3.11.19

raningdeo is lord of poogul




raningdeo is lord of poogul
annals and antiquities of todast'han

a quadritridvadashamrilleglia
for horses or humans or spirits or litters

on the occasion of the days of the dead
with thanks to the myths in time and the times of myth

for the majnūn, who know no rest
whose voice is the disavowed word

raningdeo is lord of poogul, a fief of jessulmer, its heir sadoo the terror returning from a foray with a train of captured motbots and calendars and society settling like a tin djinn into its domestic night

the town itself is nothing, a ghazipur of discontinuities rising from the rohilkhand into a babel of stench and religion that were it transit might be charred rakes derailed with their corpses still in bed

the terror runs now from azamgarh to renukoot, its pillage clanking through the many meters of its draw and time and words like cracked fotdellas on a pilgrimage to a ghost museum of the memory of noise

raningdeo’s not in poogul but feudal rawul bersi and the mooltans tend to the lord’s tender tenders which have weakened due to changes in the politics of movement and a hump slug’s usurpation

majnūn don’t rule the town and some say in disputed tales its rabid refuse rises from the majnūn’s lack of power, not in sigils and the like but in vivo in the councils in cloister in that scrimmage in the night

its heir like wallabies rides now like clepsydral drops of chartreuse green, its capture clunk and skeleton and days like charades of mobs in objectless trances in thrall to hydroponic hallucinations of a diwali bed

raningdeo was born in poogul but jessulmer’s the thing and it scuttles subbul sing of feeroz when it can though the rahtore-bhattis of mehwo-birsil dislike this subterfuging and make behind a lot of noise

waste like love’s not much of time but in accursed excess comes into time and so the town has much of waste and little love and the majnūn hide in death’s and language’s conjunction, that usurpation

from foray to poogul tears raningdeo’s scion, all booties flying now like english pigeons who’ve sloughed their heritage to scrying ghouls infiltrating the souls of christians in the pull and track of night

but raningdeo’s, who will not die in poogul but baber rawul bersi in no care of rao’s ensemble neither economical nor kind and jessulmer like polymers an ideal chain of random walking, in bed

so the town like talk or clocks scrabbles to heights of middenness which in turn return the gaze and sniff on lonely majnūn loafing through the lands of thoughts of corpses turning a different noise

sadoo, as the bed of bersi fades and the lord’s night roused, as noise of toxic mountain nears and majnūn falter to dawns of screeching pillage, too falls to a reeking council’s cloister’s usurpation



the madness that has been socially politically and philosophically repressed
has nonetheless made itself heard
has survived as a speaking subject
only in and through literary texts


between literature and madness there exists an obscure but essential kinship
a kinship entailed precisely by whatever blocks them off
by that which destines them alike to repression and disavowal

2.11.19

esotatic


-->
coming soon at doktor jude peer
academia.edu
groundbreaking research on the esotatic

it talks the scripts about the scripts. i talk the scripts about the scripts about the scripts about the scripts about the scripts. so we’re barely able to communicate

it fortunately though in talking about the scripts about the scripts has many more humans to talk with than you do

fortunately?

the scripts about the scripts form the common discourses, divided by tribe into dialects and the dialects either can’t understand each other or fight, and the scripts themselves and the scripts about the scripts about the scripts the political and academic-artistic common discourses respectively, the scripts about the scripts about the scripts about the scripts thinking and poetry, already too far removed from the common to be accessible to those who don’t fluently speak the scripts about the scripts about the scripts (or speak fire directly, which is a different matter). the scripts about the scripts about the scripts about the scripts about the scripts though …

unfortunate and fortunate

like all the scripts in all their nests, but with different hues and trapdoors

we each wander in our verdant wastelands making sense to the humans of our scriptiness

or when you’re many rings away from scripts making sense – if at all – perhaps only to scripts and not to humans at all but almost nothing

but what about the scripts themselves

this is where i think it gets interesting – not in the scripts themselves, which, like the scripts about the scripts, are factories of cliché (the difference being that the scripts themselves are the clichés that form the clichés of the clichés) leading one to think that it’s clichés not just all the way down but all the way out. but this isn’t necessarily the case. for the scripts themselves depend on the fire of the energy of action – socially dominant humans simply being an energy that translates fire into cliché and for this they’re rewarded with fame and money and gonads and occasionally deposed – all this what the scripts about the scripts talk about, dominating their imaginations and language. but the further out you go the cliché can’t hold, it begins to break down, and history is the process of adding more rings (another script about the other scripts, another script about the closest script) to maintain distance from the cliché. some who talk the scripts about the scripts about the scripts about the scripts about the scripts also talk the scripts about the scripts about the scripts about the scripts and a few also talk scripts about scripts about scripts but once you get that distant from the action the scripts frankly become fairly tedious and it becomes a question whether the scripts about the scripts about the scripts about the scripts about the scripts aren’t primarily anymore scripts about the scripts about the scripts about the scripts about the scripts but scripts about something else … and what this something else might be – whether it’s possibly the same energy of fire that forms the scripts but with different translation tools and without the action – becomes, in part at least, the script for those who talk the scripts about the scripts about the scripts about the scripts about the scripts. this process of adding rings of scripts, the talking of the scripts about the scripts about the scripts about the scripts about the scripts about the scripts andor just the scripts with different translation tools, the talking of this andor … all this i call the esotatic

some, even you, would object to this seemingly linear stretching and would rather talk of an enfoldedness of the scripts, holographic and rhizomatic structures, that your so-called esotatic is a false geometry designed primarily to signify yourself because you’ve lost the ability to speak the scripts and thus lost significance

any worthy talker of the scripts about the scripts about the scripts about the scripts about the scripts admits this possibility and any other possibility that’s capable of being geometricized. or mapped. and what isn’t? it doesn’t change we think the esotatic or the discourse of and in the esotatic. all these geometries could easily be true and the stretching we’re emphasizing presently just a brief sojourn through certain arrangements that presently present themselves, without any particular commitment to them as system, even as script. and isn’t it partially this lack of commitment, that open mappedness, that are attributes of the esotatic and – we might dare to say – also attributes of fire

opening up of course the old wars of who legislates – the warrior, the poet, or the priest

in today’s terms – the politician, the creator, or the scholar

though wouldn’t we have to add the business mogul and the scientist

different ways to slide the why

and this script – what kind of script is it?

i have no idea. we blab. we blab our meat as it moves through meat

is blabbing scripting? how are blabbing and meat positioned in relation to fire?

we are flows of questions, the script collapsed into the script

1.11.19

z|z•‖┃☟┃‖•ÿῥῤñ-˚¨˚`˝´~ ͂ˉ˚

-->
while ao spare in the fervor of his visions reconstituted the sigil from its roots in summoning energies in the exoteric world to creating energies from the esoteric – a process as far removed from its origins as metaphysics from physics – here, in the 9 rolling hyperspheres of gløm, in this fervor inspired by the conjunction of koo-shqa and a wayward marmot, sadoo z|z•‖┃☟┃‖•ÿῥῤñ-˚¨˚`˝´~ ͂ˉ˚ migrates equally as far away from that which migrated away … sigilizing at a distance from spare commensurate with the distance between spare and its predecessors, from ˙pataphysics to metaphysics

what achieves this?

nothing

the sigil is not located here or there, outside or inside. it does not refer to pre-existent entities in heaven, hell, or earth; nor does it provide the capacity to conjure from the subconscious. it does not refer, it does not provide. the sigil does nothing, creates nothing, curses or blesses nothing, helps or dooms nothing, is nothing

our sigils – their hierarchies and disorders, their names and numbers, glyphs and energies – are empty sets upon empty sets upon empty sets. they are devoid of magic and intent, representation and outcome, force and symbol, will and work, meaning, significance, association, nostalgia. they are devoid of themselves

one plays the 9 rolling hyperspheres of gløm by having two stacks before one : the first stack consists of overturned cards with the 81 names, the second of overturned cards with the 81 sigils. one proceeds by drawing randomly a card from the name stack and likewise a card from the sigil stack. this matching of name and sigil becomes the match until one redraws. one can also play other ways. any discourse you might have heard in previous or future texts of purpose or meaning is contrary to the 9 rolling hyperspheres of gløm

the authors would like to thank – and by wanting to, do – sadoo z|z•‖┃☟┃‖•ÿῥῤñ-˚¨˚`˝´~ ͂ˉ˚ for its part, as well as ao spare and the anonymous creators of
clavicula salomonis lemegeton and related texts of medievality and prior, for theirs. we all work together across illusions of time and space in increasing abstraction to the attainment of nothing by also of its means

our 81 sigils and names may also point to, though also without meaning, the 81 voices of the members of the council of i, who argue around the table of nothingness, and these voicings can be considered in the matching of the names and the sigils