theatre of kharms

PUSHKIN AND GOGOL

GOGOL: (falls onto the stage from behind the curtains and lies still).

PUSHKIN: (walks out, trips on Gogol and falls): What the devil! 
Could it be Gogol!

GOGOL: (getting up): What a filthy, no-good...! Won't let you 
alone. (Walks, trips on Pushkin and falls.) Could it really be Pushkin I
tripped on!

PUSHKIN: (getting up): Not a moment's peace! (Walks, trips on 
Gogol and falls.) What the Devil! It couldn't be -- Gogol again!

GOGOL: (getting up): Always something going wrong! (Walks, 
trips on Pushkin and falls.) What filthy no-good...! On Pushkin again!

PUSHKIN: (getting up): Foolery! Foolery all over the place! 
(Walks, trips over Gogol and falls.) What the Devil! Gogol again!

GOGOL: (getting up): This is mockery, through and through! 
(Walks, trips on Pushkin and falls.) Pushkin again!

PUSHKIN: (getting up): What the Devil! Truly the Devil! (Walks, 
trips on Gogol and falls.) On Gogol!

GOGOL: (getting up): Filthy good-for-nothings! (Walks, trips over 
Pushkin and falls.) On Pushkin!

PUSHKIN: (getting up): What the Devil! (Walks, trips over Gogol 
and falls behind the curtains.) Gogol!

GOGOL: (getting up): Filthy good-for-nothings! (Walks off stage.)

From off stage the voice of Gogol is heard: 
"Pushkin!"

                                               CURTAIN.

by Daniil Kharms    (transl. by Matvei Yankelevich)

AN UNSUCCESSFUL PLAY

Petrakov-Gorbunov comes out on stage, tries to say something, but hiccups. 
He begins to feel sick. He leaves.

Enter Pritykin.

PRITYKIN: His honour, Petrakov-Gorbunov, asked me to excu… 
(Begins to vomit and runs away.)

Enter Makarov.

MAKAROV: Egor Pritykin… (Makarov vomits. He runs away.)

Enter Serpukhov.

SERPUKHOV: So as not to… (He vomits and runs away.)

Enter Little Girl, running.

LITTLE GIRL: Daddy asked me to tell all of you that the theatre is closing. 
All of us are getting sick!

                                            CURTAIN.

eating @word salad

 

hollis frampton text

A STIPULATION OF TERMS FROM MATERNAL HOPI

NEARLY A YEAR has elapsed since the discovery, at Oaxaca and Tehuantepec, of three caches of proto-American artifacts of a wholly unprevisioned nature; so that some sort of provisional report on them is long overdue. I must apologize at the outset for what must seem, to colleagues unacquainted with the unprecedented difficulties posed by the material, an excess of scholarly caution. In fact, I have proceeded with all possible haste in dealing with a body of data that has proved, to date, resistant to study by canonical methods.

I am bound to acknowledge that whatever little understanding I have achieved, has come largely through the perseverance and generosity of Dr. Raj Chatterjee, who heads the Project in Artificial Intelligence at Alleghany University; I owe him an insight that he first expressed with characteristic tersity: "We are obliged to assume that this stuff means something!"

My readers will recall that the archaeological finds in question were at once uncomplicated and singularly copious. All three sites included large silver mirrors, figured to remarkable flatness, and scores of transparent bottles, lenticular in shape and of varying curvature. But the bulk of the contents of those granite vaults (immediately dubbed "archives" by the sensational press) consisted of some 75,000 identical copper solar emblems, in the form of reels, each of which was wound with about 300 meters of a transparent substance, uniformly 32 millimeters wide, that proved, upon microscopic examination, to be made of dried and flattened dog intestine.

Complete cataloguing and analysis of this treasure will require many years; therefore, what follows is of necessity conjectural.

Of the culture of the artificers very little is apparent. They were men of the Cro-Magnon type of Homo sapiens, organized in a stable agrarian matriarchy, and calling themselves ]N[. Their food consisted of cultivars of maize, and a variety of vegetables and fruits; dogs of medium size were bred as a source of edible protein and textile fiber, but were not used for work. The ]N[ worked stone and the native metals (copper, silver and gold), and were particularly adept in the technology of glass. A partly subterranean dome about 10 meters in diameter, similar to the hogan of the Navajo, was the uniform shelter.

What took place within these domes distinguishes the civilization of the ]N[ from all other known societies. They seem to have spent most of their time and energy in making and using the pictogram rolls, which were optically projected upon the walls. Sunlight, led indoors by an intricate system of mirrors, served as the illuminant. Images were brought to focus by lenses of water contained in glass bottles. At what rate the projected images succeeded one another is unknown.

What function this activity may have had is matter for speculation. The pictogram - offer internal evidence that the projections served both educational and religious ends. Images of deities (if that is indeed what they are) occur with some frequency: they are depicted as human in scale, differing from the ]N[ themselves only in that their faces are without mouths, and their eyes, always open, are extremely large.

These strips are divided along their entire length into square cellular modules each 32 millimeters high. Each such square bears a handpainted pictogram or glyph. The colors black (lampblack in a vehicle derived from the leaves of Aloe vera) and red (expressed from cochineal insects) predominate. There is seldom any obvious resemblance between consecutive pictograms. The draftsmanship is everywhere meticulous.

The dry climate has kept everything in a state of exquisite preservation; it is expected that lamination in polyester, nowadays a standard curatorial procedure, will offset a slight tendency to brittleness in the picture rolls. Oxygen dating places their fabrication during the 8th and 9th centuries before the present era, with a margin of error of only four per cent.

The pictograms clearly constitute a language. The semantic unit, however, is not the single glyph, but a cluster of two or more pictures which denote the limits of a significance; where there are three or more, the images serve as points defining a "curve" of meaning.

The connection between this visible language and speech is remote, and recalls the tenuous relationship between the ideograms of literary Chinese and their corresponding vernacular. Nevertheless, it has been my good fortune to decipher a few fragments, in privileged communication with a living female respondent in Hopi, and to establish clearly that the language of the ancient reels is ancestral to the secret languages, ritually forbidden to men and initiated male adolescents, that are to this very day spoken, only by women among themselves, throughout the remnant of the Mixto-Athapascan psycholinguistic community. 

The parent tongue exhibits a number of unique traits. To begin with, it was a speech-and-stance language, with each component modifying the other. Since the picture rolls identify meaningful postures numbering in the thousands, it is doubtful that a one-to-one dictionary between English and ]N[]T[ can ever be constructed.

Secondly, the language was made up entirely of verbs, all other 'parts of speech' deriving from verbal states. A 'noun' is seen merely as an instantaneous cross-section through an action or process.

The inflexional structure of the language was vast, exceeding in size that of Sanskrit by at least an order of magnitude, to which was added an array of proclitic and enclitic particles, of uncertain usage, seemingly derived by onomatopoeia from the sounds of the breath, as inspired and expired during different sorts of effort.

The verb stem consisted of one or more invariable consonants, or clusters of consonants.

The grammar varied, according to intricate rules of euphony as well as meaning, the vowels and diphthongs in the initial, medial and final positions that I have indicated with square brackets in the glossary that follows.

I append the few terms that I have thus far managed to decode. The reader is warned that multiple ambiguities of the sort found under ]K[]SK[, ]V[]TR[, ]Y[]X[, ]N[]T[, and ]L[]L[]X[ are the rule. Apparent exceptions are simply illustrative of defects in my own comprehension.


01. [] =The radiance.
02. ]DpY[ = Containers to be opened in total darkness. 
03. ]PS[]L[ = A drug used by women to dilate the iris of the eye.
04. ]H[]H[]L[ = Epithet of the star ]S[]S[]N[*, used while succulents are in bloom.
05. ]PT[]Y] = Last light seen by one dying in the fifth duodecad of life.
06. ]XN[ = Heliotrope.
07. ]TL[]D[ = Rotating phosphenes of 6 or 8 arms. 
08. ]BN[]T[ = Shadow cast by light of lesser density upon light of greater.
09. ]V[]TR[ = The pineal body; time.
10. ]XR[ = The sensation of sadness at having slept through a shower of meteors.
11. ]MR[][ = The luster of resin from the shrub ]R[]R[, which fascinates male babies.
12. ]NX[]KT[ = The light that congeals about vaguely imagined objects.
13. ]DR[]KL[ = Phosphorescence of one's father, exposed after death.
14. ]SMpN[ = Fireworks in celebration of a firstborn daughter.
15. ]GN[]T[]N[ = Translucence of human flesh.
16. ]TM[]X[]T[ = Delight at sensing that one is about to awaken.
17. ]TS[]H[ = Shadow cast by the comet ]XT[ upon the surface of the sun.
18. ]R[]D[ = An afterimage.**
19. ]D[]DR[ = A white supernova reported by alien traveller.
20. ]K[]SK[ = A cloud; mons Veneris.
21. ][]Z[]S[ = Ceremonial lenses, made of ice brought down from the high mountains.
22. ]KD[]X[ = Winter moonlight, refracted by a glass vessel filled with the beverage ]NK[]T[.
23. ]P[]M[]R[ = Changes in daylight initiated by the arrival of a beloved person unrelated to one.
24. ]G[]S[ = Gridded lightning seen by those born blind.
25. ]W[]N[]T[ = An otherwise unexplained fire in a dwelling inhabited only by women.
26. ]G[]GN[ = The sensation of desiring to see the color of one's own urine.
27. ]M[]K[ = Snowblindness.
28. ]H[]R[ = Unexpected delight at seeing something formerly displeasing.
29. ]H[]ST[ = The arc of a rainbow defective in a single hue.
30. ]L[]L[]X[ = The fovea of the retina; amnesia. 
31. ][]R[ = The sensation of satisfaction at having outstared a baby.
32. ]ST[ = Improvised couplets honoring St. Elmo's Fire.
33. ]V[]D[ = The sensation of indifference to transparency.
34. ]Z[]TS[ = Either of the colors brought to mind by the fragrance of plucked ]TR[ ferns.
35. ]X[]H[ = Royal expedition in search of a display of Aurora Borealis.
36. ]T[]K[]N[ = Changes in daylight that frighten dogs.
37. ]Y[]X[ = The optic chiasmus (Colloq.); abysmal; testicles.
38. ]N[][]T[ = The twenty-four heartbeats before the first heartbeat of sunrise.
39. ]F[]X[ = A memory of the color violet, reported by those blinded in early infancy.
40. ]T[]Y[]Y[ = The sensation of being scrutinized by a reptile.
41. ]B[]NM[ = Mute.***
42. ]N[]T[]N[ = The sound of air in a cave; a reverie lasting less than a lunar month; long dark hair.
43. ]S[]TY[ = The light that moves against the wind. 
44. ]B[][ = Changes in one's shadow, after one's lover has departed in anger.
45. ]N[]GR[ = The fish Anableps, that sees in two worlds.
46. ]RZ[]R[ = The sensation of longing for an eclipse of the Moon.
47. ]H[]F[ = Stropharia cubensis.
48. ]S[]LR[ = Familiar objects within the vitreous humor.
49. ]W[]X[][ = A copper mirror that reflects only one's own face.
50. ]MN[]X[ = Temporary visions consequent upon trephining.
51. ]G[][]KR[ = Cataract.
52. ]RNpW[ = Hypnagogues incorporating unfamiliar birds.
53. ]M[]D[ = A dream of seeing through one eye only.

* Probably Fomalhaut (alpha Piscis Australis). 

** Also used as a classifier of seeds. 

*** Standing epithet of ancestral deities.

impossible colors

 

By staring at a "fatigue template" for 20-60 seconds, then switching to a neutral target, it is possible to view "impossible" colors

view enlarged template

https://en.wikipedia.org/wiki/Impossible_color

• Stygian colors: these are simultaneously dark and impossibly saturated. For example, to see "stygian blue": staring at bright yellow causes a dark blue afterimage, then on looking at black, the blue is seen as blue against the black, also as dark as the black. The color is not possible to achieve through normal vision, because the lack of incident light (in the black) prevents saturation of the blue/yellow chromatic signal (the blue appearance)..
• Self-luminous colors: these mimic the effect of glowing material, even when viewed on a medium such as paper, which can only reflect and not emit its own light. For example, to see "self-luminous red": staring at green causes a red afterimage, then on looking at white, the red is seen against the white and may seem to be brighter than the white.
• Hyperbolic colors: these are impossibly highly saturated. For example, to see "hyperbolic orange": staring at bright cyan causes an orange afterimage, then on looking at orange, the resulting orange afterimage seen against the orange background may cause an orange color purer than the purest orange color that can be made by any normally-seen light. Likewise, staring at a bright magenta template may result in an impossibly highly saturated green afterimage.

birds of interest post

 

classic thrash tuesday

james tate - take back all my kisses

They got me because if a forest has no end I'll go naked

They got me because my mother stood at the end of a runway

        for seven years with her head in her hands

They got me because an empty street is going on without us

They got me because when I drink wine I drink an ocean

        and when I drink from a river I drink a stranger's 

        childhood

They got me because I suffered from whiplash in a dream 

They got me because I got myself first and last

They got me in between

They came and got me at dawn in Missouri

They got me with hands like blond spatulas

I let them take me away because the sun was nearer than I 

        expected and because I expected them to take me away

        and because I had never been there 

They got me because I was elected to go by the dead

They got me because the dead have too many votes but such 

        poor memories

They got me because the neighbors have wings

They got me because deer are hopeless in more ways than one

Because lights are turning on and off in my knees and 

        I can be spotted through a yard of brick

They got me yesterday because I wore a see-through skullcap

        in the gymnasium of sudden death

Because I spit in the eye of the corner guillotine 

Thunder Guggenheim got me today the fourth horseman 

They got me today because a subway wrecked on your lifeline

They got me in kindergarten when I dropped the atomic bomb

J. Edgar Hoover got me for inventing the milkpod

The preacher got me for eloping with a snail

I am convinced I am dizzy and should not be allowed

        to walk the streets of the city after dark alone

I am a menace to the diamonds that shimmer in flowerbeds 

They got me because I begged them not to take me more 

        seriously than they take themselves

Because they believed me when I said I could not change them

Because they moved the curtains back expecting to see eternity

Because eternity was in back of them and I stood in front

As I promised I would never do though I lied

I lied because my feet were nailed to a ship of birds 

They got me because a wall is nothing to another wall

Because I drove my heart into the ground with joy 

As I promised I would never sigh as a tree in the garden

        of pleases

No ghost spoke to me of the blood that drew near me

        but was not mine

They got me because a chimney was found to remember 

They got me suddenly I had been waiting too long

They got me Thursday it was not raining ragas and riches

They got me Monday I can recall the tiny noise

Saturday they got me my mouth was already gagged 

The got me Wednesday a most forgettable day

They got me Tuesday, Sunday, they got me Friday

        how easy to unpack those yellowing odd days 

Because fire is carried in a hat across the desert of birth

They got me because my job was to pluck houses 

        from the blind

Because women were waiting at the needle of bookstores 

Because windows are jumping in you and out of you

They got me with rubber horns and drugged rabbits

They got me when a rug was too tired to fly 

They got me because I'm trembling beneath a stove

They got me because I stalk the stone in daylight 

They got me because caresses are molded into poems 

Yes I never said I didn't fall into their hands like mercury 

Mercury eaten in a fish 

Mercury flashed across an afternoon nightmare 

Tomorrow may be different 

Who will be the last to know 

Fog - Ditherer (alternate take)

the great andrew broder / mark erickson / tim glenn

bill knott treasure che$t

BILL KNOTT ARCHIVE 

the canoeing trip - russell edson

 The Canoeing Trip 

    

    I had planned a canoeing trip.  But then, after some considerable 

thought, I thought I'd rather go canoeing on an ocean liner. They have 

more facilities than simple canoes.

    But then I saw that an ocean liner would not fit the stream I had 

planned for my canoeing trip.

    And so, after considerable thought, I decided not to think again, but 

simply to exist.

    But even that becomes tiresome.

    So I began to think again.

    But then, after some considerable thought, I decided not to think

again...

early Irish recordings made in america 1910-1940

link

delueze's nails

 

Grateful Dead the video game

Level 3:

field of fire - richard lloyd

1986 swedish tv

intriguing news links

" literature is news that stays news" 

Man Died and Thus Served

The Toe Sucker

Fossilized Fruitcake 

william harmon poem

from kayak issue no. 22

junkfish by the millions

Junkfish by the millions perish
to be canned for the sake of cats
so that tennis racquets can be made out of the cats.

At my acrobatic backhand downbeat the batted ball bounces
just out of reach, chromatic progression with an almost
                         flat trajectory:
I break your serve!    I break your serve!

My purpose is persuasion and frontal assault without
                        deception.
The court is seventy-eight feet long by law, always.
The moleskin wrapped around the handle of my racquet
                        is not real.

As a rule we are shod with old horses, play chess on
                        cherry trees
with elephants, and kill the two kingdoms for food.
                        My second serve
is no less passionate than the first (a fault)
                        (a foot fault).

One fellow found a poem in the fact that "love" is "nothing".
You can play for money or for love, so that love is nothing
only because it is not money.  That certainly makes sense.

Sodium trichloro-acetate mixed with hot water killed the grass.
It ate the sneaker right off the groundskeeper's foot, too.
The white lines are two inches wide (baseline four).

Sunday morning, a stubborn shred of sausage lodged
                       between two back teeth,
a snatch of car-radio hymn lodged in the mind. The stove
                       and toaster smoked,
and something a good deal like smoke even came out
                       of the refrigerator.

I try to draw a rhinoceros and produce instead
                       a perfect hippopotamus
What have I done?  (On the kitchen blackboard, I mean,
next to the shopping list, Sunday morning.)

My Olympic Champion athletic supporter will be fourteen
                       years old next April.
Fish die, cats die, cotton dies, and I am faked
                       completely out
by your unexpected violence.  The net is strung on a steel cable

kept in check by means of a pawl-and-ratchet mechanism.
My backhand becomes more awkward, deuce by deuce.
                        Our fifth set
is tied at twelve-twelve, and I must not lose.  Lord,

I absolutely must not.

"les paulverizer"

royal menus

"Calf’s head that has been simmered in court-bouillon with the tongue and sweetbreads that have been cooked in white wine along with olives, mushrooms and gherkins shaped as olives; which is then served in a mold surrounded by an elaborate garnish of veal quenelles, cockscombs, stuffed olives and thin slices of truffle, calf’s tongue and brain along with the shaped gherkins, fried quail eggs and heart-shaped croûtons. (the dressing was originally for turtle dishes, hence the name, tortue)..."



royal menus

john zoon (hans f wagner) and general baby (jon nielsen) guitar duo -- other desert radio sound collage

late night guitar recordings (odr 05/02/20)

shuzo takiguchi

shuzo takiguchi links

bill knott art

 

joe meek suite

 

three g.b. schultz cartoons

from Alpha Statements

favorable sabbaths

Dream Song 12: Sabbath

There is an eye, there was a slit.
Nights walk, and confer on him fear.
The strangler tree, the dancing mouse
confound his vision; then they loosen it.
Henry widens. How did Henry House
himself ever come here?

Nights run. Tes yeux bizarres me suivent
when loth at landfall soft I leave.
The soldiers, Coleridge Rilke Poe,
shout commands I never heard.
They march about, dying & absurd.
Toddlers are taking over. O

ver! Sabbath belling. Snoods converge
on a weary-daring man.
What now can be cleard up? from the Yard the visitors urge.
Belle thro' the graves in a blast of sun
to the kirk moves the youngest witch.

Watch. 

black sabbath - never say die! 1978

robert walser - response to a request

Response to a Request


  You ask me if I have an idea for you, a sort of sketch that I might write, a spectacle, a dance, a pantomime, or anything else that you could use as an outline to follow. My idea is roughly the following: Get hold of some masks, half a dozen noses, foreheads, tufts of hair, and eyebrows, and twenty voices. If possible, go to a painter, who should also be a tailor, and have him make a series of costumes, and be sure to obtain a few good and solid pieces of scenery, so that, wearing a black overcoat, you can walk up some stairs or look out at a window, then utter a roar, a short, leonine, thick, heavy roar, to make people really believe that a soul is roaring, a human heart.

  I ask you to attend to this cry, put elegance into it, make it sound pure and right, and then, as you like, you may reach up to one of your tufts of hair and lay it, doucement, on the ground. This, if done gracefully, will have a horrifying effect. People will think that pain has made you stupid. In order to obtain a tragic effect, you must employ the nearest as well as the remotest means; I say this so that you’ll now understand that it would be good, next, to put your finger into your nose and pick around with it vigorously. Some spectators will weep when they see this, such a noble, somber figure as yours, behaving so rudely and deplorably. It depends on what sort of face you make and from which angle the light shines on you. Be sure to dig your electrician in the ribs so that he’ll take the right amount of trouble, and above all coordinate your features, your gestures, your arms, legs, and mouth.

  Remember what I told you before; namely—and you’ll know it still, I hope—that it is possible for one eye alone, open or closed, to achieve an effect of terror, beauty, grief, or love, or what have you. It doesn’t take much to show love, but at some time or another in your, praise God, disastrous life you must have felt, honestly and simply, what love is and how love likes to behave. It is the same, naturally, with anger also, and with feelings of speechless grief; briefly, with every human feeling. Incidentally, I advise you to perform athletic exercises often in your room, to go for walks in the forest, to fortify the wings of your lungs, to practice sports, but only select and balanced sports, to go to the circus and observe the behavior of the clowns, and then seriously to consider by which rapid movements of your body you can best render a spasm of the soul. The stage is the open, sensual throat of poetry, and, dear sir, it is your legs that can strikingly manifest quite definite states of the soul, not to mention your face and its thousand mimings. You must take possession of your hair, if, in order to manifest fright, it is to stand on end, so that the spectators, who are bankers and grocers, will gaze at you in horror.

  So now you will have been speechless, will have, lost in thought, picked your nose like a rude and unthinking child, and now you begin to speak. But as you are about to do so, a greenish fiery snake crawls and licks its way out of your pain-contorted mouth, which makes all your limbs seem to tremble with dread. The snake falls to the ground and coils itself around the tranquil tuft of hair, a shriek of fright as from one single mouth goes through the whole auditorium; but already you are offering something new, you stick a long curved knife into one eye, so that the knife’s point, dripping with blood, appears from the lower part of your neck, near the throat; after this, you light a cigarette and behave in a curiously cozy way, as if you were privately amused about something. The blood that soils your body becomes stars, the stars dance around the whole stage area, burning and wild, but then you catch them all in your open mouth, and make them disappear, one by one. This will have brought your theatrical art essentially to a degree of perfection. Then the painted-scenery houses collapse, like frightful drunkards, and bury you. Only one of your hands is to be seen, reaching up from the smoking ruins. The hand is still moving a little, then the curtain descends.

hawthorne, slacker

"The Hawthornes owed the very roof over their head to Emerson and their preplanted garden to Henry David Thoreau. They were not ideal tenants. They acted more like Transcendental hippies. They were late with their rent and scratched several windows of the house with memorable but defacing inscriptions like "Man's accidents are God's purposes." Nonetheless the local Transcendentalist coterie welcomed the Hawthornes back again in the 1850s to the house that proved Nathaniel's final residence, "the Wayside."

-From The American Transcendentalists, Essential Writings