for Rob Halpern
after Franju
Thru this pressure g
un and that hammer
thru the scalpel we b
elong to the animal
the animal is a total
process surviving the
mortal meat. But a t
otal process disappe
ars again within pro
duct reappears as a f
ilm or a skin the hide
sings released from
meat the throat sings
with steam and blood.
I wonder Franju why
your camera doesn’t
shake like Brakhage
20 years later his re
velation to see with
*one's* own eyes as if
flesh were only matter
it is terrifying the re
flexes of dying ani
mals are a spiritual ev
idence. I want to bre
ak my lines there wh
ere the animal no lon
ger has a head or hoo
ves but the legs up to
the shins keep shudde
ring a beauty of *poten
tia* undissipated better
than any metaphysics.
The zombie sense of
this the eviscerations
of site the subject who
sees the subject who s
ees this also evacuated
would only be where t
he incision is made tha
t is where their pain is
apparent. Those hands
like tools extend back
into the body this hum
an technology doesn’t
fuck around the torso
rips open the throat expl
odes and this is a mach
inery somewhere in re
lation we are unmade.
From start to finish the
se hands are made from
death material because
the soul must show itse
lf somehow to the world.
I want to show you how
we make death I want to s
how the factory lines ho
w modern death was alw
ays a factory with hooks
that a technology is just
something we don’t have
to think about until *I* de
parts and thinking arrives.
