at the altar of sobo a3

a human in a wheelchair crossing a street gets hit by a car

            next scene :

human in wheelchair is in a wheelchair … gets hit by a car

            this continues indefinitely until the human’s dwarfed by mobility prosthetics

apply islam’s naming convention of cities (allahabad, mohammadabad) to legacy christian cities :

       old name  new name

new york        jesusabad

london           christabad

paris              maryabad

moscow         godabad

the people are necessary to show the idea of eternity

            gods, you who gave the soul senses to perceive the soul

begin a children’s story like this, continuing …

mixter dickspittle and mixter clitspittle, lickspittles of spittleville, lived spritely …

include it in the grade 3 curriculum

in a barstucks in a privileged geriatric neighbourhood

grabbing an americano to make it through an unwanted afternoon

the old dood in front of me – i only call him old because he sounds old, in the way many young sound old – says when asked by the 12-year-old barista his name is bruce. i say my name is krishna. she asks me to spell it. j – o – o – d i say. she writes something down and says to me – your drink will be down there bruce. i say thanks bruce.

it’s a bruce-all-around afternoon

the 190cm 90kg allmeat black dood at the dispensary who checks my id laughs at my honky name. i blush the colour of a cheap coffin and say i’m changing it to jaylen

we have flight, urban, robotics, ergonomics, weather, finance, disaster, biomechanic, sales & production simulations, but shouldn’t we – considering its centrality to all things human – have developed by now a death simulator we can enter?

            but it was developed long before us! – ayahuasca – this molecular exploratory death simulation device

the transference of language from human atmospheres to its substrates. so silence is only a name for placing of human language in the context of language – humans then becoming quiet in comparison

banisteriopsis caapi instructions for facing plant void to void –

s          it up

o          pen your eyes

b          reathe

o          pen your hands

a¹        give clichés as presents to those who require clichés

wrap up lies for those who love lies

a²        never do i hate myself so much as when i hate myself

a³        it’s only the thought of carrying i mind carrying through security

forgetting i

forgetting is not the opposite of memory, but memory’s vitality and operations.

we say a primary function of technology is to help us remember – but, truly, its far greater function is to help us forget.

a crisis of humanity is its historic overdependence on natality to perform its chief creative – and so intelligent – function:  forgetting.

forgetting is directly proportional to truth in a similar manner to truth being directly proportional to loss and darkness.

forgetting and time are less related through death, as humanity has been inclined, and more through emptiness, of which death is but a simulation.

forgetting is a primary portal of truth – hardly of words, hardly even of knowledge, for truth’s portals are misnamed in the marketplace and one passes by means of the arts of diminishment.

forgetting is not an act of denial – which is a counterbalance and force of memory – but an ascent of affirmation, an ascent of neither balance nor force.

are you running away again? a neighbor asks me as i head out.  i never run away but only towards, i say.  such is a call and response of forgetting.

forgetting, like unlearning, like love or art, is a path forward that seems to lead backwards.

time is a child of forgetting and volition; let go of volition to forget blood’s thorny strictures and pour into one’s empty self.

time changes, but not readily.  so the migration from solar-lunar time to digital-clock time has been bumpy, slow, bloody, with the sun and moon still there, awkwardly, in the artificial sky.  forgetting in a technological age is digital.

analog forgetting is magical but digital forgetting is factual; nevertheless, each is an equal mode of time, with its own possibilities and limits.

collective forgetting embraces and is embraced by – an embrace of living death, eros’ animate skeleton – individual forgetting.  in this embrace, original and reproduction transmogrify into one another, authenticity and simulation, being and seeming, forgetting and returning.

forgetting is an oubliette, a secret dungeon reached only through a trapdoor.  the seen stage is public and sanctioned memory, but the purchased and articulate drama is sustained by the powers of forgetting, that which is often called negligence or irresponsibility by the ostensible powers.

a given society’s configuration of memory and forgetting reveals more about concentrations of energy than any worth that might have become sacred in these configurations.

forgetting is a letting go of grasping, an un-getting, a slipping of named power, a losing from and of mind, a failing of force and story.  forgetting is renewal, protest, a way out.

forgetting is the oblivion we distantly remember, the newness, fear and awe that are a periodic table of alchemical elements of our desire.

i no longer remember – i allow emptiness to remember on my behalf:  more efficient, yes, but also – more precise.