer

who is the murderer of cause. this a question. (which is a yes, or no, an one or a two, a right or a wrong,true and false)

the second law

iamthelordyourgodwhobroughtyououtofthelandofegyptoutofthehouseofslaveryyoushallhavenoothergodsbefore

meyoushallnotmakeforyourselfanidolwhetherintheformofanythingthatisinheavenaboveorthatisontheeart

hbeneathorthatisinthewaterundertheearthyoushallnotbowdowntothemorworshipthemforithelordyourgodamajealou

sgodpunishingchildrenfortheiniquityofparentstothethirdandfourthgenerationofthosewhorejectmebutshowingsteadfa

stlovetothethousandthgenerationofthosewholovemeandkeepmycommandmentsyoushallnotmakewrongfuluseofthename

ofthelordyourgodforthelordwillnotacquitanyonewhomisuseshisnameobservethesabbathdayandkeepitholyas

thelordyourgodcommandedyouforsixdaysyoushalllabouranddoallyourworkbuttheseventhdayisasabbathtothelordy

ourgodyoushallnotdoanyworkyouoryoursonoryourdaughteroryourmaleorfemaleslaveoryouroxoryourdonkeyoranyof

yourlivestockortheresidentalieninyourtownssothatyourmaleandfemaleslavemayrestaswellasyourememberthatyou

wereaslaveinthelandofegyptandthelordyourgodbroughtyououtfromtherewithamightyhandandanoutstretchedarmtherefore

thelordyourgodcommandedyoutokeepthesabbathdayhonoryourfatherandyourmothera

sthelordyourgodcommandedyousothatyourdaysmaybelongandthatitmaygowellwithyouinthelandthatthelo

rdyourgodisgivingyouyoushallnotmurderneithershallyoucommitadulteryneithershallyoustealeithershallyou

bearfalsewitnessagainstyourneighborneithershallyoucovetyourneighborswifeneithershallyoudesireyourneig

hborshouseorfieldormaleorfemaleslaveoroxordonkeyoranythingthatbelongstoyourneighbor

traumagic experience

banners_4_the_paradox

Let's start with risk... we are all conscripts in one sense or another...for all of us, it is hard to break ranks, to incur the disapproval, the censure, the violence of an offended majority with a different idea of loyalty. We shelter under banner words like justice, peace and reconciliation that enroll us in new, if much smaller and relatively powerless, communities of the like-minded...to fall out of step with one's tribe; to step beyond one's tribe into a world that is larger mentally but smaller numerically--if alienation or dissidence is not your habitual or gratifying posture, this is a complex, difficult process. It is hard to defy the wisdom of the tribe, the wisdom that values the lives of members of the tribe above all others. It will always be unpopular--it will always be deemed unpatriotic--to say that the lives of the members of the other tribe are as valuable as one's own. It is easier to give one's allegiance to those we know, to those we see, to those with whom we are embedded, to those with whom we share--as we may--a community of fear...let’s not underestimate the retaliation that may be visited on those who dare to dissent from the brutalities and repressions thought justified by the fears of the majority...we are flesh. we can be punctured by a bayonet, torn apart by a suicide bomber...fear binds people together...and fear disperses them...courage inspires communities: the courage of an example for courage is as contagious as fear.... but courage, certain kinds of courage, can also isolate the brave. The perennial destiny of principles: While everyone professes to have them, they are likely to be sacrificed when they become inconveniencing. Generally a moral principle is something that puts one at variance with accepted practice. And that variance has consequences, sometimes unpleasant consequences, as the community takes its revenge on those who challenge its contradictions--who want a society actually to uphold the principles it professes to defend. The standard that a society should actually embody its own professed principles is a utopian one, in the sense that moral principles contradict the way things really are--and always will be. How things really are--and always will be--is neither all evil nor all good but deficient, inconsistent, inferior. Principles invite us to do something about the morass of contradictions in which we function morally. Principles invite us to clean up our act, to become intolerant of moral laxity and compromise and cowardice and the turning away from what is up-setting: that secret gnawing of the heart that tells us that what we are doing is not right, and so counsels us that we'd be better off just not thinking about it. Again: There is nothing inherently superior about resistance. All our claims for the righteousness of resistance rest on the rightness of the claim that the resisters are acting in the name of justice. And the justice of the cause does not depend on, and is not enhanced by, the virtue of those who make the assertion. It depends first and last on the truth of a description of a state of affairs that is, truly, unjust and unnecessary.

breakfast with friends

mell, parelth, and par

mirror amechania

The film as a mirror and, as a further consequence, the phenomenon of identification primarily inherent in feature films, condense to a type of essence of film’s potential. This film reports on cinema and the processes within it. In doing so, it doesn’t reveal any secrets, but instead, attempts to transfer – in the sense of seeing what we see – what we do in the cinema and what also can be relevant outside of film into a visually stimulating and captivating event.

looking idly on the ceiling

don't you tell me now, you don't know the feeling

portals

From where he was standing on the balcony, he could see them both. They couldn’t see each other. He could speak with the neighbour that had locked herself out on her own balcony, and was looking for a way to enter her house. He was talking to her, with sweet soothing words, as she was already getting scared. She was scared of heights, she was scared of the cold, she was scared of raindrops, she was scared she would have to stay out there until her husband returned. The reason she was locked outside? She thought she saw rat turds and she went out to investigate. He was telling her to remain calm, not to look downstairs and that he would call her husband or her mother. Meanwhile, something else was happening inside the room. The other one, standing on the bed, was lifting her blouse slowly, revealing her tummy button initially and then her breasts. Her eyes were inviting him girlishly, her body womanly. As the neighbour was continuing her agonizing exploratory dialogue, his replies began to falter, his responses becoming more general, as he clumsily tried to recapture her words. “We are going to be late for the concert…”she told him, stressing the -cert bit particularly, playfully hinting she was not at the least interested in the concert.

He placed the unused concert tickets inside the plastic box and then sealed it, leaving it on top of that last short side-table, left behind by the removal people.

He walked towards the balcony door, stepping on the wooden floor, leaving his echoing footprints on the dust that had previously been covered and had not been mopped since the bed first went into the room. His eyes turned to the wall on his right.

There was a blue paint mark at the height of a piece of furniture that used to be there from previous tenants. Konstantinos, the landlord, pointed that out the day he first showed the house to him. He didn’t mind it he said, he would paint the wall anyhow. Later he decided not to paint it, because he decided he liked its patina. Then he brought a poster to cover the mark. But he wanted to frame it first and then he decided that he would finally paint the wall. He had to abandon this plan as well, since he had already started planning his exit from the country and had decided he would leave this house.

He looked down. The poster was there next to the heater, wrapped in a nylon roll. He took it out with ceremonial tenderness and stretched it. It was an A3 poster, cream, full of words and doodles. When he bought it, he thought it was Peter Brook’s notes for his book, The Shifting Point, since the quote “Hold on tightly, let go lightly” was prominently written somewhere on it but it turned out they were simply the notes of some advertiser graphics designer in New York. He bought it as a gift to his son who was studying theatre studies who he was going to meet later that day.

He delayed arriving at the meeting point. The sky was all dull red. Desert dust had emigrated from Africa flooding the sky. He felt his eyes smart and dry and thought of them the same colour as the sky. A stench from a cat carcass or something, made an entrance to his nostrils. He looked alternately the soles of his shoes, and then the open litter bin before he entered the café, hoping to discover the dead animal and solve the mystery of the origin of the smell. His palms were equally red and swollen. He had an allergy to dust and his own sweat and he hadn’t relaxed for a single moment his grips of his motorcycle steering wheel driving there. All that was distracting him from his sincere decision to enter a dialogue as an active listener, to really hear his son out, to not reply hastily and unreflectively, to not reply at all if necessary. It was their first encounter after a long time. It felt such a success to convince him to see him. He had decided not to disappoint him again. How crucial a meeting that was? Crucial indeed. His son was already there, standing in a remote table at the back of the main hall. He could see him. A young waiter with a full body apron passed by in front of him jostling him annoyingly.

He raised his eyes again towards the blue mark, wrapped the poster up without looking at it and placed it at the corner of the empty room, touching on the floor leaning against the wall.

mot juste

brocca della verita (0,1)

unfinished_misplaced_misguided_unnamed

Chapter one out of three (or four) went on looking at the back garden through those thick, pointed leaves a rain forest of ten metres by four a plastic shovel, a broken yellow toy track all her tools a proper excavation for her boyish short hair but she haven’t really got a proper map and her compass is a bit messed up and her ‘dinates, kind of less than half but something’s telling her, it can’t be that hard you are determined not to leave before you give earth her second skin and marvel ‘neath the surface the buried treasure ship with the nackles, and the fleeces and all the golden blood and the rude and vile one eyed men, with the strong arms the days ‘re passing, and they are getting shorter too and across the street other girls are laughing with their pretty unicorns and their clean summer shoes and that annoying and cheeky cousin of yours, with the cryptic clues there is still so much earth to remove logic says it is n ‘t there, never was, it cannot be and your shovel is half broken and same goes for your wrist watch it tells you ten by four Your father calls you, and pats you at the back he calls you naïve, and wears a charming smile oh sister please tell me, when did you give up the try oh please sister tell me when did you die Chapter two the wall has five sides at the bed where he lies impromptu dramas, a calculated martyrdom a campaign of change, in the straight line of time caught inside a fishnet of tough love and other feelings that have the wrong names a cemetery for broken chairs that one you love to hate lying next to you a motherly luring scent, urging you to caress her hair the dessert that you mistook for a field between your palms and her dreams filled with strong willed turtles on broken wheels

(story)

bday

i have always been dumbstruck before wishes

what is to wish ?

you could close your eyes. think. blow.

chaos is the piece of cake.

and that is true most times in sleep. but also sometimes awake

listening, speaking, listening, speaking

throwing arrows of words

for someone's sake

well, ego gives they say and... you know what's next

first aid certainly comes handy.

breath. slow. breath.

feel. step back. do you see ?

empirical evidence suggests there are more than one here

i turned my guts

inside out. skin likewise.

quick.find. it's certainly been written somewhere again

tired.

i got a fluoroscent liver

i got a binary spleen

a chocolate cake

with monograph candy

speak

CHAPTER NEXT_PROMISE

L

http://www.gutenberg.org/wiki/Main_Page
http://www.intute.ac.uk/
www.doaj.org
scholar.google.co.uk

aporia

Where now? Who now? When now? Unquestioning. I, say I. Unbelieving. Questions, hypotheses, call them that. Keep going, going on, call that going, call that on. Can it be that one day, off it goes on, that one day I simply stayed in, in where, instead of going out, in the old way, out to spend day and night as far away as possible, it wasn't far. Perhaps that is how it began. You think you are simply resting, the better to act when the time comes, or for no reason, and you soon find yourself powerless ever to do anything again. No matter how it happened. It, say it, not knowing what. Perhaps I simply assented at last to an old thing. But I did nothing. I seem to speak, it is not I, about me, it is not about me. These few general remarks to begin with. What am I to do, what shall I do, what should I do, in my situation, how proceed? By aporia pure and simple? Or by affirmations and negations invalidated as uttered, or sooner or later? Generally speaking. There must be other shifts. Otherwise it would be quite hopeless. But it is quite hopeless. I should mention before going any further, any further on, that I say aporia without knowing what it means.

lit terature

Πίσω από τη λέπτή σκιά μιας λεμονιάς

κάθησε σταυροπόδι ένα τζιτζίκι

είχε κάπως ζαλιστεί απο τη μυρωδία μιας τηγανιάς από πατάτες

που αναδύοταν απο γειτονικό

καφεταβερνείο

Θες να κάνουμε πόλεμο; με ρώτησες

εγώ κοιτούσα έξω από το παράθυρο

ένα κύριο με αδιάβροχα πέδιλα, που μου θύμιζαν

κάποια που είχα αγοράσει κάποτε εγώ,

να περνάει το ζέμπρα κρόσσινγκ

πέθανε ο μάλκομ μακλάρεν

μου είπες κοιτάζωντας με στα μάτια

καθώς ο αντώνης με κούρευε, λίγο

πριν κουρέψει και εσένα

αν η πάνκ είχε πατέρα

τον σκότωσε κάποια στιγμή;

είχε και μητέρα;

τί είναι ένας πίνακας χωρίς την κορνίζα του;

desire, choice,

consistency (a point of)

conscience (a matter of)

consciousness (the variable)

balthazar

no actors. (no directing of actors.) no parts. (no learning of parts.) no staging. but the use of working models, taken from life. being (models) instead of seeming (actors)

nature: what the dramatic art suppresses in favor of a naturalness that is learned and maintained by exercisesThe false when it is homogeous can yield truth

unbalance so as to re-balance

hide the ideas, but so that people find them. the most important will be the most hidden

actors. the nearer they appear (on the screen) with their expressiveness, the further away they get. houses, trees come nearer; the actors go away

fragmentation 'this is indispensible if one does not want to fall into representation. see beings and things in their separate parts. render them independent in order to give them a new dependence

things too much in disorder, or too much in order, become equal, one no longer distinguishes them. They produce indifference and boredom

don't show all sides of things. a margin of indefiniteness

the actor is double. the alternate presence of him and of the other is what the public has been schooled to cherish

what our eyes and ears require is not the realistic persona but the real person

algorithm

a--. observe phenomenon

a-. set criteria, set objective

a. assign meaning

b. assign value to occurrence frequency

c. reevaluate a-

d. reevaluate a--

e. repeat a. adjust if necessary

f. go to a--

scary it is. all that freedom

dialogue with you without you

spend my night, and my day
talking to you. answering. allegedly silent words
vocalised in the form of a car radio v/o
reverbing in vice city cortexia

huge signs, pointing yourside
stuck in a synaptical traffic jam
two vehicles ahead some emotional 3-axis lorry
gets unexpected flat tyre
tolls collectors inexplicably happy

enormous videowalls, alternating your form, one or another
taking turns, alien to familiar, advertising salvation
be it packed or simply serviced and then
come the trailers of imaginary prose,
my character, yours, a psychodrama then a
sports underdog story

temptress, broken favourite pieces, i4, gottlob, haircut, alone
creative, we must, broadband, vespa, ahead, bios
and various other words parade
a flickering red led display indicator,
some sort of unintelligible (ha) value system
is clearly in place

and then they are spotted. two imposing enormous cranes, and a peculiar
helicopter shouting encoded instructions over the loudspeakers
numerous handlers, forklift drivers and lay labourers
running about commited to the task
a whole partition of the road is at this very momment being relocated,
connecting a high bridge, with a previously inaccesible pasture

over and above the err...sea

no need to talk i guess, about no thing. we already speak.
no need to talk

materia

"There exists" Proffesor Flugel observes, " a very general association on the one hand between the notion of mind, spirit or soul and the idea of the father or of masculinity and on the other hand between the notion of the body or of matter (materia - that which belongs to the mother) and the idea of the mother or of the feminine principle. The repression of the emotions and feelings relating to the mother[in our Judeo-Christian monotheism] has, in virtue of this association, produced a tendency to adopt an attitude of distrust, contempt, disgust or hostility towards the human body, the Earth and the whole material Universe with a corresponding tendency to exalt and overemphasize the spiritual elements, whether in man or in the general scheme of things. It seems very probable that a good many of the more pronouncedly idealistic tendencies in philosophy may own much of their attractiveness in many minds to a sublimination of this reaction against the mother, while the more dogmatic and narrow forms of materialism may perhaps in their turn represent a return of the more repressed feelings originally connected with the mother"

haze hazier haziest

got out of the toom, balcony but there was no more. strectvhed ahead an elevated water level. this is my parents countryt house. irecognise the location. i look at 2 o clock, where the seaview is, where we have witnessed endless sunsets, all this is inherent truth as i walk out, all this is information i carry wirh me.an elevated sea level, this is clearly the work of climatic change, or a cataclysmic sotmrm now two images compete for my attention, i konw walklook ahread at 12 o clock, the ater is way inside the house, there is no ugly iunfinished house site accross the dirt road. no more, illegally builtillegally licensed house with loads and loads of grape vines waiting to inhabit the walle stretch. this will nbe overlooking would be overlooking the same viesw of the sea as fro m our house, but i stop know as this inhernet truth no more it s only fresh interpreation as i recount no more little house at 11 o clock either at the hill across where m recently decesaed from macancer and c the civinl engineer husband of hers who always luahged at her expense, this house no morethis hfamily no more,mno more t the son, the gay chef either or d whose whereaboutsi m not ware all this is inherrnt truth as i look and these two images compete and the water level way inside the house now, paradoxiaxally there no elextricity wires ewither the eucalyptus by the doorgate is still there, looking around i cannt believe what am seeing, like what am seening, is beautiful. no embarassment frot the place. there is clearly more people inside the house, but no familiatr faces. its beautiful, and so is the secong image, omcing from exacly whee it should ne comeing a violet sunset, spilled over the sea, it s dsea no more, its a lake, no water taxis, no parking lotsall coversed in water...al thiese people gone...where are they? there is comfort but there is a threat. isolationg.not a problem. there is supplies for ever? water level will rise more, its clearlyt a threat. ireturn in the house, am about to discover who is in there, i felt the presence of somebofy but as i was coming out i didnt know who it was aiam in bed,in my parent s bedroom, but it s not located in the smae geography of the house, is somewhate more in the middle..there is a huge bed, there is two girls, women, completely naked, i lie among themnaked too, iwas naked all thsi timemust have benn we touch each toehr, casually, we dont make love..nnoneed for that..one of the m has a fir skin, long hair, short in the foehad, she has nose and clit pierced, we touch we are very comfortable...there is more people in the house, we talk, i am euphoric from what i have seen, but o idont talk about this, they caress eachother, i get up, i must meet the other people. there are urgent matters to e b addresssed. but no anxietty...itsno akward leaving the houserrom imean... we need to build a glass dome, we are in a round room.library, it remings me of london library. it s aboutr four or them. they have aridiculous idea on how to build a dome, i disagree and i ma vocal about it, i m nor going to let it go, i point them to the direction of the library, i know my methodology, i illustrate the fallcies of their logique they dont like it, i am outnumbered but i nknow i am right, they yield...we only need the dome, we remain there protected, isolated from the world, we will be safe , wie will underwater...the people now are more fmailirear my father shoesws up there somehow

exercises

- so, you are saying i am not playing right

- i didn't say anything

- yes, but you have implied it

- i find this arguable. have i asked you to participate in anything?

- well, directly i have to admit that you haven't

- we never agreed to play no game, neither the one, you seem to be having in your mind or any other game for that matter

- we play games, anyhow, all the time

- yes, maybe, involuntarily but you speak of roles

- if we play games, there must be roles

- but then we must know, the point of the game.

- what's the point of the game, no really ?

- stop playing around

- you see!

*

- take my hand, i feel like dancing tonight

- this sounds like a line from a film

- ok! let me think...the toaster is off, your mother dropped by this morning, they can't keep the dog for Christmas after all, i like this song, take my hand, dance with me a bit, i m so tired, but i feel like dancing tonight

(dancing now)

- mmm, you never made this movement before

- oh well i feel inspired

- do you think our bodies know grammar too?

- how do you mean ?

- i mean do you think our hands converse in space, similarly to words?... do you think that by touching you like that

(touching softly in the elbow)

i have excluded a multitude of other possibilities of touching you

- it seems so...nevertheless you have chosen to touch me exactly like that, and no other way

- and what does this now, say about me ?

- mmmm, you 've never said something like this before

*

- we are going to be late

- what time it is ?

- it is 8.38

- when does it start ?

- 9.30

- we 'll be fine

- please hurry up, we got to pick stella up with the car, i hate it when we get there late, what are you doing anyway?

-nothing...coming, right away...

arecibo

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the twin navaho gods meet the spider woman

put your feet down with pollen
put your hands down with pollen
put your head down with pollen
then your feet are pollen
your hands are pollen
your body is pollen
your mind is pollen
your voice is pollen
the trail is beautiful
be still

way after this summer

and yes i have dropped down many times
but then i got up again
and oh yes, you are my sister because i am your brother
and yes, yes, yes the affirmative
and i am the carrier of your touch
and i am the memory of your sweet kiss
and by my shadow i lie under the thin duvet
getting my grammar right this time

"Εγώ δεν είμαι μόνο αυτός που βλέπεις, αυτός που ξέρεις
δεν είμαι μόνο αυτός που θα πρεπε να μάθεις.
Κάθε επιφάνεια της σάρκας μου κάπου τη χρωστάω
αν σε αγγίξω με την άκρη του δαχτύλου μου
σε αγγίζουν εκατομμύρια άνθρωποι,
αν σου μιλήσει μια λέξη μου
σου μιλάνε εκατομμύρια άνθρωποι -
Θα αναγνωρίσεις τα άλλα κορμιά που πλάθουν το δικό μου;
Θα βρείς τις πατημασιές μου μες σε μυριάδες χνάρια;
Θα ξεχωρίσεις την κίνησή μου μες τη ροή του πλήθους;
Είμαι κι ό,τι έχω υπάρξει και πια δεν είμαι -
τα πεθαμένα μου κύτταρα, οι πεθαμένες
πράξεις, οι πεθαμένες σκέψεις
γυρνάν τα βράδια να ξεδιψάσουν στο αίμα μου.
Είμαι ο,τι δεν έχω γίνει ακόμα -
μέσα μου σφυροκοπάει η σκαλωσιά του μέλλοντος.
Είμαι ό,τι πρέπει να γίνω-
γύρω μου οι φίλοι απαιτούν οι εχθροί απαγορεύουν.
Μη με γυρέψεις αλλού
μονάχα εδώ να με γυρέψεις
μόνο σε μένα"

Συναισθηματική Διαταραχή

to steal_to be given_to take (a midnight summer's dream act V)

is jason theseus? is hippolyta medea? is telegonos hippolytos ? is hercules theseus ? is theseus minos? is hippolyta antiope ? is phaedra penelope ? is phaedra creusa? is ariadne hippolyta? is jason ulysses? is the girdle the minotaur? and what about penthesilla? and what about pirithous?

semi breve...

a temporary stop/a break in a verse/a brief suspension of the voice to indicate the limits and relations of sentences and their parts/temporary inaction especially as caused by uncertainty, hesitation/ the sign denoting a fermata/a mark (as a period or comma) used in writing or printing to indicate or correspond to a pause of voice/ a reason or cause for pausing (as to reconsider)/a function of an electronic device that pauses a recording

two words on ...journey

EARLY NOTIONS OF ACQUIRED RIGHTS AND THE INFLUENCE OF COLLECTIVE TRADITION UPON THE INDIVIDUAL. 1One must sell it to some one, the sacred name of love. 2Making it up as we goes along. 3The law of the jungerl. 4Let me blush to think of all those halfwayhoist pullovers. 5I'd like his pink's cheek. 6Frech devil in red hairing! So that's why you ran away to sea, Mrs Lappy. Leap me, Locklaun, for you have sensed! 7A washable lovable floatable doll. knowledge that often hate on first hearing comes of love by second sight.

CHAPTER 5_IN A MANNER OF SPEAKING

key word

gayla bentley/ us debt clock/charlie davies/carla hughes verdict/dennis earl bradford/intc/chill soda/silicon forest/olympia snowe/demeyere cookware/ford recall/bay area earthquake/rick rubin/halo cloud/shibani joshi/nate dogg/ashley j. roberta/cwa district 6/uss new york/charlie davies car accident

sacrifice_

ιχνηλάτες των συμβόλων

at war with words and mazes

Απ' όταν ο Θησέας σκότωσε τον Μινώταυρο
ο λαβύρινθος εγκαταλείφθηκε, απολύθηκαν οι φύλακες
με τον καιρό γκρεμίστηκε η οροφή του
βγήκαν στο φως οι τρομεροί διάδρομοι
οι αίθουσες για τα βασανιστήρια, την ανθρωποφαγία
οι στοές με τις κρυμμένες εφευρέσεις
τους καταχωνιασμένους θησαυρούς
πέσανε οι τοίχοι, μείναν μόνο τα χνάρια
από περίπλοκα χαράγματα πάνω στη γη.
Όμως προσομοιώσεις λαβυρίνθων, σκοτεινές κατασκευές
δεν έπαψαν να χτίζονται με νέα υλικά
με καινούργια τέρατα, θύματα, ήρωες, ηγεμόνες,
φτιάχνονται προπαντός λαβύρινθοι με λέξεις
κάθε χρονιά μπαίνουν μέσα τους νέες φουρνιές
αγόρια και κορίτσια, με φόβο μαζί και αψηφισιά
για τις παγίδες, τις καταπακτές, τ' αδιέξοδα
φιλοδοξώντας να ξαναπλάσουν και να παίξουν
το παλιό δράμα προσαρμοσμένο στα νέα δεδομένα
δίνοντας στους κύριους ρόλους τα ίδια ονόματα
Μίνωας, Πασιφάη, Μινώταυρος, Αριάδνη,
Δαίδαλος, Ίκαρος, Θησέας.

faux pas

1. Gerda: So you believe that all belief is the product of custom and circumstance (or: childhood buffets, class struggle...). Isn't that position self-limiting? Mustn't you see yourself as reflecting only a single complex of circumstances?
Grobian: Your objection is inapplicable, for it is merely the product of blind forces. Moreover, your childhood buffets were pernicious and regrettable, for they have set you against this truth.


2. Gerda: So you believe that all knowledge comes from God in proportion to our virtue or worth, and that all ignorance, error, and uncertainty come from the Devil in proportion to our vices. May I ask what evidence you have for this remarkable thesis?
Grobian: I pity you infinitely for your sins.


3. Gerda: Doctor Grobian, I am not crazy! I stole the bread because my children were hungry.
Why do you assume that every crime is caused by illness?
Grobian: Why do you deny it?
Gerda: I am not playing a game. I really want an answer to my question.
Grobian: Obviously your ego cannot cope with the truth and you display this inadequacy in hostility to your doctor. I will not recommend your release.


4. Gerda: So you believe x, y, and z. But you are mistaken. Consider evidence a, b, and c. What do you say?
Grobian: It's a mystery. If I could understand it, I wouldn't believe it. I can't help it if it's the truth. One day perhaps you'll see the light too.
(http://www.earlham.edu/~peters/writing/rudeness.htm)

A. P. Møller_on learning

boiling paradigms/ a portal

additive
cumulative
counter-cumulative

heartbeat 9/8

ο ρυθμός (από το ρήμα ρέω) στη μουσική ταυτίζεται με την οργάνωση του χρόνου/η οργάνωση αυτή βρίσκεται σε απόλυτη εξάρτηση με τους τονισμούς και τη διάρκεια των ήχων /η αίσθηση του ρυθμού δημιουργείται/ α) από τη διαδοχή σε ίσα χρονικά διαστήματα τονισμένων και ατόνιστων ήχων, ίδιας μεταξύ τους διάρκειας / β) μια κανονική διαδοχή ήχων διαφορετικής διάρκειας που παρουσιάζονται σε μια προαποφασισμένη σειρά που επαναλαμβάνεται

μέτρο είναι ένα μέσο απεικόνισης, ένα πλαίσιο μέσα στο οποίο καταγράφονται οι τονισμοί και οι αξιές των φθόγγων (ή των παύσεων αν χρείαστει) κατά τρόπο που η πραγματική τους διάρκεια μπορεί να μετρηθεί με ακρίβεια/ για να είναι είναι δυνατό αυτό το μέτρημα πρέπει να υπάρξει μια απόλυτα ισόποση διαίρεση του χρόνου. αυτό γίνεται με μια υποθετική ροή ισόχρονων κτύπων, που ονομάζονται παλμοί /για να υπάρξει καλύτερη αντίληψη των παλμών του ρυθμού, γίνεται ομαδοποίηση τους σε μικρές ισόποσες ομάδες που ονομάζονται μέτρα / χχ /χχ/ χχ/ χχ (διμερές μέτρο)/ χχχ / χχχ /χχχ /χχχ (τριμερές μέτρο)

when the tracer met Radical Alterity

and took him out for dinner

what/we/will do/with/the/deadweight ?

αγάπη μου
άκου με, που λέω αγάπη μου
ακού τα άλφα να μπουκώνουν το στόμα μου
να ξεχειλώνουν τα χείλη μου όπως το σκάνε

περπατούσαμε χρόνια στο
πηκτό σκοτάδι,
χέρι χέρι
πιασμένοι
πως να μην παλέψουμε
πως να μην ματώσουμε
πως να μην
πεθανουμε

τόσα πρόσωπα, νεκρά, ξεψυχισμένα
και μόνο ένα όνομα ;

at war with walls and mazes

http://www.youtube.com/watch?v=yapMvWKJ0jM

monomyth

in the absence of an effective general myhtology, each of us has his private,unrecognised, rudimentary, yet secretly potent pantheon of dream. the lastest incarnation of Oedipus, the continued romance of Beauty and the Beast, stand this afternoon on the corner of Forty-second Street and fifth Avenue, waiting for the traffic light to change.[...] the doctor (psychoanalyst) is the modern master of the mythological realm, the knower of all the secret ways and words of potency. His role is precisely that of the Wise Old Man of the myths and fairytales whose words assist the hero through the trials and terrors of the weird adventure. He is the one who appears and points to the magic shining sword that will kill the dragon-terror, tells of the waiting bride (apply genders adlib) and the castle of many treasures, applies healing balm to the almost fatal wounds, and finally dismisses the conqueror back into the world of normal life, following the great adventure into the enchanted night.[...]we remain  fixated to the unexercised images of our infancy, and hence disinclined to the necessary passages of our adulthood (see rites of passage)[...]lest our energies should remain locked in a banal, long-outmoded toy-room, at the bottom of the sea

If our language provides the symbols to unlock our true desires, our dreams have to provide the symbols for our timeless journey. may the intitiation begin...

powerless_powerful/

i braise ?

CHAPTER4_BURNING QUESTIONS

(what is a burning question ?)

trans It

i stole the idea from tim allen

iii am tense
i sit in the sofa
i sometimes lie
iiii watched the red convertible ferrari enter the hilton
i didn't anticipate that
i despise the i's
iiii have now slept with my father
ii felt the heat of my revenge in her eyes as we were sweating in her new ikea bed that we assembled together
iii am and can be funny
i just called her my father
i eyed the lingering of the pine
iii haven't been to the army
iii was born to working class parents
iiiii made this specific demographic
i love avocado
i have spoken the unspeakable
iii constantly am looking for context
iiii randomly censor my i
i though never my eye
iii have also slept with my mother
ii caressed her long black hair
ii choose my words
i and time
i like and use words like sofa, irrigation, egotism, indulgence
iii like the looks of the word transit
iii project my indulgence to you
i cheated on quantitative methods
iii make references too
ii am dialectic
i find this arguable
i have also called her my mother
iii take you for granted
i am a brother to two sisters for instance
iii enjoy meeting my friends sunday daytime
i named my dog argos
iiii have now killed my mother
ii have left her one night last september to go for a drink
i am typing
i rode a certain stream of consciousness
i have left my mother for my father
iiii think that that's fair
ii must admit it's only reasonable
i'm going to anagrammatize reason able in this line son bae real
iii wished to illustrate the existence of such liberties
i like scifi films
iii walk in pitch dark
i am holding hands
iii am blinking my left eye
i skype with NYC almost every night
i play the guitar
i really planned to tackle this in single line sentences
iiii failed
i iii i i suck in grammar
i said "-i meant well "
iii have not consented to become a wedding trophy
iii don't readily claim injustice
i. ii. iii. ...
i thus killed my father too
iii am gemini
i and the symbol i
iii sometimes ponder upon the demonization of incest
i consider the conclusions of such pondering obvious
ii simply i,
iii could possibly clarify by adding that such conclusions are related to my quest for the unspeakable
i must now say someting like oups! i guess
i feel that you may don't know why
iiiii am wikipedia, and facebook and global warming
iii a certain space occupy
i and me, and you, and consistency
iiiiiii i am tb, rss, fto bmi
iiii have not coined the term "unspeakable"
i saw that cockroach too
iii am a villager of the world
i is i if and only if i is i
i. never I
i m here and now
i sometimes lie
iii some times not knowingly, lie

london, october 2000

Ξέρουμε πια όλοι μας
γιατί μειδιάζαμε στους πρώτους ενικούς

hashima_of ghosts

its 3.33 am. autoirrigation went on. again.

to see. to have seen. death to the bondage dreams.

i choose the words. i choose the dreams.

pripyat_50(000) to 0

choice has nothing to do with it. choice is luxury.

dream therefore exist. i spoke the imperative.

dream therefore escape. dream. and fail.

san zhi_futile dreams

all my silly dreams. breathless now.

mocking silouettes to be mocked again.

and again

i see them. black and white. i speak them

tribal workers/elina's tribute

Today's generation of high-earning professionals maintain that their personal fulfillment comes from their jobs and the hours they work. They should grow up says Thomas Barlow. Copyright The Financial Times Limited A friend of mine recently met a young American woman who was studying on a Rhodes Scholarship at Oxford. She already had two degrees from top US universities, had worked as a lawyer and as a social worker in the US, and somewhere along the way had acquired a black belt in kung fu. Now, however, her course at Oxford was coming to an end and she was thoroughly angst-ridden about what to do next.

Her problem was no ordinary one. She couldn't decide whether she should make a lot of money as a corporate lawyer/management consultant, devote herself to charity work helping battered wives in disadvantaged communities, or go to Hollywood to work as a stunt double in kung fu films. What most struck my friend was not the disparity of this woman's choices, but the earnestness and bad grace with which she ruminated on them. It was almost as though she begrudged her own talents, opportunities and freedom - as though the world had treated her unkindly by forcing her to make such a hard choice. Her case is symptomatic of our times. In recent years, there has grown up a culture of discontent among the highly educated young,something that seems to flare up, especially, when people reach their late 20s and early 30s. It arises not from frustration caused by lack of opportunity, as may have been true in the past, but from an excess of possibilities. Most theories of adult developmental psychology have a special category for those in their late 20s and early 30s. Whereas the early to mid-20s are seen as a time to establish one's mode of living, the late 20s to early 30s are often considered a period of reappraisal. In a society where people marry and have children young, where financial burdens accumulate early, and where job markets are inflexible, such reappraisals may not last long. But when people manage to remain free of financial or family burdens, and where the perceived opportunities for alternative careers are many,the reappraisal is likely to be angst-ridden and long lasting. Among no social group is this more true than the modern, international,professional elite: that tribe of young bankers,lawyers, consultants and managers for whom financial, familial, personal, corporate and (increasingly)national ties have become irrelevant. Often they grew up in one country, were educated in another, and are now working in a third. They are independent, well paid, and enriched by experiences that many of their parents could only dream of. Yet, by their late 20s, many carry a sense of disappointment: that for all their opportunities, freedoms and achievements, life has not delivered quite what they had hoped. At the heart of this disillusionment lies a new attitude towards work. The idea has grown up, in recent years, that work should not be just a means to an end a way to make money, support a family, or gain social prestige - but should provide a rich and fulfilling experience in and of itself. Jobs are no longer just jobs; they are lifestyle options.

web (fishnet)

sunrise #11398 (or so)

sunrise meets my eyes.
an audacity truly to call it that.
that i called it yesterday.
and the day before.
and the same goes for your skin.
"skin", from below, seen
as you walk out from the room, seen
"skin"

sometruth about thetruth

One day, while riding on a public bus, Sabzian reads a book entitled The Cyclist by film director Mohsen Makhmalbaf. The book catches the eye of Mrs. Mahrokh Ahankhah, and Sabzian, a film lover, impulsively claims that he is Makhmalbaf. He is invited into the Ahankhah household where he begins to survey the house as a potential setting for his new film. The Ahankhah family contend that Sabzian was taking an inventory of the house in preparation for a robbery. Sabzian explains that he was merely humoring the family's seeming interest in appearing in his film: a film that he, had he the financial means, would surely make. Soon, the sad, sympathetic portrait of Sabzian's life is revealed: a poor, underemployed printer's assistant, divorced by his wife, who found confidence and self-respect in impersonating the famous film director. But is his remorse genuine, or another act designed to win sympathy from the court? Is he playing a role for the benefit of Kiarostami's camera? (http://www.filmref.com/directors/dirpages/kiarostami.html)

p.50 s ernesto

ύστερα απο λίγο, έστρεψε το βλέμμα του προς τον πάγκο του μπάρ και είπε:

-Αυτή η Κυριακή ήταν τραγική. Χάσαμε σαν κρετίνοι, κέρδισε η Σαν Λορέντσο, κέρδισαν οι εκατομμυριούχοι, μέχρι και ο Τίγρης κέρδισε, θα'θελα να μου πείτε που πάμε, που θα σταματήσει αυτό;

Συνέχισε να κοιτάζει τους φίλους του, σαν να τους έβαζε για μάρτυρες, ύστερα ξαναγύρισε το βλέμμα του πρός το δρόμο και καθαρίζοντας τα δόντια, είπε:
-Αυτή η χώρα είναι μπουρδέλο.

अनेकान्तवाद

-the antinomy of the liar-

2. THE EXTENSION OF THE TERM "TRUE."
The predicate "true" is sometimes used to refer to psychological phenomena such as judgments or beliefs, sometimes to certain physical objects, namely, linguistic expressions and specifically sentences, and sometimes to certain ideal entities called "propositions." By "sentence" we understand here what is usually meant in grammar by "declarative sentence"; as regards the term "proposition," its meaning is notoriously a subject of lengthy disputations by various philosophers and logicians, and it seems never to have been made quite clear and unambiguous. For several reasons it appears most convenient to apply the term "true" to sentences, and we shall follow this course. Consequently, we must always relate the notion of truth, like that of a sentence, to a specific language; for it is obvious that the same expression which is a true sentence in one language can be false or meaningless in another...
/ ...
Since we have agreed not to employ semantically closed languages, we have to use two different languages in discussing the problem of the definition of truth and, more generally, any problems in the field of semantics. The first of these languages is the language which is "talked about" and which is the subject matter of the whole discussion; the definition of truth which we are seeking applies to the sentences of this language. The second is the language in which we "talk about" the first language, and in terms of which we wish, in particular, to construct the definition of truth for the first language. We shall refer to the first language as "the object language," and to the second as "the meta-language." It should be noticed that these terms "object-language" and "meta- language" have only a relative sense. If, for instance, we become interested in the notion of truth applying to sentences, not of our original object-language, but of its meta-language, the latter becomes automatically the object-language of our discussion; and in order to define truth for this language, we have to go to a new meta-language so to speak, to a meta-language of a higher level. In this way we arrive at a whole hierarchy of languages. (tarski, alfred) http://www.ditext.com/tarski/tarski.html

CHAPTER3_TRUTH REVISITED

+then you say

and then you say something like...i love it when you say little things obscene, when we lay in the dark, και μετά λες i wish i could talk to you to all the languages of the world i wish i could whisper to your ear to all the languages of the world και μετά λες, μου αρέσει να σου μιλάω στο αυτί, στα σκοτεινά i wish i could speak little words right through your ear to all the languages of the world i wish i could speak all the languages of the world i could then talk to you to all of them μου αρεσει να σου αρέσει and then you say you like saying things obscene when we lay in the dark i d talk to you to all the languages of the world, if only i could speak them να μου ψυθιρίζεις στο αυτί λέξεις σε όλες τις γλώσσες του κόσμου και μετά λες κάτι σαν

non words

friend you make me
wanting
to be silent
sister i cherish you for that

modifiers

kind of far from escape
function always taking sides with control
and then windows alternate
the vast (by analogy)
space

axiom/application/theory/practice

my other m

talking about actions creates the illusion of actually doing/ the dichotomy persists and it is bound to individual consciousness / the image of myself prevails over my real self/ the various images of my various roles i.e. the professional, the artist, the son, the partner, the lover are different to the actual roles/ the partner i would like to be and i could theorise for hours i should be, to the extent of preaching about it, or defending it blindly or violently arguing against anything else is actually different to my actual self and thus conflict is created/ is there a mathematical formula of the distance between perception of image of self over real self / does such distance correlates with the distance of other people in the various interactions of these roles of mine/ one or more / does awareness of the distance itself affects the distance / or some other process must begin /the most important question of all/perception of an ideal image –who would you like to be- is inevitable/does the continuous cultivation, nurturing and preservation of such image affect the actual self / can constant projection of this image eventually alter the self / or should the process be inverse

imagine now to try and tell your personal history only of actual events, your real events. without it was a time i felt i had to do this/without I was in love with S that is why i moved back to athens/ no explanations. mere facts. mere actions/ resist to all interpretations / resist to descriptions

i got up from bed, from the left side/ i walked about five steps out from the room/ turned left another three steps opened the door/ entered the toilet, (the daylight entered my eyes), i rubbed my eyes/ took the plane/landed in (rome)/ stayed in a hostel for two months/ moved to another flat/ lived with (an estonian animator) named M. and two romanian couples/ took the tram every day to go to college/met C. drank tea to the tea house off coliseum/went through trastevere on her scooter everynight except weekends/went to naples/ went to capri/ went to the office/ G. walked in the office/ he told me we would work together/ walked down north hill street/turned to plymouth ave/i went to cooperage/entered the (dungeon) gate/read the poster reading ozric tentacles/ (it was monday night)/ had e's and beer/ told A. i d'rather stay alone/ left the cooperage with A./ walked down to the sea by barbican/ i saw a sea gull eating a left over kebab/ and two guys making out/ A. pulled my arm away (as if she would like to take my attention away)/ I saw her pointing her finger to a window at a detached house overlooking the pier/she mouthed this is where i live/she asked me-why do you laugh/i heard my self replying something (i dont remember)/woke up/looked in the mirror /looked at the pier outside/(dark)/(the street was empty)/the lamp post was moving/i forced my fist to the window glass/ i saw blood coming out of index finger/i turned my head, some 30 degrees clockwise/raised my eyes/m. looking straight at my hand/m. approaching/f. breaking window left overs/put the key in ignition/ the fuel deposit feels warm in my legs/...

a history of actions

symbolo

αλυσίδα

thislittleimaginarylittleother

πάλι το ίδιο κάνεις, λες
πάλι ψάχνεις το δεύτερο επίπεδο
δεν υπάρχει δεύτερο επίπεδο
λες

α

CHAPTER2_MASTERS+SLAVES

(b). Fear
Φ 194. We have seen what bondage is only in relation to lordship. But it is a self-consciousness, and we have now to consider what it is, in this regard, in and for itself. In the first instance, the master is taken to be the essential reality for the state of bondage; hence, for it, the truth is the independent consciousness existing for itself, although this truth is not taken yet as inherent in bondage itself. Still, it does in fact contain within itself this truth of pure negativity and self-existence, because it has experienced this reality within it. For this consciousness was not in peril and fear for this element or that, nor for this or that moment of time, it was afraid for its entire being; it felt the fear of death, the sovereign master. It has been in that experience melted to its inmost soul, has trembled throughout its every fibre, and all that was fixed and steadfast has quaked within it. This complete perturbation of its entire substance, this absolute dissolution of all its stability into fluent continuity, is, however, the simple, ultimate nature of self-consciousness, absolute negativity, pure self-referrent existence, which consequently is involved in this type of consciousness. This moment of pure self-existence is moreover a fact for it; for in the master it finds this as its object. Further, this bondsman’s consciousness is not only this total dissolution in a general way; in serving and toiling the bondsman actually carries this out. By serving he cancels in every particular aspect his dependence on and attachment to natural existence, and by his work removes this existence away. (hegel, phenomenology)

sxoinaki (transcript almost)

a hundred thirteen goosebumped, gobsmacked stray dogs stroll along the marina
it s late. i can smell the salt of the sea teasing your curls
will the balloons ever fly?

a dancing spleen, a semi flirting tonic with gin
a rebel without a bra
and a star hidden in the dark
a moan echoing through the stretches of night
what does it mean ? no really
a bed in the dessert bizarrely lit
a shipwreck, a burning bridge
a wooden carriage simulating turtle motions in the reflections of sand
an old grandmothers bed, the only real bed
our bodies the way they should be
old children photos that would never be familiar enough
a stressed steering wheel
a wandering police car
viola, uri caine, juno
our own very personal culture
our own little private world
the sound of incoming sms
heart palpitations, a heart pace that goes boom boom boom
blueberry nights
a white hat with a red ribbon that i will never see at what it was destined for
a casual random bicycle ride
sweat from the armpits
we suffer of short memory and of the moon cycles
of bruised egos and of bruising egos
a very special descending tree
we suffer of learned patterns consistently wrong
of vanity
of lust
of vanity
will the balloons ever fly?