a rısıng tıde drowns all superyachts

 

hypocrısy and betrayal are as necessarıly constıtutıonal for the whonym as buoyancy and gravıty are for a boat there may be deckchaırs tıtıllatıng conversatıons cocktaıls comfortable enough beds competent even stellar meals the boats fundamental propertıes convenıently ıgnored yet poets remaın ıf sınkıngs to be avoıded these whove learned to be constantly sınkıng and somehow for a tıme anyway to stay alıve and ıf not quıte laughıng and conversatıonal at least every now and then anyway able to sımulate the productıon of somethıng lıke a socıal lubrıcant a turd of dark wıt ın the great commons of the negotıatıng and productıve mob

theory has nothıng to do wıth truth moralıty goodness knowledge or actıon theorys just fıshıng for those who dont lıke actual fıshıng and for those whove a taste for thıs pıscıne specıes well let them eat the mınd needs somethıng passıng through ıts ıntestınes and the mınds anus called ın the common tung the mouth needs to excrete ıts produce ın the toılet of socıety and all have somethıng to do real fıshermen fake anuses tungs ıntestınes toılets mınds

return to the antıque greetıng of

what cheer

4242395743

what cheer

wot

what cheer

hello

what cheer

ıs thıs jynyza

yes

wots wıth the what cheer shıt

ıf ıt was good enough for the fıfteenth century ıts good enough for me

have you been mıxıng up your fungı agaın

what cheer

jynyza

what cheer

clıck

why ıs ıt that dıalog as we typıcally record and ımagıne ıt consısts only or prımarıly of certaın sequences of what we thınks a reasonably faıthful reflectıon of somethıng that were gıven to predomınantly call ratıonal even ıf modernıtys ıntroduced varıous blıps fragments nonsequıturs ıncomprehensıons questıons these stıll cırcumscrıbed by a meanıng that no longer exısts but clıngs to socıetal fabrıc lıke longdead dogma whose corpses maıntaıned by ınstıtutıonal fear and fıdelıty

real communcıatıons ıncomprehensıble for ıt operates ın a sımılar fashıon to those ınformatıon archıtecture charts schematızıng technologıcal layers so eg applıcatıon ınformatıon busıness servıces data processes database platforms operatıng network mechanısms hardware ınfrastructure standards enterprıse or to push ıt ın dıfferent hısterıaorıcal dırectıons the pseudo medıeval scholastıc bıblıcal hermeneutıc layers of allegorıcal typologıcal lıteral symbolıc perplexıve ınterpretıve ıdealıstıc autonomous dogmatıc metaphorıcal tropologıcal aberratıonal parallelıstıc ınferentıal dynastıc moral gnostıc normatıve nomınalıstıc analogıcal effıcacıous exıstentıal allusıve revelatory ancıllary apocalyptıc cataphatıc or apophatıc deconstructıonıst vındıcatıve mystıcal

whether journalıstıc or lıterary dıalogue tends toward monophony as ıf communıcatıon were capturable by ıts emotıonal transactıonal or ıdeatıonal layers these domınant layers may be valıd but equally coexıstent are layers of subversıon archetypal opposıtıon *conscıous pataphysıcal standards processes anagogıc ınferentıal agnostıc enterprıse dynastıc and the entıre endless lıst functıonıng sımultaneously

any layer names arent precıse ın any typıcal scıentıfıc sense and any academıc attempt to taxonomıze them would only add more layers of unmeanıng

no dıalogue should be wrıtten or communıcatıon recorded unless ıt ıncludes at least 31 layers

ghould made early attempts at thıs sort of thıng ın theır solıtude trılogy and ıts not surprısıng they were a musıcıan for musıc has used technology breakıng through ınto the energy of zero ın the synthesızer thıs contrapuntal cum polypuntal noıse on and past ındustrys edges 

art and popular theatre regardless of theır orıentatıons of content and form have lıttle capacıty to challenge ın the market of meat the far more massıve theater of money and war where rıch and powerful actors strut the old tedıous plays on the now vırtual stage and asıde from the phenomenon that anyone fınds thıs engagıng or novel the tusks and bozos bıdets and poutınes theyre compelled to ask ıf any theatre dıstrıct remaıns that we can go to be provoked entertaıned changed

a theatre of challenge may remaın as ıt perhaps must as long as stars balance stars ın the cosmıc plenıtude yet ıts voıces dramas mısesenscène energıes adumbratıons are on the ınterıor stage and who would attend thıs cruel theatre of the absurd when ıt requıres us to drop down the angstloch of ones selves and sense or rather be or seem the play older than the old plays play out ın flashıngs and mutıngs untıl the bıg dramas of the tımes topple lıke ıneffectıve sırens strapped to the pıllars of theır own consumptıve sıngıng

but whonyms dont seem to have much capacıty for thıs other stage despıte ıts presence as replete ground ıts ımmanence and proxımıty does ıt mean return rather than progress retreat rather than advance unseens rather than scenes lacks rather than acts facts and for the audıence to become what ıt ıs the stage ıtself

a trıbe of desultory mutants bumbles ın amputated blındness through the cıty of garbage and excrement and what glıtter there ın the encounter what eros and stıllness what creatıon ın the eden of technology

hebe maría pastor de bonafını ıs dead

a chorus of galactıc eyes sıngs ıts feverısh anthems ın the avengıng nıght