foraging

i don’t know

after the disenchantment you look at lichens

you look at stones,

you try to renew contact with the most elemental things

if you choose to live, you look at what clings

what clings is the lichen, the moss

the things that are there, invisible

you start by clinging to these little things

and you try to rediscover a form of wonderment

rediscovering forms in matter that are elementary

finding the intelligence of matter

matter has its own intelligence

using paint is also letting yourself go with the intelligence of matter

and it’s by looking at things outside

by looking at how they grow, how they function

that you can find, or try to find in painting

processes that are close to that

something that clings on

working on the skin of painting

like lichen is a skin on things

working on skin

skin being what links us to the world

and at the same time separates us and protects us

working on this surface

so sometimes it cracks

there are crevices, wounds, flaws

working on this skin, on painting like a skin

i don’t know … i don’t know

sperm, blood and shit

that’s all we’re made of

so, i don’t know, i saw in a psychiatric hospital

someone jerk his arse off till it bled

he was all covered in blood

saying you’re going to kill me, you’re killing me

and he painted

that’s the relation there can be between shit and painting

at some point in life

that’s all you can feel

… you become …

… you become only organic

shitting, pissing …

… ejaculating, …

… drooling, …

… bleeding

there’s a moment when that’s all there is, everything is reduced to that

maybe that’s when, yes, when your skin doesn’t feel right

precisely because there is no skin

you can’t feel the contact with the world

you can’t feel what separates you from it either

there’s just …

… what’s organic

there’s neither separation with the outside

nor contact

you’re completely imprisoned in excremental concerns

to find your skin again is finding that

and working on the skin of painting is about that

finding a relation to the world

something that at the same time separates

… connects

and i think

that being thick-skinned, being raw

to be skinned

all these expressions can be taken literally

when you arrive in a certain state

you really are skinned

dao de punk

dao is way

de is virtue

punk is rotten wood dust used as tinder

dao of poo

dao of physics

dao of punk

punk is darkness

punk is the incense of dust & shit & ashes

punk is the valley of dirty virtue

de subverts subverts itself subverts subversion

de turns back

de does not de

some things that were missed

• bicycles
• the blurring between humans and animals, humans and technology, humans and gods, humans and everything
• how politicians and businesspeople are manufacturing mental illness
• art. how art still isn’t being heard after 3,000 years
• how the reification of systemic exigencies mitigate difference, intention, competence at the executive level, ensuring any value of debate becomes moot through being transformed into scifi entertainment
• the roles of education and productivity in quietly enforcing patterns of deep destruction
• language. how those who don't speak money's language are being killed faster than the rainforests

writing ix

writing is neither magic nor a discipline. it is a prayer without any gods.

who writes for any audience? one writes for the rules that break the rules.

if writing is mostly waiting, why don’t writing workshops keep infinite waiting lists without any placement, fulfillment? then i might believe writing can be taught.

the bicycle trumps language in freedom. but language trumps the bicycle in mobility.

i inevitably say that i wonder if i wish i had never been introduced to writing. but i was. and now even the moon is ugly. and the unflushed toilet rises over the horizon of beauty like an amulet in a time of crisis.

writing rides a great bird of a 40 kilometer wingspan to the south pole in june. it skitters onto the back of a fish so vast one can see neither its head nor tail and travels to the victorious rainforests. yet one who writes neither rides nor is ridden, but sits in a shack of orbiting molecules glimpsing the flying of the bird and the swimming of the fish through bloated fogs.

i am a skeleton and writing is my flesh. so when the beautiful come to me and strip i say, i am a skeleton – let us put on words and then maybe we can sleep together. but the others often think they already are fleshed. and so we stare at each other across a valley of bones.

writing contains horrors in its jurisdiction. but this is saying nothing. every republic contains these. writing’s distinction is that its horrors are the simulations of the horrors of all other republics – including those that simulate other horrors. and this without end.

i’ve spent over 45,000 hours in aimless writing as an adult, caged by vision. at what point is the apprenticeship complete? i ask my non-existent master. at what point can i open up my own shop and sell my goods? and my non-existent master says, some who write are apprenticed in domains that exchange – if they exchange at all – unknown currencies, who are masters only at apprenticeship. because they have no master and thus don’t know how to be one, because they have too many masters and thus are overwhelmed by mastery, or because they are slow and the human span is insufficient to graduate from apprenticeship? i ask. but there is only a white page and silence and a trace of questions.

writing is a mode of existence. is it such a mode that one can be one of writing without writing? and this by entering a writing of writing in the way one can enter a poetry of poetry, a thinking of thinking, a behind behind behind – these innate attributes of mysticism? is this achieved by migrating the restraint of writing from exotericism to esotericism, from the whiteness of the page to the whiteness of the pageless void, a becoming that alchemically alters writing to be not itself, purifying word into silence?

writing viii

writing is a translation from one necessity to another. initially this translation feels like a freedom, but time translates the feeling of freedom to another necessity. so … from necessity through necessity to necessity. let no one then speak of writing as a pleasure, unless it is a dark one. yet writing laughs in darkness, in the way that death laughs. writing is the deepest of comedies. melville suitably placed these comedies in the ocean’s depths.

writing makes manifest the dna of the city and sets this against the cosmology of the observable universe, not in opposition but in radical and unspeakable union.

writing, in taking issue with time, is equally a covert energy at odds with money. not because time is money, as the commonplace goes, but because writing subverts everything … time and money simply being two of the dominant present commonplaces and so so easily subverted. (to say that time is money is only to reveal a wholesale incomprehension of time, money, and the copulative. time is as equally a cabbage or a totem.)

i would like to see rainbows not of colour, of spectra of light, but of text, of multihued words, appearing not in the sky as an arc but in the canopy of mind as supernumerary hyperspheres of dream.

writing stains white light with sins of blackness.

the towers of the city are trees. i cut them down with the axe of my mind and thinly slice them into blank surfaces for words that use my body for their transit.

i do not say these are my words, this is my work. at most i say these words may have, like dragonflies, settled once on my flesh. we are not each other’s. i have briefly been fascinated by their light and indifferent touch. they have briefly used me for purposes i hardly understand.

the seeming infinity of language is to action as the seeming infinity of the universe is to the earth.

oh words. what should i do with you in the dump of my soul? you do not belong there. it should be silence and flies.

when i write, it is not as if something draws me toward it. rather, nothing draws me. and in this empty picture or unused well i write and the words that form are water on water, some elemental union of void and deworded word.

i look at the city’s cells stacked like tarantula containers. words, fed weekly, taking years to grow, then crawling mature and fragile into a world of long and innumerable blades.

writing avoids the world’s causticities and hard illusions by ingesting them and shitting them out on soiled pages which humans sniff and, smelling themselves, celebrate. any true writer drily laughs behind its salaciously ascetic face.

i write the way i walk. aimlessly. with my eyes as legs. the city as the page and my flesh a pen. non-linearly. distracted. whole. diffused. holographic. hopeless but not despairing. open. omnipotent. free. deneeded. one.

writing vii

language wants to escape itself, even as we want to escape ourselves. language’s means is silence, ours technology. but silence and technology are bound similarly to language and the human.

even as i cannot consider the human an expert commentator on itself – but only one voice among many, hardly privileged because it tends to be perceived to be located on some inside and the inside perceived to possess in some sense superior perception – so i cannot consider myself an expert commentator on myself. yet we – and i – cannot help comment. the gap between this cannot consider and cannot help is a charter of writing. yet most writing comes from the cannot help.

when we say the external world doesn’t exist – or that it exists solely or primarily as a function of imagination – we point to maps of spaces of writing. for writing re-enters voids not to create worlds about which it is debated whether they are illusory or real but to create spaces that might point to maps, so making any discussion of existence and non-existence, their locus or non-locus, moot.

we don’t have to create another world, through politics or technology. that other world is here, already, in language – all we have to do is enter it, although the policies and procedures for immigration are never explicit and always morphing.

do i write in privacy and loneliness? i enter privacy and loneliness – or at least the porches of the cottages of their names. then writing happens. writing is the odd breath of souls loosened in the unsegmented world.

writing! a dialogue with mirrors’ mute flat infinity.

to trek through writing’s dense empty forests, the only respites deserts and carnivals, is to become so used to nomadic minimalism and survivalist ingenuities that i confuse life and those techniques required to navigate writing’s environment.

writing is violence, but a violence so processed by violence violence destroys itself and only writing remains.

nothing here, he says, after having purchased an excursion package to writing. but writing is a selective mute.

writing? an empty boat on a river, unmoored, drifting, unseen, in which time may have ridden once, its traces smelly, like a deep navel never cleaned?

writing subverts itself. so that in the end – though there is no end – it gives up itself. what is left? a useless acquiescent subversion? questions of the methodologies of giving up? atonal memories? convalescence? palliation? a wellness that refuses its name? these are questions of death, of the root of the religious quest, where neither spirit’s presence nor absence can claim ascendancy and its mutability presents itself in objectifications, its mockery in reifications, its incommunicability in subjectifications. am i not seduced by writing as its voids are passable simulations of death and so hold the eternally lost key to life?

writing vi

with few exceptions, i have preferred writing that has emerged from places of exile, horror, estrangement, despair, anger, darkness, confusion, transgression – these shadows of culture, these dumpsters of health. so to write the first step i knew was to travel to these spaces and make them my home. writing would then happen, a product of this environment, as much as wellness is a product of capitalistic society.

writing is a cold love, but it is a love. and its coldness can feel like a welcome from the unreliable heat of what is normally called love. never familiar, it’s familiar. never intimate or reassuring, a dark companion.

these many languages of writing. journalism, scholarship, business, politics, technology, philosophy, mysticism, criticism, affection, lust, play, speculation, whimsy, … isn’t each a celestial object, artificial satellite, bound by gravity, electromagnetism.

i don’t want to write until i write well – i want to write until i can’t distinguish well and sick. the whole world recognizes the beautiful as the beautiful yet this is only the ugly, the whole world recognizes the good as the good yet this is only the bad.

thought is primarily oneiric not rational; its rationality is valid but secondary, posterior in time and being to dream. writing translates the dream of thought to language; communication articulates thought’s reason.

writing is death. the only death remaining us in this age of virtualized death. writing is death because it replaces the body with itself and kills the operations of the human in the body. it teaches nothing, aims for nothing, loves nothing, advocates nothing. its selfishness and selflessness are vast – the former in that it doesn’t care for others, the latter in that it doesn’t care for itself. writing is not itself. it is the dead other that has taken over as host of the human. so zombies and immanence assume popular and intellectual consciousness. but writing is the mother of zombies, the father of immanence. it eats through the world at the speed of words. first and last technology, it surrounds the fat societal middle from within and without and consumes it until all that’s left of society is air. so there is air disguised as society and writing disguised as nothing and here we are in the consummation of love. this consummation doesn’t care for the causes of liberation – whether gendered, sexed, raced, classed, specied – for in it these causes have been completed in an age so primitive its memory is only available in dream.

only the dead write and only the dead read. books are the means of communication between the dead and the dead.

no longer is there writing on the wall. the wall isn’t there, broken by dreams of unity. writing is written on the air … yet the question remains the same: who would there be to interpret the words, and what power shall die tonight to be replaced by another face in the parade?

writing isn’t about names, but about the indistinguishability of names and the unnamed.

literature has taken the burden of assuming the vestiges of nature – a realism heaped on humanity’s urban shoulders. the exorcistic spasms of surrealism and dada have been forgotten and nature’s contingencies have flooded the aesthetic realm of words.

to write about the body offends the body, which is what such writing, intentionally or unintentionally, aims for – to reproduce the offense it has suffered. writing writes from the destroyed body, aiming to reproduce beings inviolate.