Monday, December 28, 2015

rathe atqa ZIMZ

(via abc13 dot com)

Everything is Fine.

"Days bear us lightly across the face of the world as every year the ground pulls harder, recalling like a spurned lover, ever more fixedly, how much it wants us." --James Sallis

Sad Satan update.

The only thing more useless than knowledge--is ignorance.

A tanka by Shunzei.

"He dreamed he was ink and the universe white space." --The Keyhole Factory

(via Horrible Sanity on twitter)

Dead Rock Stars--the book.


Monday, December 21, 2015

a mica of jut

(by Richard Lindner)

Final names.

"A cat is more intelligent than people believe, and can be taught any crime." --Twain

Past a certain degree of stress, we start gaslighting ourselves.

"...some questions will ruin you if you are denied the answer long enough." --Jeff Vandermeer

Tent City America.

"Rhesus Peanutbutter Cups"

Mushrooms eterne, morning-
mimsy brownwhite symbol
in the sere green sunrise
says, shadows, be glad of

frith though denied freedom.
Frapped to a great raptor's
safest berth in Sothic
season; to sleep uneasy

anyway, our wanion.


Down in the abyss.

"Crying mole-crickets mourn for the moon,
Beneath hooked balustrades."

--Li He

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Tuesday, December 15, 2015


this could well mean nothing.
could worship only slightly matter?
well, only if caring minds
mean slightly. caring-intent does
nothing...matter minds, does it?



Monday, December 14, 2015

or vacant tools

(by Taro Yamamoto)

Loop of the day.

"In recent history this practice of 'Fujifying' has even extended to the United States, where Japanese Americans living in Washington State renamed the perfectly shaped stratovolcano Mount Ranier, borrowing its Indian name of Tacoma and calling it 'Tacoma-Fuji.' " --H Byron Earhart, Mount Fuji (2011)

A modest proposal for the nucular option.

the path through many sidejags
yellow leaf swirl in guess-wake
can't figure which at road fork
but follow ev'ry ort loss
it's what i do a glum mage
commuting in jazz savage
has left cairns in the desert
has wished on streaks of lit night

Nonexistent compounds.

"It is interesting, however, to reflect upon the implications of the poet Basho's perception that he was living either at the close of one era or at the beginning of a new one." --intro to William R LaFleur, The Karma of Words (1983)

Tell them we are nothing.

(The New Yorker (?) via Firestone Fineberg on Facebook)

   all meanings sliding
like things set on the dashboard
   through turn & return
only this song's sweet sadness
forty years into exile

Recent, illuminating bell hooks interview.

"The dragon is infinitely more ancient than the devil." --Eric Hoffer

   misplaced remedies
& seasons out of kilter
   the same battered streets
where if i scramble the way
i still can find where to go

"Some think the refugees want to come here, stockpile weapons and start killing innocent people. Others fear they won't fit in so easily." --@DanaGould

Race & craft beer.

   over power lines
tennis shoes suspended is
   all that i have done
magenta & Mars red leaves
on the same swaying tree limb

"It's harder disentangling 'hard SF' from the dynamics of the Cold War than it is for the spy genre." Also, Hard SF in 2015.

song that static waves conquer
years not as the rings reckon
hand that lets slip sericon
rose blessed by the last canker

Song before Leaffall.

"The writer's way is rough and lonely, and who would choose it while there are vacancies in more gracious professions, such as, say, cleaning out ferryboats?" --Dorothy Parker

Some lessons.


Monday, December 07, 2015

any angry herald



"By this time sound films had arrived on the scene, and because Dreyer opposed the use of subtitles, he arranged to have Vampyr filmed in three separate languages: English, French, and German. To accomplish this and to satisfy his requirements for linguistic authenticity, he had all the dialogue scenes filmed in three separate versions, one for each language, even though the resulting sound tracks for the dialogue were not captured synchronously, but were later dubbed in each language. Then all these separate dialogue scenes had to be spliced back into the main body of the film, so that they were all in synchronism with the rest of the sound track. After the production was complete and some sections of the film were censored by the German authorities, Dreyer then had to go back and carefully edit all three versions of the film, so that they all remained in synch." --The Film Sufi

" I wonder about how late capitalism sustains these studios inhabited by people who gently probe its logic by tapping at Apple computers, and why Bloomberg is so keen to underwrite bleached hagiographic videos about them."

"...there are feelings for which we do not have words. There are emotions for which we have no words. But the results from Wierzbicka's research is even more radical: there are speakers from a certain language that do have emotions that speakers of another language do not."

"Shakespeare's genius (which was his craft) was to make a spectacle of the breakdown of religious tradition and the rise of rational authority. His most famous plays animate the ordeal. It goes on today. This is why they resonate. This is why they entertain. To make entertaining art out of such comedy and such distress demands more than noise and hack work." --This Space blog

(by Kamisaka Sekka, via au dot timeout)


Tuesday, December 01, 2015

the search for a satellite of the moon

Jungian Senoi defended.

(via via Facebook)

Tales of the Black Gnosis.

"The more music sounds like music the more it is fraudulent, deceptive, tempting. When we hear what sounds like music—whatever the world verifies–we stop listening and let the sound caress us. It is like comfort food prepared by the world and brought to our table, a free gift that makes us grateful. It lulls us like indulgent parents whom we think are protecting our innocence. The flip side of comfort music is “difficult” music (classical/new music; jazz/free jazz), intended to challenge us, but it ultimately goes to the same place, treating us as children who are given something that is good for us.

When we ourselves learn how to make music that sounds like music we flatter ourselves with “good job,” maybe now we will be loved. Since we can never get enough of that we keep trying to do a better job, get more reward, and so on up the never-ending ladder. So an anxiety might creep in with the gift, prompting a suspicion that all this could be a masquerade, a game of which we are the fools and victims.

Free playing is when we see through this game—including our “need” to be loved, respected, flattered; it is an event that occurs by accident rather than intent. Without blinking we walk right past that bundle of need to our pleasure, which is neither comforting nor difficult. 'What rule do you follow?” Debussy was asked. 'My pleasure,' he said." --Jack Wright

Ghost cities again.

"In Time’s Encomium you may find accidental beauties, such as animal art abounds in, without animality’s pathos. Perhaps the most enduring thing to learn from this sort of project is what it does to us to hear the two aspects, separated." --my review of Wuorinen

Lovecraft still. (via feuilleton)