October 25th at Wolf Suit Gallery, New Haven (Yale)

3 Revisions

Next Breath Best Breath
--for Arthur Russell

Your dreams come near to you
For the child distinguishes
Between inside outside clouds

Arguments like music we are here
Things can't help happening where
There was something was something

Proceeding to parse your brow
Your bow given to Bach the lyric
Must return nearer than thought.

*

To Edvard Munch

Scratch out all but her literal whisper
The kerchief blood to paint blood paint
To erase all face her hands all details

What life corrupts to erase the literal paint
Scratch out or cover the details evoke the literal
Death her then then process reverses.

*

Eruv I.

"Make peace not love."
--Amos Oz

The spirit of this converted private is not an inside abstract
It is the key of keys for mutual dwelling a mobility of ritual to discover
In potentia is to discover again ourselves lifting what must be
Transportable as string a version of commons shifting the signs
Grew out of graffiti heart to bright beams making a bubble
An effect of needing an inside outside outside to be a call to floating
Contracts towards mobile peace the place of this converted public.

Non-Site

The word defined “to see around” design
a premise control
people with few people
the ubiquity in all
self control containment isn’t this a technology it is
Easy Pass porn cookies GPS PS
what is moral
what is a moral compass

split sovereign my enemy my self my friend
space (vanishing
points) space (chaos) coercion (dungeon)
consent (imaginary)
“A real subjection is born from a ficticious relation”
interlocucter egged on
thinking in the dark thicket Prefect can’t see rivalry

continue to pass the ball paradigm unalarmed
hypnosis what is power power is given
by stupid smart knowledge
advantage of relation
a crit
can you think ways this image can be given to a politics what are some
images the revelation
of one’s making strikes art dumb

auratic character an atmosphere
art is an abstract cave viewed negatively in the distance
magic lends itself
to analysis positive because it expands sacred uniqueness
innovation a mixed
sense of loyalty in magic
out of books intimacy loss of intimacy

you can never cross the same reproduction twice
the politics
of chant every image
arrives
surrounded by print
Control Room craving blood reinforce exclusion
contexts clash Time Inc. Toyota || Iwo Jima
after the Towers fell
the media let half the call get thru.

Lyrical Template (Non-Site)

"O where ha you been, Lord Randal, my son?
And where ha you been, my handsome young man?"
"I ha been at the greenwood; mother, mak my bed soon,
For I'm wearied wi hunting, and fain wad lie down."
"An wha met ye there, Lord Randal, my son?
And wha met ye there, my handsome young man?"
"O I met wi my true-love; mother, mak my bed soon,
For I'm wearied wi huntin, and fain wad lie down."
"And what did she give you, Lord Randal, My son?
And wha did she give you, my handsome young man?"
"Eels fried in a pan; mother, mak my bed soon,
For I'm wearied wi huntin, and fein wad lie down."
"And what gat your leavins, Lord Randal my son?
And wha gat your leavins, my handsome young man?"
"My hawks and my hounds; mother, mak my bed soon,
For I'm wearied wi huntin, and fein wad lie down."
"And what becam of them, Lord Randal, my son?
And what becam of them, my handsome young man?"
"They stretched their legs out and died; mother mak my bed soon,
For I'm wearied wi huntin, and fain wad lie down."
"O I fear you are poisoned, Lord Randal, my son!
I fear you are poisoned, my handsome young man!"
"O yes, I am poisoned; mother, mak my bed soon,
For I'm sick at the heart, and fain wad lie down."
"What d'ye leave to your mother, Lord Randal, my son?
What d'ye leave to your mother, my handsome young man?"
"Four and twenty milk kye; mother, mak my bed soon,
For I'm sick at the heart, and I fain wad lie down."
"What d'ye leave to your sister, Lord Randal, my son?
What d'ye leave to your sister, my handsome young man?"
"My gold and my silver; mother mak my bed soon,
For I'm sick at the heart, an I fain wad lie down."
"What d'ye leave to your brother, Lord Randal, my son?
What d'ye leave to your brother, my handsome young man?"
"My houses and my lands; mother, mak my bed soon,
For I'm sick at the heart, and I fain wad lie down."
"What d'ye leave to your true-love, Lord Randal, my son?
What d'ye leave to your true-love, my handsome young man?"
"I leave her hell and fire; mother mak my bed soon,
For I'm sick at the heart, and I fain wad lie down."

David Gatten at The Poetry Project

Last night David Gatten joined a cast of readers at St. Mark's Church to give a group reading of Fernando Pessoa's poem, "Maritime Ode". He also showed his recently completed films *What the Water Said* and *Shrimp Boat Log*.

*What the Water Said No.'s 4 & 5* presents a log (of sorts) of film stock as "treated" (i.e. battered, crumpled, and punctured) by the Atlantic Ocean, off the coast of the Carolinas. While others have made similar treatments before, Gatten's seems unique in its inclusion of soundtrack--which snaps, crackles, pops and even bangs--as well as his dating of the film as if the film were the Ocean's log-book or diary itself--what the water said being conveyed by the marks left on the soundtrack of the projected film stock.

If *What the Water Said* is a clever literalizing play off one of T.S. Eliot's sub-titles to "The Wasteland," *Shrimp Boat Log* is intriguing for its signalling or blinking form, the intermittances of various footage including shrimp boats crossing the center of the screen and leaving wakes, and brief glances at a log book. Like a less spastic version of Brakhage's lapsing-blinking camera, Gatten's camera and editing technique in *Shrimp Boat Log* give visual rhythm and form to coastal life--a native feeling for signals both perceptive and cultural, organic and technological. As in his nine-part *Secret History of the Dividing Line*, I also find Gatten's *Shrimp Boat Log* compelling in the way it gives particular shape to a viewer's reading experience--where often the viewer has mere seconds, if that, to read from a log, and so reads a few words at each viewing interval.

Our Number of Wolves (The Fate of Number)

Our number of wolves
Say slay aloud the sun
Schism wait for grace
To arrive sound forms

Shine shine shine
Shone shone shone
Estray driven estray
Tones obey warp

Protect descent from dark
You want I want we want
Resonance seek tragic feet
Two gongs reap sheet metal
From the mind's place

Two notes two tones sweetly
We walked until the waves
Were sisterly out of a great
Darkness steps cocooned
Honey veiled heard myrrh

Gowns do flow sovereign
Red love less sighted
Than what actually sounds
Number lives in the head
Breath rings wreaths around

What petals steps desire words forge words
From cedar towers honey sips the bee
Hymen followed by attendants
Who'll measure her breath for breath
If anything were first tones would be fate

This simple number no fate destroys
The heart's breath two children lay
Down in the heart of white white face
Of hovering night life's a spherical
Music singing its single note to phase

If anything were first this would be first
To descend from the one from the one one intones
Two tones one note the simple petals adorn time
Singing life not only about it
Say we are word and meaning united
You are thought and I am sound.

The Fate of Number (Revision)

--for Alain Badiou & Gilles Deleuze

So the mind must make one and can't make one
So we must love one another and love the abstract
So this is a notion of what subjects are together an inter-subjective
Ground of love so there must always be
Love for the one mind so the mind is what we love
To the second degree so the eyes are the first sign
We see of the mind the eyes and their cancellations
So there are words a mind sees itself blindly.

Why can't one one be one one be
Why can't one one and one one be two
One and one only one no numericity
In the outside none inside the movement
Of the all so each multiplicity
Destroys number to save number.

So there are words a mind sees itself blindly
We see of the mind the eyes and their cancellations
To the second degree so the eyes are the first sign
Love for the one mind so the mind is what we love
Ground of love so there must always be the inter-subjective
So this is a notion of what subjects are together
So we must love one another and love the abstract
So the mind must make one and can't make one.

When that a wide wood was

"We are word and meaning united.
You are thought and I am sound."

*

"That is why this too must be the criterion for rejection or choice: whether you are willing to stand guard over someone else's solitude, and whether you are able to set this same person at the gate of your own depths, which he learns of only through what steps forth, in holiday clothing, out of the great darkness."
--Rainer Maria Rilke

The Movement of Movement (Revision)

--for Maya Deren

The mother of us all mother is movement first movement
First as dance is naked the naked form of movement a space
Where things no longer can be put simply put is time
Transfigured for the body the body arrested transfigured
To rest in the edit cut cut to a dance on film is something
First as dance is naked the naked form of movement a space
Where things no longer can be put simply put is time
Transfigured for the body the body arrested transfigured
To rest in the edit cut cut to a dance on film is something
Where things no longer can be put simply put is time
Transfigured for the body the body arrested transfigured
To rest in the edit cut cut to a dance on film is something
Transfigured for the body the body arrested transfigured
To rest in the edit cut cut to a dance on film is something
Different a difference to edit this to fall to ascend
In grace some other affirmation the mother of us all born
Different a difference to edit this to fall to ascend
In grace some other affirmation the mother of us all born
In that movement first movement of movement the empty
Difference a difference to edit this to fall to ascend
In grace some other affirmation the mother of us all born
In that movement first movement of movement the empty
Body the body before the body was the body the body after
A difference different to edit this to fall to ascend
In grace some other affirmation the mother of us all born
In that movement first movement of movement the empty
Body the body before the body was the body the body after
The body was the body ever lightened by film and light.