Thursday, November 24, 2005

Meshes of the Afternoon (2nd Meditation)


“What I meant when I planned that four stride sequence was that you have to come a long way – from the very beginning of time – to kill yourself, like the first life emerging from the primeval waters.”
Maya Deren from a letter to James Card, April 19th, 1955

“…and finally, film itself, changes the widow into a bride.”
Ibid

And it may occur that, of an afternoon, these restive captives of memory – refreshed by new contexts and released by the lax discipline of sleep – may triumphantly regain the province of actuality.
Maya Deren, from 1960 “program notes”*

You can imagine the not yet
the no longer
dead shadow picks
a shadow a
shadow to begin

With subjective
shots
to begin
one desires across
time form

The form of
the shadows of
a flower - here
we begin yet
to double here

You decide
this double the
widow not yet
of ritual

No longer dead - or not
a widow any
longer when you move
when you
move with
what the shadow starts
the subject
of song to initialize

Your death not yet
not
yet a universe
for your death
and the objective
shot
the objective
of all form

For the widow to become
a bride
transfigured
key to palm
Sunday – those girls
always sung
by carol / canon
to become

Disciplines
of a weapon – in spring
time again
floating - a leap
in reverse
floating
cuts to dance form

Form Sunday
again no longer
seeing to be
seeking

With mirrors
for eyes a critical
emotion a complex
to be sung
to transfigure or
carry over
from verse to verse
inverse
mirrors for eyes

Or eyes for mirrors

Years or

A single
mirror for the
accreted
face those girls
if taking life would not be
taking life
as if at the end again
of every evolution cut
to carry across
torturous
forms the rigors
of which we are always
you are always
to take

Again no longer
seeking merely to be

Recussitated and suicided both in a dream

Is to keep dreaming and is to
no longer dream
however unwoken
by a form

The shadows
of form to pick
a flower is to recur
to all time it is to entrance
to find
entrance – the portal
of all lives

Images to pick
a key or a knife

Dynamite is no choice
emotional volitions objects
to which
the shattered the
accreted recur –
a complex

This too is experience
the occulted
bride not spoken
on film
the throat
one must imagine
broken but not slit

Are these the hells you must pass
through the mirrors through which
you shoot holes to ever be?

To keep seeking

To by necessity
be the bride
the widow
turned bride
of all these walks
cuts of life

Suicided
again in a time
not yet your own
the mirror-breath
the breath on
the mirror
in a time not yet
and again memory
nearly as inexhaustible
and shattered by
blood


*all three epigraphs from Essential Deren (Documentext, 2005), ed. Bruce McPherson

Wednesday, November 23, 2005

This Is Your Brain Under Hypnosis

Below is a transcript of an interesting article published yesterday in the NY Times, compliments of the "virtual" subscription of my friend, Abby Walton. Perhaps this article confirms what many of us already suspected about mind / body relations?

There is only one time any one has tried to hypnotize me with my consent (of course we are suspeptible to hypnosis all the time from media sources, attentional dynamics of "every day"), and that was in Tony Conrad's 2000 Contemporary Alternative Media seminar. During one of the class periods Conrad read from the sessions and exercises of the "hypnotherapist," Milton Erickson (who's a good read for any one interested in hypnosis and language pragmatics / performance). Conrad's performance of the text was very effective, putting most of the class in trance as far as I could tell. Confirming the below findings, the people who seemed least affected were myself and others pursuing degrees in English / languages, etc. (ones involving extensive "close" reading / writing). Those students working primarily with (tele)visual media seemed to "fall" much more easily.

I am glad to know hypnosis is being taken seriously by science since understanding it better is obviously a "key to consciousness". If only such researchers could link up w/ folks like Conrad who have brought research into aesthetic, pedagogic, and practical realms. As a threshhold for attention and therefore mind is hypnosis not a means to analyzing disciplinary modes and flows of power within cultures, especially highly mediatized ones? A politics of "feedforward" and "feedback"? Not to mention, as always, a poetics...


This Is Your Brain Under Hypnosis

By SANDRA BLAKESLEE
Published: November 22, 2005

Hypnosis, with its long and checkered history in medicine and entertainment, is receiving some new respect from neuroscientists. Recent brain studies of people who are susceptible to suggestion indicate that when they act on the suggestions their brains show profound changes in how they process information. The suggestions, researchers report, literally change what people see, hear, feel and believe to be true.

The new experiments, which used brain imaging, found that people who were hypnotized "saw" colors where there were none. Others lost the ability to make simple decisions. Some people looked at common English words and thought that they were gibberish.

"The idea that perceptions can be manipulated by expectations" is fundamental to the study of cognition, said Michael I. Posner, an emeritus professor of neuroscience at the University of Oregon and expert on attention. "But now we're really getting at the mechanisms."

Even with little understanding of how it works, hypnosis has been used in medicine since the 1950's to treat pain and, more recently, as a treatment for anxiety, depression, trauma, irritable bowel syndrome and eating disorders.
There is, however, still disagreement about what exactly the hypnotic state is or, indeed, whether it is anything more than an effort to please the hypnotist or a natural form of extreme concentration where people become oblivious to their surroundings while lost in thought.

Hypnosis had a false start in the 18th century when a German physician, Dr. Franz Mesmer, devised a miraculous cure for people suffering all manner of unexplained medical problems. Amid dim lights and ethereal music played on a glass harmonica, he infused them with an invisible "magnetic fluid" that only he was able to muster. Thus mesmerized, clients were cured.

Although Dr. Mesmer was eventually discredited, he was the first person to show that the mind could be manipulated by suggestion to affect the body, historians say. This central finding was resurrected by Dr. James Braid, an English ophthalmologist who in 1842 coined the word hypnosis after the Greek word for sleep.

Braid reportedly put people into trances by staring at them intently, but he did not have a clue as to how it worked. In this vacuum, hypnosis was adopted by spiritualists and stage magicians who used dangling gold watches to induce hypnotic states in volunteers from the audience, and make them dance, sing or pretend to be someone else, only to awaken at a hand clap and laughter from the crowd.

In medical hands, hypnosis was no laughing matter. In the 19th century, physicians in India successfully used hypnosis as anesthesia, even for limb amputations. The practice fell from favor only when ether was discovered.

Now, Dr. Posner and others said, new research on hypnosis and suggestion is providing a new view into the cogs and wheels of normal brain function.

One area that it may have illuminated is the processing of sensory data. Information from the eyes, ears and body is carried to primary sensory regions in the brain. From there, it is carried to so-called higher regions where interpretation occurs.
For example, photons bouncing off a flower first reach the eye, where they are turned into a pattern that is sent to the primary visual cortex. There, the rough shape of the flower is recognized. The pattern is next sent to a higher - in terms of function - region, where color is recognized, and then to a higher region, where the flower's identity is encoded along with other knowledge about the particular bloom.

The same processing stream, from lower to higher regions, exists for sounds, touch and other sensory information. Researchers call this direction of flow feedforward. As raw sensory data is carried to a part of the brain that creates a comprehensible, conscious impression, the data is moving from bottom to top.

Bundles of nerve cells dedicated to each sense carry sensory information. The surprise is the amount of traffic the other way, from top to bottom, called feedback. There are 10 times as many nerve fibers carrying information down as there are carrying it up.

These extensive feedback circuits mean that consciousness, what people see, hear, feel and believe, is based on what neuroscientists call "top down processing." What you see is not always what you get, because what you see depends on a framework built by experience that stands ready to interpret the raw information - as a flower or a hammer or a face.

The top-down structure explains a lot. If the construction of reality has so much top-down processing, that would make sense of the powers of placebos (a sugar pill will make you feel better), nocebos (a witch doctor will make you ill), talk therapy and meditation. If the top is convinced, the bottom level of data will be overruled.
Skip to next paragraph

This brain structure would also explain hypnosis, which is all about creating such formidable top-down processing that suggestions overcome reality.

According to decades of research, 10 to 15 percent of adults are highly hypnotizable, said Dr. David Spiegel, a psychiatrist at Stanford who studies the clinical uses of hypnosis. Up to age 12, however, before top-down circuits mature, 80 to 85 percent of children are highly hypnotizable.

One adult in five is flat out resistant to hypnosis, Dr. Spiegel said. The rest are in between, he said.

In some of the most recent work, Dr. Amir Raz, an assistant professor of clinical neuroscience at Columbia, chose to study highly hypnotizable people with the help of a standard psychological test that probes conflict in the brain. As a professional magician who became a scientist to understand better the slippery nature of attention, Dr. Raz said that he "wanted to do something really impressive" that other neuroscientists could not ignore.

The probe, called the Stroop test, presents words in block letters in the colors red, blue, green and yellow. The subject has to press a button identifying the color of the letters. The difficulty is that sometimes the word RED is colored green. Or the word YELLOW is colored blue.

For people who are literate, reading is so deeply ingrained that it invariably takes them a little bit longer to override the automatic reading of a word like RED and press a button that says green. This is called the Stroop effect.
Sixteen people, half highly hypnotizable and half resistant, went into Dr. Raz's lab after having been covertly tested for hypnotizability. The purpose of the study, they were told, was to investigate the effects of suggestion on cognitive performance. After each person underwent a hypnotic induction, Dr. Raz said:

"Very soon you will be playing a computer game inside a brain scanner. Every time you hear my voice over the intercom, you will immediately realize that meaningless symbols are going to appear in the middle of the screen. They will feel like characters in a foreign language that you do not know, and you will not attempt to attribute any meaning to them.

"This gibberish will be printed in one of four ink colors: red, blue, green or yellow. Although you will only attend to color, you will see all the scrambled signs crisply. Your job is to quickly and accurately depress the key that corresponds to the color shown. You can play this game effortlessly. As soon as the scanning noise stops, you will relax back to your regular reading self."

Dr. Raz then ended the hypnosis session, leaving each person with what is called a posthypnotic suggestion, an instruction to carry out an action while not hypnotized.

Days later, the subjects entered the brain scanner.

In highly hypnotizables, when Dr. Raz's instructions came over the intercom, the Stroop effect was obliterated, he said. The subjects saw English words as gibberish and named colors instantly. But for those who were resistant to hypnosis, the Stroop effect prevailed, rendering them significantly slower in naming the colors.

When the brain scans of the two groups were compared, a distinct pattern appeared. Among the hypnotizables, Dr. Raz said, the visual area of the brain that usually decodes written words did not become active. And a region in the front of the brain that usually detects conflict was similarly dampened.

Top-down processes overrode brain circuits devoted to reading and detecting conflict, Dr. Raz said, although he did not know exactly how that happened. Those results appeared in July in The Proceedings of the National Academy of Sciences.

A number of other recent studies of brain imaging point to similar top-down brain mechanisms under the influence of suggestion. Highly hypnotizable people were able to "drain" color from a colorful abstract drawing or "add" color to the same drawing rendered in gray tones. In each case, the parts of their brains involved in color perception were differently activated.

Brain scans show that the control mechanisms for deciding what to do in the face of conflict become uncoupled when people are hypnotized. Top-down processes override sensory, or bottom-up information, said Dr. Stephen M. Kosslyn, a neuroscientist at Harvard. People think that sights, sounds and touch from the outside world constitute reality. But the brain constructs what it perceives based on past experience, Dr. Kosslyn said.

Most of the time bottom-up information matches top-down expectation, Dr. Spiegel said. But hypnosis is interesting because it creates a mismatch. "We imagine something different, so it is different," he said.

Tuesday, November 22, 2005

"fallenness in reverse" (Reply)

thanks for the comment on the blog, Devon. It is the best first comment I could have hoped for -- other than ones selling penis enlargement pills. Of course there is no "perfect pulse" / perfect infamous willful body -- except in the imagination? Hence "the survival of images"? The virtual body?

I was just reading today the debate between Kojeve / Leo Strauss after Strauss's *On Tyranny* and Kojeve's quotation of Hegel (which I paraphrase): Spirit is that wound which leaves no scars. Maybe I want to reverse that -- wanting to locate scars where there were never wounds. A "perfect" scar? My ongoing "traumatic discourse".

Haunted also right now by these Mandala tapestries I just saw at the Natural History museum, especially the spaces reserved for "tortured souls" and wondrous masks hanging behind displays. Of the Mandalas we might say the same thing my friend Gordon observed of the dinosaurs: that they are entirely "too much of this world," where I take the normality of tortured souls and dinosaurs alike as a sign of our virtuality or fallenness in reverse (perhaps more terrifying than being fallen, Felix Culpa, etc.)

Monday, November 21, 2005

The Survival of Images*

As yet
what you didn’t
remember before
comes back
the consequence of what
you didn’t
remember before
keeps coming
back
the way he
will be remembered
not yet beside
himself
in perfect pulse
of consequence
what you couldn’t
remember
to not die
and come back.

*

My consequence

of the light
(the clear light)

not breathing

and again - not yet stuck
to the walls again

in pieces of consequence

accretions
of this and that

moment to not forget
and to forget.

*

What you can’t
term time you call
the will

the immense
will to promise
things and write

a parent’s fate
in blood
what you can’t term time.

What you shouldn’t
term actual you must
imagine, caroling

in another spring-
time
of the image:

the blood you choose to enact
closing the tragic
circles of cruel performance,
of willingnesses
enacted
promising another
means of ascension.

Sprit dictates this: that we
be punctual in not having grasped
our death.

Liberation, then
of all time in
“hearing” time
spririt dictates
what we must term here:

The event of them taking the bus in
or us
taking the train out.

The accretion of bad moments.

The event of her speaking
without music

to imagine
to reveal
again.


*for DP & EN-S

Friday, November 18, 2005

Meshes of the Afternoon (Quotes, Meditation)


"From the moment the first drop of blood is spilled, the martry does not feel the pains of his injury and is absolved of all his bad deeds; he sees his seat in Paradise; he is saved from the torture of the grave; he is saved from the fear of the Day of Judgment; he marries seventy-two beautiful black-eyed women; he is an advocate for seventy of his relatives to reach Paradise; he earns the Crown of Glory, whose precious stone is better than all this world and everything in
it."
--Sheik 'Abd-Salam Abu Shukheudem quoted in Barbara Victor's *Army of Roses*

“On February 25, 2002, Dr. al-Rantisi stated in an article in the Al-Ayat newspaper, published in London and Beirut, “Suicide depends on volition. If the martyr, whether a man or a woman, intends to kill him or herself because he or she is tired of life, it is suicide. However, if he or she wants to sacrifice his or her soul in order to strike the enemy and to be rewarded by Allah, they are equally considered martyrs. We have no doubt that those carrying out these operations are martyrs.”
-- Ibid.

“Thus at the same time as reaction to traces becomes perceptible, reaction ceases to be acted. The consequences of this are immense: no longer being able to act a reaction, active forces are deprived of the material condition of their functioning, they no longer have the opportunity to do their job, they are separated from what they can do.”
-- from Gilles Deleuze’s *Nietzsche & Philosophy*

This locution may be one of the major investments of the Lebanese war. It can only issue from someone who not only is unaware that he or she is already dead even as he or she lives, but also wants to extend his or her life even into death. Thus the testimony of Bilal Fahs, who drove a car filled with 150kg of explosives into an Israeli convoy on 6/16/1985 at Zahrani, Sayda, begins with the following Qur’anic aya: “And call not those who are slain in the way of Allah ‘dead.’ Nay, they are living, only ye perceive not” (Qur’an 3:169), and Sana’ Muhaydli says in her testimony: “I am not dead, but alive amidst you…” Notwithstanding over a hundred thousand dead in the years of war and civil war, the Lebanese seem not to have learned to die. Therefore, one of the great tasks of art and writing in Lebanon for the foreseeable future is to teach this people famed for being ‘life-loving’ to die, that is that they are already dead.
-- from Jalal Toufic’s *(Vampires): an uneasy essay on the undead*

“So the camera is moving as an eater of space, or a representation of space, and it is leaping in time. And the effect is that this is an amalgam of many walks, many men.”
-- Stan Brakhage on Maya Deren in *Film at Wit’s End*

Vengeance, the indefinite par excellence, here becomes a circle, therefore contained; with the consequences that guilt is as it were done away with, since we are dealing with a series of reactions with no initial action. Yet guilt is not really addressed and mitigated through recourse to either this perfect circularity where the constitutive injustice in the realm of the dead – due to the blindness of the vengeance of the shards of the minds of the dead – is occulted; or to ignorance, which is the result of self-interest (one is guilty of one’s ignorance). Indeed, what most often occurs as a result of the attempt at expunging any trace of guilt through a perfect circularity is the eruption of an unoriginated guilt (“I was guilty, abominably, intolerably guilty, without cause and without motive:”), the constitution of a vicious circle of a guilt that “demanded punishment… [which] consisted, fittingly enough, of being guilty.” One can be truly innocent only after confronting the aforementioned two guilts and even if one cannot extricate oneself from them.
-- from Jalal Toufic’s *Forthcoming*

*

The Lazarus Girls Dance

In that hell that is now – in the now
that is hell –
the now that is / now
and then and after / given as such
to space and time – your patience, our urgencies / your urgencies

She didn’t see – the body she – when she walked in – arrived / and on time yet – for the wind keys

She didn’t see - she yet the / body - as a tunnel - for dreaming - accretes

Undying -
the appearance of love

A fatal grip – of flowers - flowers / have not half-heartedly - fell / to shadow

To shimmey
this key
to Paradise
a key to dreams

This key to shadow - not yet a seizure
of the person - woman, women – not yet and / often

Having not grasped – her death / (yet) a woman – lifting the fatal / needle to not

Hear (the needle) / there is - no / soundtrack / no marks / of
falling
but the fatal / Raga gravel
on this endless path of appear

And mirror
the face
is a mirror – having / (not yet)
grasped - the face
(is) a mirror – suicided
inside

(inside) by her self / in fatal time – to leap - a breaded knife – but not yet / hurt – to repeat and combine

In fatal time - time repeat

And combine
time now – is itself – a / woman
(space) – holding
the key
on / her tongue
suicided – not yet
(by) her beloved / bereft
even – on the lips – of / consequence
her children –
call her the breaded one

A breaded – knife will / not help – your double (time) to kill –
the / key to shattering – and left alone / by these unwilled devices – what / device
left – alone will / accrete – not yet – or not any longer – multiple

Multiply a number of doubles / a number of devils

To accrete - holding the key

In clear shadow – clear shade / of mesh

What veil accomplice – of mesh what / mirror face felt – mirror this - is a song / for all – for no one – (women) suicided / by themselves – and others – binding – dynamite
turns inwardly for time itself

Reacted - and not at all - for time

To accrete

What veil accomplice – what
menace – (not) across / time – any longer
to bear
the longing - and / tears she
is –
compelled / sonambulist – rising by effort
of his limbs
why don’t you just hang / up – evidence – we are not
here – to be born across time

Not substituted – not a
mirror / face – a shattered
mirror – she / is walking
so – to swallow
to surface – what she can not / get – the key
to wind
the key – to wind is death

To Kingdom come / what don’t you get – not
your / death – born witness (martry)
across
unremembered time – the impossible
effort – agility
to climb – stairs and wake
a sonambulist

Waking to
your own death

as it – is not Paradise / delivered upon not arriving / having passed the chance trouble of
your doubles
the shattered mirror / of time – still waiting

Knowing less well – self-reflexive / the double – and her double – astral
or a virtual
corpse – you are not yet / Clear Light
Clear - Light
obscured
light of tunnel – back-tracking
camera
tracking back

Tunnel knowing not well – not / recognizing (the knife) yet – not the / dynamite or key – of plastic / to Paradise – us all

No one

Not the wind - no / one yet divine – not / the staircase (yet) you will / ascend / to descend (the fatal) – Ladder – re-creation / of the whole - world unwoken / world broken

Let us be for the having missed / do for the just missed - justice
the missing
to be just - and the blink

She – can only / catch – a camera

by missing

another – universe

a camera of accretions / substitution –
of the false

face for / another – false face shatter the / mirror in transit trance

Dream entrance a state in this (trance) is he and not / you dead (dream) this (he) dream / this he again

Dream this trance he (is not) yet / dead you - are dead until the end / there must be - another
created picture / picture dynamite stacks – or (the will) we pretend / to sublime melancholy –the figure / not

(in trance) again

Again affirmed / not in trance again

Chants / chance

Affirm

This is not
his will this / is not
your will not yet

To be suicided to be

Or accreted

Multiple -
this condition – our state
of health / leading you
back to you (as you) / (and you)
as him

Now ended
but not there / complete in / shattered accretion

For Maya Deren, for Eva Hesse, Wafa Idris -- 'suicided'?

Schlesinger's "To" / Conative Verse

Receiving Kyle Schlesinger’s poem “To” by e-mail, a work the poet composed after watching Scorsese’s Dylan documentary on television (Kyle BTW has long been a Dylan fan), I am reminded of the possibilities for conative, affecting verse through the use of recurrent syntactical patterns and serialist word combination on-the-fly. Here is the poem:

To*

Mind to tend
Mind to mind
Mind to mend
Mind to mine

Tend to mind
Tend to tend
Tend to mend
Tend to mine

Mend to mine
Mend to mend
Mend to tend
Mend to mind

Mine to tend
Mine to mine
Mine to mend
Mine to mind

To tend mind
To tend tend
To tend mend
To tend mine

Mind to time
Tend to time
Mend to time
Mine to time

To to time
To to mind
To to tend
To to mine

Time to mine
Time to mind
Time to tend
Time to mend

Time to time
Time to tone
Tone to time
Time to tone

To tone mind
To mind tone
To tend mine
To mind tone

Tone to hurt
Tone to mind
Tone to tone
Tone to mine

Hurt to hold
Hold to hurt
To hurt tone
To hold hurt

Such a work puts Schlesinger in the company of some of my favorite and most valued recent and contemporary poets, reminding one, perhaps, of many of Louis Zukofsky’s experiments in verse, and his insistence in *Bottom* and elsewhere on “recurrent” words and word-patterns as bearing evidence to the major tendencies, ideas, if not obsessions of a writer’s “lifework”; I am also reminded of that poet very much after Zukofsky, and particularly the rigorous serialisms of “Come shadow come and take this shadow up” and “Songs of Degrees”, John Taggart; as well as Charles Bernstein, in whose recent *Shadowtime* we find the harrowing and pulsating homage to Celan, “Dew and die”. To quote the first few lines:

“can dew and die can and die can tie his sin tap and
the war dew hoe and die has him and her and tar the
pry and […]”**

Truncating Bernstein’s poem as I have just done seems an inappropriate thing, the poem compelling the reader beyond itself to keep chanting the rhythms of the poem, if not the particular words themselves, taken up into a kind of perpetual motion machine of lyric. Not a small (or large) machine made of words, but a simple machine achieving maximum effect (and affect) by monosyllabic and conjunctive insisting.

One constantly asks (and should of course continue to ask) what a poem can do? That is, what words can effect, how they can move, inspire, enlarge or intensify experience, how can they produce consciousness, and how they can exist as practical objects -- not so much functionally (in what sense could a poem be a function?) or instrumentally, as being pragmatically towards actions taken in the world: towards actual bodies, interactions, things. Such a question is a practical one, but it is also one of what Spinoza called “conatus” -- the co-striving of beings for continued existence. Literalizing Spinoza’s term (and allegorizing "our" letters) I wonder if words don’t also exist conatively?

Spinoza’s term conatus is grounding of his Ethics, insofar as ethics can no longer be founded on ‘truth’ but, to paraphrase Deleuze, upon ‘what bodies can do’ – an evaluating akin Nietzsche. And not only what bodies can do, but what they do by the fact of what they are necessarily -- by their ontological tendencies. Therefore what is ‘evil’ is only that which will not cooperate with a given body by its chemical, biological or (problematically, as the heads of social Darwinism rear) cultural composition. The problems of human good and evil, an ethics of human animals, is a problem of to what extent bodies affect one another in ways given to cultural production, and cooperation within social interaction and affiliation.

A means for this costriving as an ethics of cultural production is, I would argue, the poem itself. The poem, as much as it is an intellectual thing, a thing of consciousness raised and made complex, is also a site where mind and body engage each other, and, perhaps more importantly, ARE for and of each other. Perhaps what we feel before we think, what we feel as we think the words we are reading (just as we might also hear them reverberate by voices in the air), are both emotions the stirrings of ideas and ideas the stirrings of emotions -- simultaneously, and inextricably. Or says Blake (and notably Bernstein quoting him in his essay “Words and Pictures” and his address to Bernadette Mayer, “The Only Utopia is Now”): “The tear is an intellectual thing.”

Or as Schlesinger writes to me, giving me permission to publish his poem "virtually" and comment on it:
"If you’re inclined to stomp on the chorus pedal, by all means, reverberate with vertebrae."

*

Notes reading “To”

In affectivity mind and body are bound mutually to the nervous system – and centrally, the discs of the vertebrae as those portals of mind / body, sense / non-sense. To move is to weave mind and body intensely, by sense in duration. To rest to act and act to rest. To find “perfect rest” - in Zukofsky’s Spinozan parlance – as a means to action.

To be ‘to’… the poem is an address, a speech act with an indefinite addressee; ‘to’ also intends an action virtual not yet or no longer made actual. A preposition = virtual action. Pre-position. One doesn’t “do” but one is ‘to’: about ‘to’, doing “this” ‘to’ do “that”. Equi-vocating?

Equivocalizing as affecting.

The first 4 stanzas establish a cross-bred equation / equivocalizing of the words 'mind' 'tend' and 'mend' and of the phonemes “m” “t” “i” “e” “n” “d”.

The spell / accumulated effect of these textual units becomes broken at the 5th stanza where the insistent pattern “x” 'to' “x” / “do this” 'to' “do that” turns to what I read as declarations of virtual action: 'To tend mind', etc. However we must shift our attention between two ways of reading the statements, to 'tend mind' inviting a reading of 'mind' as a verb and a noun, and this flickering between verb and noun slowing and speeding the reading of the poem -- noun delaying, verb accelerating.

Stanza 6 is a jumbling coda of the first 4 stanzas.

Stanza 7 I immediately read after the early “Phase” pieces of Steve Reich, 'to' first doubled in my reading attention – an echo of attention. But then I realize the 1st 'to' is not so much a stutter double-timing, but an activating word (for lack of a better term). A word highlighted in what it enacts and therefore is. ‘To to time’ as in “Use the word / the preposition 'to' to time” or “'To' is to / for time / timing”. By using the preposition 'to' (as I’m using it) I position myself to / towards time, I act within it while being acted upon, affected. The time of the poem / poem as time as inter-action. The attending of my being affected in a duration the partaking with the words comprising the poem.

“To” to affect being always duration. A matter of how the words are read in their ambivalent arrangement.

Reading throughout the poem, but especially in the final stanzas as words are recombined quicker, more intensely, the ambivalence of the words, not to mention their "abstraction", wear the attention down – attenuate consciousness. Like prayer? Chanting, meditation, incantation. Sense or meaning giving way to "pure" sense of sound – the sonority of words woven, recurrent, held (and 'hurt') in my reading attention. The poem stares /sounds back at us, echoes, reflecting as it enacts, enacting as it attends, as we attend it and it us – 'to'. Positioned 'to' and we 'to' us...

Finding rest (not "perpetual peace") to perhaps 'hold hurt' (index), to 'tone' down (chill out), to 'mend' 'time' (heal), to 'mind' what is 'mine' and what is Mind (shared).

Since I can’t remember an appropriate Dylan line right now, Steve Reich will have to do:
“While performing and listening to gradual musical processes, one can participate in a particular liberating and impersonal kind of ritual. Focusing in on the musical process makes possible the shift of attention away from *he* and *she* and *you* and *me* outward toward *it*.”***

*"To" as received by Schlesinger in e-mail attachment is centered on the page, in Helvetica 12 pt.
**There should be regular tabs between all the discrete words of this excerpt from "Dew and die", however I have yet to learn how to re-code the Blog format. Please forgive!
I emphasize the absence of the tabs because they are crucial to the reading of the poem in its propelling and plosive energy. An energy where the breath picks up the energy it leaves behind wherever it left off. What occurs to me reading the poem to myself and aloud is how the absence of grammar (other than of course tabs) doesn't matter, so long as you keep articulating the words, keep pace and tendential rhythms.
***From Reich's "Music as a Gradual Process"