Conversation with Lake about short prose and negative space 08/23/21

Cole: I am really attracted to moments that are impactful yet brief. Like how could I give the reader all the necessary context of a novel but really just have them read something the length of the climax?

Lake: I think (unsurprisingly) that there is much to be learned from short stories, especially by really powerful authors, in as far as the information they choose to make explicit and that which they let/force the reader assume.

Cole: The letting/forcing the reader to assume is important. With my poetry, some of the editors want me to come out and say the point. They don’t want me to just describe the physical moment. They want me to explicitly state the metaphysical message. It’s a balance, getting the reader close enough, but then letting them make the leap themselves.

Lake: Yeah, and constraining the conclusions the reader can jump to.

Cole: It’s not so much what you say but what you don’t say, not what you write but what you don’t write, not what you paint but what you don’t paint. The impression that any word makes on the reader depends on the words around it. The impression that one splash of color makes on the viewer depends on the colors around it.

The most obvious negative space is silence in song, monochrome in painting, blank space on a page of writing. But negative space is really just one end of the scale. We might say positive space is on the other end. Between them, there are pixels of subject that each participate to varying degrees in subjectness.

Now, is there really such a thing as purely negative space? How can we make such an assumption, on behalf of either the creator or the consumer? How can we decide for them what parts they will consider subject and what parts they will consider background?

Like a little girl who holds her father’s hand while waiting in line for the train. Everyone else is leaning side to side, jumping up and down—trying to get a glimpse of the train, the door, how full it’s getting. The girl is crouched down playing with an ant. Who could have seen the ant in a painting titled “In Line For The Train?”

Some writers talk about “filler.” In the middle of a novel, there may be pages that are not the writer’s best work, but they get the book to a total page count and they progress the story along. Filler is still positive space. It’s words—the main medium for the art form of writing. But might we say that filler is closer to negative space than, say, the climax?

As a writer, what am I letting the reader assume? How much relatively negative space am I giving them to fill with their own imaginations? The reader is not completely loosed. Even blank white pages will confine their thoughts and feelings to a certain section of mental-emotional possibilities. How meticulously can I reduce the number of possibilities?

If I have written a poem to twenty lines and there are three possibilities for the conclusion at which the reader will arrive, should I write a twenty-first line to reduce the possibilities to just one? How does it change the experience of the reader to make the leap on their own? To solve it like a puzzle. I would say there is some joy and sense of achievement to be derived from this independence.

Lake: I agree with some of the things you said. When I was talking about negative space with writing I was not thinking about physically, but more so negative or empty space in the environment you build for the reader, i.e., when you have a 20-line poem that leads to 3 conclusions or a 5-line poem that could lead to the same conclusions, the 5-line poem has more negative space and also more power because it focuses the reader to the same point with less filler. And I think that is what skilled short story writers excel at. Because then you can think of it the other way: what is the most cohesive and specific, even if not well-defined, environment that you can create in the space of a short story? Whether that is like geographic depth, visual detail, character development, plot texture. Imagine a surrealist essay. They paint a very cohesive and specific picture, but not necessarily one you could describe neatly in a few sentences. Like Kafka can make you feel a very specific way, even if you can’t really put your finger on how you feel.

Cole: Yes, but that seems separate. Can Kafka make you feel that specific way using less words?

Lake: Maybe, maybe not. The point I was making was that you can know something without needing words to represent it, which means you can make someone else feel something without making it explicit. And I think that by properly choosing words you can be very precise with the atmosphere you create and what feelings you grow in the reader. And a large part of that is what you allow the reader to assume based on the information you provide and the info you don’t provide.

Cole: Ah, I see more clearly now. Let me regurgitate back to you a bit. Premise: I can feeling something without words to represent it. Conclusion: You can make me feel something without using explicit words. Whence, then, does the feeling come? What DO you use to make me feel it? Maybe just other words. Not the explicit ones that say what I should feel exactly, but other words that make me feel it by some other means. Maybe these means are something like the subconscious, logical conclusion, or imagination. It seems the minimalism / negative space conversation is unessential to this one.

Lake: I don’t think so! The negative space is where the mind is able to make connections between the words you do use that then lets it feel something greater/different than what was explicit.

Cole: Hm, so negative space does not exist only in the art itself. It exists also in the viewer’s mind?

Lake: What is in the viewer’s mind is a function of the art, like if you only give someone 5 words on a blank page, they twist and turn mentally until they figure out how those 5 words all connect to make sense.

Cole: But the reader already has words in their head. Words that didn’t come from the page. The viewer’s mind is a function. But the art isn’t even a variable in that function. It’s just an input.

Lake: A function takes an input and creates an output. Mind is the function. Art is the input. Feeling is the output.

Cole: I still don’t think the negative space exists in the mind. The negative space exists in the art.

Lake: Okay, but I think that’s wrong, or rather is missing the point. Let’s say negative space exists in the art. What impact does that have on viewer?

Cole: It has an impact on the viewer’s functional mind via the input of the art.

Lake: Yes, but like what does it mean. Why is negative space helpful?

Cole: Now we’re back to square one.

Lake: Humor me.

Cole: Negative space is helpful because … (A) It allows the viewer liberty to draw their own conclusions, which are not explicitly concluded by the positive space in the air itself. (B) It preserves the energy and attention of the viewer so that they can focus with more power on the positive space. (C) It allows the positive space to exist. Without negative space, there is only positive space; there is only space, general space, without an opposite, without contrast.

Lake: Yes, so really what we are saying is don’t give the viewer all the pieces to the puzzle and let them find some on their own. If the input is sparse the function has to make more assumptions, yielding a more interesting output.

Cole: I disagree with the word “interesting.” Maybe the output is more personal to them. Or maybe the viewer feels a keener sense of accomplishment.

Lake: I would say “interesting” is correct because it’s actually just a conclusion that isn’t handed to you therefore you have to think a bit therefore you focus more of your active interest in it. But whatever, not gonna die on that one.

Always alone

Is the aloneness
A musician experiences
On stage
Performing for a crowd
Any different
Than the aloneness
They experienced
When they played
Just for themselves?

August 08, 2021 at 04:17PM

Meeting Henry

I held onto the metal bar above the doorway into the basketball court, doing leg raises. He stood on the other side of the chain-link fence, behind a storage container to shield him from the wind. He was drawing on a pad atop a tripod. I wanted to know what he was drawing, but I could not decide if I would go over and ask. By the time I finished my exercises, I had decided that I would.

I walked over and asked, “Do you mind if I take a look?” He stopped drawing, looked up, and, after taking a moment to resurface from his deep, drawing thoughts, said, “Oh, yea, sure, it’s not finished, but …” Then he took a step back and lifted his hand, palm facing up, to point at the pad, signaling to me that I was invited to see. I stepped into the studio he had made with a dirt floor and two walls—one, storage container; the other, chain link.

It was a pencil sketch of a tree. There was smudging that made a sort of background and eraser marks that looked like calligraphy—one art form within another. It was obviously a tree. The trunk and the branches were clear to see, but it was still unfinished.

As I was admiring the sketch, I remembered that I was meeting a stranger at the same time as I was admiring an artist’s work—both of which are events normally accompanied by certain manners. I said, “The eraser marks are interesting.” And explained how they looked, to me, like calligraphy.

He then explained how he used the eraser as part of the drawing process. He would erase to create a lighter shade and then wipe across it with a cotton swab to make a purposeful smudge.

We went back and forth about the sketch itself. He taught me about his methods and I asked questions. Lately, he had been using a ruler to get the scale right. Otherwise, he said, he would get carried away with drawing a certain part of the sketch—say, one bough—and then it would end up out of proportion with the rest of the sketch. So his solution for this was to buy a ruler at the art store and make tick marks along the length of the page that corresponded to different parts of the tree. Scale had been on his mind a lot recently. He wanted to draw the tree as it was.

I cannot remember all of what Henry said. I tried to be present in the conversation, rather than just trying to remember. But I do wish to record a few certain things he said that really struck me.

I explained to him that I was a writer and that I knew what he meant about how you can’t be too willy-nilly when you’re getting down your first draft because then you will create a mountainous task for yourself when it comes time to edit. The closer you can get it on the first draft, the more time you can spend getting it even closer during editing. Of course, this is balanced with not being so focused on getting your inspiration crammed so perfectly into what you preconceive as the proper form that you end up choking the energy and vibrancy that gave life to the work in the first place. We agreed there is a balance between form and energy, structure and chaos.

I also told him that sometimes I have an experience and become frustrated when I struggle to write it such that it is equal to the beauty, sadness, joy, brilliance, or whatever I am feeling so greatly myself because I wish for others to feel it too, via my writing, but I know they will not be able to if I cannot fit the writing within a tight enough pipe that it gets to them like a firehose.

And that is really what we were getting at. I may be putting it in different words but I can feel now, writing it, the same as I did an hour ago, talking to Henry about it, so here it is. There is a dichotomy. Many analogies demonstrate it clearly—solid and fluid, structure and chaos, form and energy, wind and tunnel. Let’s use solid and fluid—water in a hose, to be precise. The water is the energy. The hose is the form. Making art is the process of turning on the water and having it flow through the hose.

The water is what the artist feels. It is the emotion, idea, or inspiration. It gets into the artist. A painter beholds a nature landscape. A dancer is filled with potential energy for movement. A comedy writer overhears a funny conversation.

But does the artist have a hose? Does the painter have a keen painter’s eye to see the colors in the autumn leaves and choose the corresponding colors from his palette? Has the dancer trained and flexed her muscles so that her body is capable of the great leap to which her spirit aspires? Does the writer have the skill to translate the elusive rhythm of spoken comedy to the written word?

This is not the kind of hose that can be bought at the hardware store. It is more than just the painter’s brush, the dancer’s body, or the writer’s pen. It is the craft itself.

Many times I have been overflowing with water that I cannot force into my hose; in other words, I am overwhelmed with an experience that I cannot write. I can write some of it, but there are holes in my hose. There are holes because my craft is still of an amateur. My vocabulary has not expanded to the far reaches of the language. I have not read enough to gather a sufficient stylistic inventory. My words don’t sing in perfect harmony with the music of language.

The water wells up in me and I drown in the ecstasy on which I am already drunk and would readily pour out into the glasses of others so that they could be drunk with me. But my hose is holey and all that comes out the other end is a dribble. I cannot spray out of myself strong enough for my readers to be dancing in the water as in a sprinkler during a hot summer day.

On this, Henry gave me advice. He said that my experiences as a young man are ephemeral and I need to freeze them while I can. That means writing down my experiences with the writing skill that I now possess. As I grow as a writer, my craft will develop. Then I can return to my earlier works and raise them to the level of my heightened craft. Henry said that he had done this with sketches from his younger years.

A text from Henry the next morning (07/05/21) at 3:51am:

I can see the distant bay but I cannot touch it or use any other senses to flesh its reality. My awareness of rests on its image in my mind. Without embodiment, reality drifts into fantasm. “Feeling of reality” (referring to a term used by Andre Gide) is a little litmus strip one end is informed by all the senses and is rooted and the other has less sensation and is more ethereal and seems fantastic.

Write like that

In most of what
Has been written
And deemed worthy
To have been read
By others before me

I can see how firmly
They must have pressed
Their pens into the paper
By the boldness of the font
Even though it is printed

So clear
Their editing
And obsessing over
The punctuation

What is it like
To sit in a room with someone
And watch them be
Who they truly are

Write, like that
I wish they would have
Like they would talk
If they were right here
On the couch with me

So that I could meet them
Instead
Of this castrated form
Into which
They crammed themselves

July 02, 2021 at 02:59PM

The right question

About my writing
He says he wants to ask me
The question
Which he wishes
Others would ask him
About his music

This is the question—
“What question
Do you want me
To ask you
About your art?”

I cannot help but feel
That he is cheating

Isn’t digging through the dirt,
Clamoring through the confusion,
And finally finding
After much searching

Somewhat similar to
All the sunshine and rain
Required
Before a flower
Will unfold for you?

Did nature
Have it so easy
As simply having to ask
What it was
That the flower wanted?

Or did many flowers
Have to die
Before nature learned
The unfolding
Of a single flower?

Was it worth kneeling
In the soil
And watching
For every second
Of every day

To learn to ask
The right question?

June 09, 2021 at 12:00AM

Algorithmic art

Lake explains
How a machine-learning algo
Makes art

“The code
Prunes out what’s bad”

“It grows into
The right composition”

“It either ends up
Too random
Or not random enough”

Kyle argues back
On our behalf,

“It’s the same
As a human artist
Learning what feels right
From experience”

Lake responds,
“Those learnings
Are rules
That can be coded”

June 07, 2021 at 01:50PM

Frames

Other than the ones on walls filled with paintings or photographs, I see frames everywhere. Earlier I was lying by the pool and the umbrella framed the sky on one side. Now I’m lying on the couch on the balcony and there is a rectangular opening in the wall and along the bottom there is the top of a table and farther off there is the side of the building across from ours, so the sky is framed by the opening on the right and top, the table on the bottom, and the other building on the left. These frames occur all over where there are straight lines.

The most frames are in the cities where there are buildings, windows, roads, light poles, and other urban structures. Why do we frame paintings? Why must they end at the borders? Does it matter? The answer, I think, is the same for these frames that occur on their own. But you can only see the picture once. If you shift your gaze at all, the picture will change and you won’t be able to ever get the same one back.

Originally written: Wednesday, May 26, 2021, 5:38 PM

Honest young girl

“This has so much ego in it. It’s so good,” she says about the song playing. She says things, not knowing what she’s saying and how good it is, confirming the theory I have about the words people say in conversation in the moment being way better than the words remembered and written after the fact. She says this listening to the music and feeling it. The way she says it in this moment is different. It is like music. The tone makes it. Her facial expression, the environment around her, and, of course, the music itself—it all contributes. Film would get closer with its combination of audio and video. The art that we are all chasing from different angles is the present moment. When we cut it off from its original source, we only take a piece with us—the words, the sounds, the appearance. But the whole thing is here and only once. The art is life itself as it’s lived. What makes us want to divorce it from it’s natural birthplace, to pull the flower up from it’s soil. Because we want to show the beauty to others? Because we want to keep it for ourselves.

The chicken or the egg

I wonder about the limits of being yourself. They say you have to play by the rules before you can break them. But they also say that just being yourself is the key to success. How much of myself is really me? Not much, I think. Unless, of course, all that we mean by “being yourself” is that you just stood there and let it all happen to you. Well, then everyone would be themselves by default. There’s no way to escape it. From whence does one’s self surge up? I am vaguely remembering Sartre’s essay on existentialism. How can the seed of yourself fall on anything but fertile soil? But then who put the soil down and who pulled you out of their seed bag and dropped you there? And these questions go on ad infinitum. So there is really only one true individual, and they are either the chicken or the egg. But we’re not talking about just any old chicken here. We’re talking about the Chicken with a capital ‘C.’ Or the egg with all the Alpha and Omega-3s you could ever ask for.

But I’m losing my head. Back to being yourself. Let’s depart from the true philosophy of the matter just for a moment and talk in practical terms. I think we can agree there are some actions that can be taken or decisions that can be made by an individual which seem to be willed or otherwise brought about by their own individual selves. In other words, we would not say of said actions or decisions that they were a result of the individual just following the rules or doing what everyone else is doing. In some way or another, an individual is capable of really doing something on their own. Now, I don’t think this claim really holds weight philosophically, especially for determinists, but let’s just hold it as an assumption for now.

Maybe it is an aesthetic argument. Because what I really want to convey is the sense of beauty that I get when I see someone who appears to be beating their own path. And I don’t think we get very many of these. Because the default is to walk the trail already traveled. Before you can even think for yourself, you’re already on that trail. And, if we’re subscribing to determinism, then the inclination to step off the trail might also be determined, which is why this is not an ethical argument. It is not good or bad to be on the trodden trail. But, oh, the aesthetics of the young girl in the dress running off into the tall grass and away from everyone else—oh, I want to chase that girl! I want to finally catch her in a glade and ask her all the questions that the travelers on the trodden trail could not answer for me. Why did you run? Where are you going? What have you found so far? Will you go back? Why? Or why not?

But how beautiful will her answers be? And herein lies the heart of the matter. Because it is beautiful to watch her run away—this much, I can understand. But how alien will she become? And how quickly? See, this is what I mean by the limits of being yourself. Because on the trodden trail, we can all understand each other. We have had relatively similar experiences, we speak the same language, we know the same people—we hold things in common; most importantly, in this context, our methods of communication. This is important for the aesthetic argument because how can something be beautiful if I cannot understand it? Now, don’t rebut too fast. I am not talking about complete understanding. A little bit of the unknown can be tantalizing. But this is different. I am talking here about not even a beginning of understanding. Something so alien that you can do nothing but stand there and gawk. Maybe there is some awe in the gawking. But if there is awe, then there must be some starting foothold into which your understanding has stepped. Otherwise, it is only hollow-minded gawking as your mind tries but fails to fit the experience into an existing neural pathway that isn’t there. This is the limit of being yourself that I speak of. It is the ultimate outer limit, so we now have a scale. The minimum of being yourself is the cookie-cutter human on the trodden trail. The maximum of being yourself is the girl that runs off into the forest who turns out to be a totally non-human alien.

Now, what does this mean for an artist? I think it comes down to appetite for the risk of being an alien. How far out are you willing to venture in order to find something new?

Damn editing

I really touch it light like, afraid to overwhelm the original with too may edits. Like coming into a museum and looking upon the work of another, I wouldn’t dare step over the partition and reach inside the glass container, ignoring the “Do Not Touch” signs. The piece is beautiful for my eyes as it is, and there is nothing more for me to add by putting my hands on it. I have as much respect for my former self as the artist. I come now as the editor to do the necessary evil. It is my own, even the mistakes, and that is what makes it art, I believe. Everything that happens afterwards, with editing especially, is a derivation of the original. I am thinking of rules and the opinions of others when I edit. I am no longer thinking of the source of inspiration, which can only once be passed through the lens of my perception and, in that moment, recorded.

Originally written on: December 13, 2020

Editing art

It would be possible to subject my writing to scrupulous and excessive editing and critiquing by many different readers. But would this cause my writing to trend towards being better? That’s what we would expect. Like the blueprints for a space rocket. The greater the number of scientists, engineers, and physicists that have reviewed and double-checked the plans for the rocket, the higher its chances of success, right? Well, maybe. Assuming all the reviewers were intelligent and none of them actually made an edit or suggestion that was, in fact, erroneous—then yes, we would expect the rocket ship to get better with more review. But what about a piece of art? Something for which there is no objectively right answer, like there is for math and science. I guess it partly depends on your definition of art, and your standards for “good” art. Take cooking, for example. There seem to be some objective rules of quality. If a dish is burnt or undercooked, then it would break these rules. If a dish is not even edible, it may be difficult to consider it a culinary masterpiece. But once these objective rules are satisfied, we enter into a world of taste. What delights one culinary critic may disgust another. And the disgust of the one cannot be regressed to any of the rules; it is just because of their personal taste. Now, if we turn our attention back to writing. There are certainly some of these objective rules for quality that apply, like the rules of spelling and grammar. But to let too many editors comment on the “heart” of the work based on their personal tastes, and not any objective rules, may cause the piece to become “watered down” and lacking in the originality and individuality that made it good in the first place.

The irony of advice

Once you’ve gotten good at something, it’s similar to how all the advice from your parents starts to make sense once you’ve grown older. All the advice from those who were already good at the thing only starts to make sense once you’ve gotten good at the thing yourself. The irony, of course, is that you needed the advice much more before you became good at the thing yourself.

I find this to be especially true with art. You must slog through it on your own, no matter what. It is not like science. There are no repeatable steps. You could put all the same ingredients into your beaker as the person next to you and still end up with something completely different.

There are at least certain themes that seem to be consistent between artists. But even these themes suffer from being difficult to understand for amateurs. They are not themes that you can proactively put into place. They can only be seen through your own solipsistic lens, looking backwards on your own artistic development.

Lose myself for good art

I have to lose myself if I’m going to create good art. All these poems that start with “I” are worthless. It was when I was meditating and putting unconditional love out into the world and remaining unattached to my material pursuits that I was creating good and honest art. Now I’m all caught up in my job and trying to make money and so focused on myself that my stream of consciousness is ego-obsessed. That stream is where I get my art. It’s no wonder I can’t get any art from a stream full of only one thing. I need to open myself up to the world, and lose myself, and stop writing so much about “I.”

Excerpts from A Trip in Montana

I am a little off balance now as I walk. And so it begins.

Large ants crawl on the Mexican blanket. I am interested in their movements.

The shadows have caught my attention as they dissipate with the movements of the clouds between the sun and the ground.

It is starting to open up. Ideas in my head seem to be connected.

My friends are talking on the deck above. I am on the patio below. Their words are disruptive. They are talking about college.

I have a desire to put on my shoes and go into the woods.

I am going into the woods, to discover species anew and to give them new names.

It is hard to write
With the light so bright
On white paper

As I put my pen to paper, I almost forget the words, but still they come to me somehow, flowing from objective reality itself, then through my senses, and seamlessly into Word.

I feel the sun hot on my shoulders through my shirt.

An ant crawls up the leg of my shorts.

I have found a convenient stump to sit on and write.

There is an ant on my left pointer finger, probing me with his antennae.

I need to get out of the sun. My neck is already burnt.

I am tripping, assuredly. I have wandered a bit farther into the woods, where there is some shade. I stepped across a crumbling trunk, like a balance beam, to get here.

I can hear my friends laughing behind me.

I begin to feel fear for the future; fear because this good feeling will come to an end.

I remember the Bene Gesserit mantra: “Fear is the mind killer.”

The fear comes from my ego. When I remember that I am part of all this, the fear goes away.

There are certain words that reassure me. They are often phrases or quotations. Some degree of spirituality, it seems, is just to memorize words, and then, when the right time comes:

(1) Recognize the appropriate situation.

(2) Recite the words in your mind.

(3) Let action flow forth from your body with the realized meaning of those words.

Again, I start to think of the future, and ill feelings immediately follow. Stay present! Stay mindful! This is the heart of my practice.

I fear so much for the future. I fear so much for my ego.

I am concerned for the physical health of my body.

I am concerned from the performance of my financial investments.

Even as a bug lands on my hand, I check to make sure it is not a bee that can sting me. So what if it is?

I am a part of all this. If the bee stings me, it is a part of all this.

It is like the book that I cannot recall the name of. Ishmael, there it is.

He talks of how man was in sync with nature before. This is how it should be. This is the answer.

All of man’s developments have placed him in a position above nature. Many of man’s modern problems would be solved if he would return to his place in nature.

Now, that seems unlikely. It would mean the death of many humans on our overpopulated planet. We have trodden too far down this track.

I hear my friends laughing in the distance. I wonder if they appreciate the deeper power of the trip. Or do they take it all to be just funny visuals?

As they speak with each other, they are kept from going deeper into their own minds.

I think of the time. I do not have a watch. I am fully tripping now.

I wonder how long I have been standing in this place. My legs have held me just fine, but when I look at them, I am unsure of how they operate.

I do feel taller. This is something Sean mentioned he often feels while tripping.

When I misspell a word or scribble, I think, “Don’t worry, they’ll get it.”

But I must realize, they won’t get it. All of THIS, is captured only in my humble words.

I should stop writing and enjoy it.

It occurs to me to draw.

I laugh at myself for thinking I could draw such beauty.

I start to feel ill feelings. I feel them run a familiar track inside of me. I see them, like rushing rivers, encountering the dam of my heavily-fortified ego.

I observe, dangerously at this time, what my ego is built of.

The wind blows. I let it pass. I pick it back up.

My ego is built from who I think I am. My history, my present physical body, what others say about me …

It is hard to keep track of this thought.

I am fully tripping. I have stood in one place for so long, I had almost forgotten what it’s like to move.

I am fully tripping—these exact words occur to me again.

I constantly have these thoughts:

– What should I be doing?

– Is this, what I’m doing right now, productive?

And then I start to think into the future about what will be most productive …

I have to remind myself, that is not the game we are playing.

Stay here. Stay present.

It strikes me how easily I forget. I have an ill feeling, and then I am distracted, and then I forget.

Even control over my body seems to be something I could part ways with, other than for the convenience of my fingers which hold this pen to write.

Things occur to me as being beautiful, and in that moment of occurrence, nothing else matters. My senses are fully immersed in the beauty, like the sight of a crumbling tree trunk, split open and filled with forest debris. So dead, but so perfectly at home.

I think, how will these words sound to the others who read them?

I remind myself, it does not matter. Stay here. Stay present.

Of all the bugs, mosquitoes are the only ones I swat. I do not so much mind the prick and the drawing of blood. I am more worried about disease.

This idea of disease, planted in me by society, affects my behavior towards other living creatures. Again, I think of reading Ishmael.

I cough to spit. It surprises me that I have a throat and a mouth.

I am so at home in the woods right now. The wind blows through my hair, just like it does through the leaves in the trees.

I hear something behind me, a rustle in the leaves. I feel the desire to make myself unseen, to crouch low, to hide.

I feel that I understand my ancient ancestors in this moment. At the same time, I feel the call back to civilization.

I think of my friends and the house, and I smile.

I am surprised to feel my facial muscles smiling.

As the sun shines and the birds chirp, I am filled with so much love for nature.

A moment ago, it was dark. The clouds covered the sun. I was scared of what I could not see among the trees. I was alone.

I am resistant to going back, to have to talk.

I know it will be hard to stay out here for too long. I do not know the ways of the woods. I would lose. I do not want to lose, and so starts the civilization of man.

I was born civilized. At this point, it would take much undoing.

I see a runner on the street through the woods. It invokes a feeling of familiarity.

From where I stand writing in the woods, I feel perfectly balanced between far away from, and still close by, to civilization.

If I were farther into the woods alone, I might feel a more primal fear for my survival.

As I see things on the forest floor, I lean down with my paper and pen, like a photographer with a camera.

I hear trucks on the road. I remember what people have told me in the past.

I just feel so happy, particularly to be inside of my body.

To be contained in a physical being, capable of realizing thought.

The body is a beautiful thing. More than just the beauty of its form, but also of its function—to realize thoughts and feelings.

The importance of yoga, to cultivate this connection between body and mind, occurs to me now.

It is a practice I could spend my whole lifetime learning.

In contrast, I am less interested in certain aspects of my job. There are aspects that seem far removed from man’s natural state. Like keeping the body seated in the same desk chair all day.

Woah! A mother moose and a child moose just passed, not more than forty feet from where I am standing here in the woods.

At first, I felt immense fear. I could not tell what was near me in the woods, other than that it was big—bigger than a bird or a chipmunk.

Your eyes play tricks on you between the branches in the trees.

I am being bitten by mosquitoes. I choose to return to civilization, knowing the risks.

I am sad to leave. I must remember the connectedness to nature that I experienced here.

I hear my friends and their words. I cannot speak to them. They must come out here into the woods and experience it for themselves.

All around me, the forest floor is alive, mostly with ants. There are also mosquitoes, flying and landing.

There are many aspects. You do not need to fear that it will be over. It will continue. Whether your ego is involved, does not matter. You are a part of it all.

But these mosquitoes are insufferable!

I feel a drop of rain—another element forcing me to return.

My friends talk too much.

They do not wait in silence long enough to experience it themselves.

I look back at Marie, I think to talk to her as Marie—she, of the flesh and blood, with whom I share memories.

But she is not the same, as she appears to me now. She is participating in the One. She is a soul, and that’s all that matters.

I think of my own flesh. Am I housed in the bones I would choose? What does it matter, if we’re all the same.

These words are so meager. What art form then? What form could capture this most fully?

There is the question, first, of what art form could capture a lived experience most fully. Then, there is the question of what art form could capture THIS (tripping) most fully.

It occurs to me now that the “come up” has passed. We have arrived at the plateau.

I am not sure if any of the others would be willing to participate in this experience in the way that I participate in it.

The woods are a very clear analogy. Deeper in the woods, there is only the sound of wind in the leaves. The only movements are the ants on the ground.

Back at the house, there is music from man-made speakers, man-made words, and even man-made men.

These man-made men are the ones who do not understand.

I think of Ishmael again.

We come from nature, that is where we will find ourselves in order.

Man does not understand himself. Not even the accumulated knowledge of generations of man thinkers can understand one single man.

How then, can we expect man to build himself?

He cannot do the job of nature.

It occurs to me now, how brilliant the book Ishmael really is.

Even as I write these words, I realize that going back to read them will not be the same.

Impossible to achieve the same understanding.

I am aware of the ground being alive with ants. I cannot look anywhere on the ground where I do not see an ant.

These ants are like men—successful, relative to other species, and still working to further themselves.

The operations of nature make sense to me in terms of business. An enterprising species will take market share from others and win.

I almost caught a look of myself reflecting in the window, blue bandana. I looked away, not wanting to see my face.

Talking aloud to Marta, my voice sounds inadequate. I wish it were more musical.

You have to have your art form ready, before the experience.

When you are awash in the storm of your emotions, there must already be an artistic channel, into which that emotion might pour.

Without a specified channel, the emotion will search for one.

I am an emotional person, I realize now. I always have been. This emotion is my power. It fuels my actions.

If I allow it, the economy will engulf me here where I stand in this moment with the skills I have to offer, and my hopes and dreams to be used as motivators to put my skills to work.

The economy does not care where I land. It does not care what profession I choose. It will get use out of me, one way or another. This is management, the business of getting use out of people. And the managers report to investors, and so on.

This is the nature of the economy—investors pushing people to do things (who then push other people to do things) to make more money. It is the investor’s passion for more that sets the whole economy in motion.

Muse

She is gentle and will not be forced. She must come to you first. And then it is a matter of what you do with it. If you try to go to her first, it will not work. She will not be open or ready. And you will merely be grasping from the outside. You must be patient and wait.

Inspiration from sensory experience

Changes in my sensory experience are a main source of my inspiration.

Sitting at my desk in my apartment, I am experiencing the same senses. I can hear the sound of traffic on the street outside. I can see my computer screen and the white wall behind it. I can feel the cushion under my bum and the wood against my back. I can taste my saliva. I can smell the bland air. I am experiencing the same senses. I am bored. I am not inspired.

So I get up and put on my sneakers and go for a run. Now my sensory experience is changing. I see new storefronts every block. I see new people and new cars. I hear conversations and children laughing. I smell the pollen from the summer trees. I feel the wind and the sun and the cement beneath my feet. My taste is about the same—just saliva.

Now, this is not to say I could not have changed my sensory experience in my apartment. I could have turned on some music. I could have taken a heroic dose of acid. I could have punched myself bloody. I could have sat down and tried my best to enter a deep meditation.

What comes in through your senses is already art. Life itself is art. What you see is a painting. What you hear is music. What you feel is dance.

As an artist, I am more of a translator than a creator. My life, my sensory experience—this is already the art. It is like clay given to a sculptor. I take the sound or music and the sight of the sky and turn those experiences into words. But in some sense, they are already words.

I am like a kaleidoscope or a prism. The experience of life is light. I am not the creator of light. Nor am I the creator of myself. I am merely a vessel.

It is still work. It is not as passive as standing there and letting light pass through. But it is work already set into motion by forces greater than me, and I must merely play along.

Park photographers

I watched two
Photographers
At the park today
As they
Took pictures
Of the birds
And the sky

One of them
With the long lens
Stood in the shade
Resting his camera
On his leg
Like a hunter
Holding his gun
Lazy like
Waiting to shoot
A bird in the trees

He waited like this
Still as a cat
In the shade
Only moving
His other arm
Not holding the camera
To take drags
On his cigarette

The second
With a small camera
Stood in the trail
In everyone’s way
Looking up at the sky
At a trail of smoke
Left by a plane

All of the passersby
Stood for a second
And tried to see
What the camera man
Was seeing

He pointed and explained
But some just didn’t see
Or understand
What was the big deal
About a trail of smoke
In the sky

her honey

All the art

Is in her

I believe

She is the artist,

Truly,

I am only

The collector

Like some would say

Of the bee keeper

That he has brought

Us honey,

But no;

It is the bees

Who brought the honey;

It is the keeper

Who stood by idly

Patient enough

To collect and deliver

What the bees brought forth

Good art vs. great art (01/19/20)

I think one of the differences between good art and great art is that good art is enjoyable once you’re already in the mood that it was created for—like club music when you’re drunk or academic writing when you’re up early drinking coffee.

Great art gets you into the mood whether you’re already there or not. You could be sitting at your desk at work in the afternoon and read a great poem and all of a sudden you’re transported to an emotional state where you’re almost crying.

For good art, you have to be there already. Great art takes you there.

re-create

Sometimes I try to re-create a time or place when or where I was creative so I go back to the same coffee shop and drink a cup of coffee and sit in the same seat and look at the same window, but it doesn’t come. Creativity is never the same, otherwise it wouldn’t be creative. So an artist must always be exploring, going to new places with her eyes wide open. Sometimes you can even find creativity in an old place if your eyes are open wide enough. This is why success for an artist is somewhat different than anything else. With most things you can find a routine or a set of repeatable steps define success over and over again. With art you must always be changing

untitled

I’m a shell of a human

after I’ve emptied

into my art

outpouring all I’m worth

forgetting

there is still

life to live

after this

sexual art

An artist’s art ain’t as good when there’s a good-looking girl around. His sexual and creative energy gets into thinking about that instead of into what he’s making.

stream of consciousness at Peet’s coffee shop on Fillmore 10:08am 1/4/20

i think there’s something about it being strung out and straight on so you can’t catch your breath reading until you gasp and choke for air trying to get on to one more word and then once you think you can’t go no more then one more still because it’s that good and will cease to all be the same run-on if you stop to breathe (i’d like to write a piece one day that runs on so good i’ll get lost and read it run on like this and overcome even my instinct to breathe and lay there on my deathbed reading it right to the end)

everything collided so perfectly in that time after which now it is only worthwhile looking back longing with less to be gotten from the present it seems compared to thinking back in my imagination on that past good time which may be me getting older and the best behind me so i wonder if this in between turning twenty five is the time to start looking back or if there is still more to look forward to

I published this in the moment I wish I would have because I don’t think art happens over time more editing overthinking less of what was once natural coming out as art in the first place because that is what you thought or felt and that is the art right there as soon as it comes out like a live performance and anything after that is manufactured

love and art

managing

the emotions

of making

your own work

falling

into love

and back out

easily

but having

to stay

committed

if anything

is ever

to get done

sex sells

all these popular appearances trend towards shock value and sex it seems. simple and calm art gets drowned out but still has a place i think

appreciate

what is

already here

what more

need we make

look

and this too

all this

here for us

without us

why can we not

just watch

sometimes

rather than

always make

to claim

for ourselves

the beauty

marvel, wonder

whether we are

i wonder

creatures

to create

or just

appreciate

machine art

i wonder if

a machine

could make the art

that i do

i think as far

as appearance

it would look the same

or better

but the point of art

is not that

it merely

be produced

but rather,

that it be born

from a genuine

human experience

otherwise,

what’s the point

creative chaos

my art benefits from my work and vice verse. chaos crispier structure and structure controls chaos. sitting focused on structure an artistic idea will occur in my subconscious. creative trying to make my work experience will move the ball forward.

questions for an artist

i think one reason for depression of the artist is that any good feeling must be immediately expelled into the receptacle of the art form, quickly before it passes.

art is about feeling—and for most, feeling cannot be controlled. so when a good feeling comes, the artist jumps to take advantage of it, by translation into her art form. while good may be produced in the art, there is none leftover for herself. this can lead to depression when the good is constantly poured into the art and never left for herself.

this idea, however, i now realize, is partially due to my own bias as an artist, as i am the type that produces only when i am feeling good, maybe because i think this is what is preferred by those to whom i will show my art.

but now, i wonder, what is it like to be an artist that produces from the bad feeling. does the same effect take place where the bad is expelled from the body and mind, and absorbed by the art? is this why art is sometimes used as therapy? is this the type of art people will want to consume? is that type of art, consumable art, the art that should be created?

can’t let the beauty go

sometimes

just laying here

there’s no art

to be gotten from it

necessarily

with a forearm

behind my head

laying on the couch

looking out the window

wishing i had a typewriter

on my lap

to write what i am feeling now

suddenly

not expecting to

or looking for

this tree that i can see

through the window screen

moving so slowly

in an imperceptibly

soft breeze

that catches me

here laying

not expecting anything

from this moment

that has become so beautiful

all of a sudden

that i am forced

to get up and grab my phone

and come back quickly

to the couch

back under the covers

to resume right into

what struck me suddenly

and tried to enjoy

alone and unwritten

but couldn’t

just too beautiful

and had to

start writing

robbing me

of these moments

just to be enjoyed

silently, wordlessly

i can’t

have to capture

something in me

can’t let the beauty go

and can’t see the value

in keeping it for myself

the two sides of art

Is art what happens naturally? What you think on your own before it’s shared? Even before your superego can get a hold of what your dreaming id produced in the night? Or is it what is edited and curated for the masses? Brought to the table for conversation so that it may be consumed and enjoyed by many more than yourself. For art seems also to be the two sides of the same coin on the sidewalk or street no matter where in the world I walk, and these two sides are the individual and the community, the ego and society. For as much as we wish to be ourselves, we wouldn’t want to be anything if not for others; and so too for our art. An artist, like me, wants so much to be unique and one-of-a-kind. The same type as a musician that refuses to listen to “pop” music on the radio or disdains sell-outs for producing art aimed at commercial success. But if the market accurately reflects the demands of the masses, though surely not individual, it seems to me to be just as much “art” as the avant-garde off in the corner trying to sniff out anything at all that hasn’t been seen before.

expensive art #2

i think of that painting

we passed on

that i liked

and stood there

looking at

for some time

on the second floor

of an eclectic gallery

until baby asked

if we should get it

and i asked the attendant

the price

which is when

we passed

and left

—thinking back now

i haven’t spent

that money

on anything else

i’ve liked

nearly that much

sunflower palm

the feeling

of exacticity

you get

observing

something

multi-colored

against

a monochrome

surface

like a handful

of sunflower seeds

in a peachy palm

blank space (09/14/19)

awake and into the world remembering how things are especially around lunchtime when you are reminded you must eat and go to the sandwich shop to pay with dollars that you must have kept track of and seeing all the other people eating and doing other things that they’re supposed to getting into this world all day going back to the office and sitting at your desk and doing the job that you’re supposed to that you’ve done before so keeping on this track and almost going on auto pilotIt becoming easy to keep up with your routine and home at night to rest and then wake up when there’s a chance that it’s really all new having had some time to close your eyes and think of nothing so for getting partially what is usually done and more personally what it is that you were supposed to do and not yet being so hungry nor needing more rest so being able to get away from food and shelter for a short while and left off into a blank space where could creation really a curse for me running about and waving my arms and shouting gibberish throwing it all gets the campus words that made out rhyme and notes that may be definite are attached to a world that must make senseBut here is where creation happens created being that which is new and of course must crash land at times bringing nonsense back to the real world what other times you might bring it back and others will say oh yes why have we not had this before

a thing itself

less as a thing itself

more as its parts

that which is becoming

resulting from

what happens naturally

just as it would

without a forethought

for what is made

from constituent parts

more attention on each part

as if it were

a whole itself

making one by one

giving each no title

no summary

until after the fact

when it’s all said and done

and can be seen

for what it is

then can finally

be called

a thing itself

highway painter

i know a man

under the highway

on second street;

he paints all day

on scraps of cardboard

—i noticed today

that he paints white

over the cardboard

that he has already painted

with multi-colored lines

in broad strokes

and then paces along the curb

with his hands behind his back

waiting for

the white paint to dry

so he can paint again

one big surge after a nap on sunday (08/31/19)

needing it all to be productive even wanting my leisure time to make more for me having gotten into this bad habit of looking at everything in terms of its value and looking at myself in terms only of what value i can produce and this value system being minimally investigated though i suspect it is based on monetary american capitalist fear-based material systems and i have let them get hold of me in an effort i thought some time ago to lean into it for a while so that at some point i would have enough to live comfortable and be released and able to build my own value system with enough “free” time — yet that time has not come and i am getting antsy but know that if i break early before my money is made then i will return to the same problem having not enough money to survive and slipping below the standard of life required for the value system i would build based on non-monetary tenets so i realize the two worlds are linked by the ends of the world’s monetary system and the means of my own idealist world i cannot yet surmise that a complete break is possible especially with the lingering suspicion that a human being animal may not be able to release from his nature whereas the monetary pursuit is an advanced version of the primal pursuit for food and shelter so really wanting to split from my nature and remembering again that this is not possible – which i would not forget except for the ethereal moments when the sky opens up and shines down on the earth in a way i want to look at the world forever or a feeling for a person i love overwhelms me in a moment which i wish would last forever such that i could exit time in that moment and have that be all there is, yet it is this trade, which we do not necessarily choose to make though i think we would choose it if given the option, where the barter for more space is always to endure more time. if you want to see, feel, hear or otherwise sense the world differently than you are sensing it right now then you must endure more time. and this goes on whether we like it or not more time always coming and brining with it subtle changes in space that sometimes you don’t notice, when you’re sleeping for example, and other times you notice very second, like the final seconds in a football match. and in those moments, in a small amount of time, we reach up to the ethereal opening in the sky, but then are pulled back earthward by our animal needs to eat and otherwise care for our bodies that might die if not cared for correctly

takes time what i want to blast all at once in one big surge like a dam holding back the largest river which breaks at only one point and the jet stream that comes forth from that small crack the force of a whole river coming through that one point but even more than that because the whole river must still wait patiently for that small opening so i want the same small opening but the whole river at once rushing through with a blast that could destroy planets the same as a thousand taxis through the entrance of one roll bridge or a thousand camels through the eye of one needle which is the same impossibility i suppose i am asking for in this case that which jesus said was impossible for the rich man to pass into heaven with all his belongings but i care not for my belongings but rather do not want to leave this earth here to pass into heaven which is what i suppose i really am trying to bring all at once the whole word into the ethereal much along with me and still be able to display it to the world as art making me realize now that the belongings which i am most burdened by are not my possessions but my attachment to others and to myself

more speech-to-text from that saturday that i almost lost in my text message history (08/24/19)

You just Gotta go on creating what you do being who you are digging deeper into the trench (edited, was “Trent”) you are born into past what may hold you back seeing others do something similar or different way do you like that you should or should not be looking out ahead and seeing what will come of it or looking backwards and thinking that this doesn’t match with who you are forget all of that it doesn’t matter but were you when you were in it and really beating chugging along wheels are on the rail punches are being thrown the water is boiling it’s time to go now being in it and God that’s it that present that time when it’s just you and you know you’re doing it or maybe somebody’s with you and you’re doing it together but god that’s the moment and all other times you’re just thinking of moments that I’ve been before and why it’s been so long since the next moment that’s to cut that start to come so you wait until it’s upon you and then you’re not prepared and can’t catch your breathBut have to make do with the breath you’ve got to sprint on (edited, was “spread done”) through

just make it won’t you man make more for me now while it’s here because it won’t always be talking in abstracts using adverbs instead of verbs not wanting to commit to much to any given idea right now but rather wanting to just express the feeling generallySitting on the edge of the bed now holding my Head in my hands my elbows on my knees my left finger is resting on the back of my right calf to talking to my phone I can hear the refrigerator in the apartment in the garbage truck outside in the bus that says one California to Gough and Clay looking at my phone surprised that it typed out those street names correctly and the bus takes off leaving me with only it’s Noise and nothing else to talk about the beep of an alarm and tell the car door slams still the fridge wearing onomatopoeia‘s are recorded very well by speech to text always got that word but not this out of the fridge just me alone to talk to myselfAnd being caffeinated so not wanting to do anything else

I don’t really know if it will last but it something right here now to me and that’s for sure a lot of goodness in life at large seems to be this way because it only so much can get to a size or last long enough for Manny to hear over years and in different places and see or however it may be experienced but the vast majority of things which are good seem to be experience on a smaller scale maybe only one person drinking his coffee in the morning on his usual bench watching the morning or lovers that of been together for sometime returning to one another after a brief vacation there are many of the small simple things

there are steps and rules to follow holes to slot quarters in lines to walk between buttons and computer keys to press laundry to fold instructions to read carefully emails to read and delete watches to watch and schedules to be on time for

with love, drugs, and other sorts of emotion, the main problem with getting up high enough is that you have to come back down

human body art

I think it’s interesting to compare the parts of the human body that create art and the parts that consume it. For example our hands create art that our eyes consume in sculpture and painting for example. And our mouths create art that our ears consume in singing for example.

more speech-to-text from that long saturday when baby was gone (08/24/19)

So can’t get a title to figure out ahead of time what the pieces have to get into it and it first overwhelmed reading and having more and more words come in so having to process each word well also figuring out what the thing is as a whole and make up a title on your own

I get to Ohio where it all comes out but for me at least there’s never a plateau never consider flat always a climb up and fall down sometimes it controlled climb like a hike or a staircase taking steps up other times like a rocket ship straight up into the air with a rocket boosters and cheeks flapping barely able to hold on and then a brief period with a booster stop Ingraldi starts to take hold and then come back down can either be a slow decideJust sad sometimes I meant to say dissent dissent with an ED said dissent dissent dissent I can’t get this word but to go down is sometimes like the opposite of the staircase where you’re stepping down slowly or hiking down and other times it is like the fall from having shot straight up into the air and falling without a parachute

i lived on oatmeal and the eggs that baby hard boiled for me that saturday when she was gone and i had to learn to be alone again and realized when i woke up that the bed wasn’t going to make itself

The world are not to see me as I am not at (ought not, having to type this part) As I am I can’t perform for them I can’t do this in front of people I saw Terry practice it is to close my eyes and go into it if I see anyone or know anyone is their messes me up do you ever lose that self-consciousness I can only do alone

Hearing something in the other room and thinking oh that is just baby in the other room but then remembering the baby is gone and wondering what it could be a little scared at first but then remembering what it sounds like to be in the house alone

drunk 5am

a little drunk off of it in the bed at night or morning in between hour at 5am taking this opportunity with the normal connection of my brain to body to reality slightly distorted as drinking will do so laying here writing some and seeing what will come out that wouldn’t normally

most creative

i’m most creative when i wake up early in the morning around 6am and have one cup of coffee and don’t eat anything and just see how long i can go before i get light headed from not eating because once i eat the creativity stops

untitled

my severe survival instinct in this safe and plentiful modern world only had art to grab onto

ketchup packet

even passersby

stepping on packets

not noticing

a ketchup packet

SPLAT!

on the sidewalk

someone must’ve

stepped on

making art

all the time

art all at once

art

being all

and needing

to press on

into

after

overwhelmed

with

the rush

coming on

all at once

seeing

exclaiming

wanting it all

to stay

this way

knowing

it won’t

so trying

to stay focused

while it does

coming home early from work at 4:30pm on a Tuesday (08/06/19)

like this laying on my back and having it all pour out especially after days dark interspersed with tread wondering if this is it in the yard has gone like I always do fearing I have nothing to offer and will be me anymore or maybe just afraid of being worthless and unproductive and untalented really not mattering what identity Woodcalm for all identities being the same and melting into one another but really just the primal need coming through and this being what is requiring of the ego a certain consistent and persistent success whereas otherwise just to wake up and be even completely different wouldn’t matter just as the rest of the world does anyway and especially less apprehensive to become another and melt apathetically completely into the interest of anything else even unmotivated even for Survival even dying maybe and being all right with it because not coming from an ego needing so badly to live

goodness like a drug it comes to be so unexpectedly today just from having left work a little early and paying so much attention on the bus into the buildings on the walk to the bus especially and now back in the apartment laying on my back on the rug and looking at everything the off-white ceiling and the leaves outside the window blowing lightly all of it just as it is any day that I get home but on this day just a little earlier it all opens up and gives back to me the art and ability I so selfishly miss and fear to never have again when it’s gone so reflecting now while I have it on why it is that I miss it so much when I don’t interesting especially is the thought that it will never come back and believing so strongly that this is true even though for the last little while now so many times back-and-forth I thought this and it certainly does come back but I suppose the fear is Stuart still real that one time it won’t and then what will I be nothing maybe different maybe something else maybe I will be all right with that too I have been mostly all right with what I have become and suppose that I have become different things but really now thinking that this one is it and that I only have so much time and so many chances before I lose my mind or disintegrate or grow old or get killed suddenly so I want to rush all I had at once and really wish I could if I knew what it would take I think I might have the will to do it but just being in a body and mind that can’t I’m kept private and so have been taught patients as a result but still Hoping greedily for more time so that the limited mind and body I do have wind spread out can achieve what I otherwise would all at once

clearly everything is seen right now without much to distract just being allowed to be and having my eyes work and not so much noise that the few noises are heard clearly and loud and heavy eaten just enough and enough time passed since a small salad lunch that I’m not running to my next meal but also not passing out from hunger and so greatly satisfied all over and curious about what I am sensing is the perfect formula to just be talking into my phone and having it makes sense and also taking time to pause and let it play out what I am sensing and in this case mostly thinking just staring really at the art gallery wall the baby and I put up in the apartment but not really seeing the art mostly just eyes glazed over seeing the words in my mind and seeing isn’t the right sense but thinking is really the right verb which to me has been interesting lately as I have thought in most cases art is a matter of sensing but from my writing it is largely a matter of thinking which at times like these with isaac lost over has nothing to do with sensingYet thought is mostly nonsensical without senses that at one point informed the very structure and language of thought

let’s see if I can give you an example here of what it is two cents in the sea thought looking now up at the off-white drapes crumpled and connected buy black been screwed into the window cell and glass window surrounded by gray metal frame where just be on the glass is a branch of leaves that are about 6 inches wide and five or 6 inches tall blowing on their branch and occasionally pressing up against the glass window see that was site that I was sensing now if I switch to hearing I hear my own voice and close my eyes to make this easier hearing car is outside and a rustling that is rather pleasant that I cannot tell whether it is the cars or the leaves Rushleigh against each other blowing in the wind now a release of wind that sounds like brakes on the bus and the room of the electric engine in the door of the apartment building shutting heavy downstairs and now the bus taking off from the stop and hearing the chime on the phone that tells me my voice is stopped being recorded so opening my eyes and seeing again and switching to that sense thinking now of smell and taste which I have said before really aren’t strong senses artistically certainly taste is with the Colaneri arts and eating but just laying here with nothing to taste or eat my taste buds are mostly useless and tasting dry saliva nothingness in my mouth and my smell especially sensing less if I could just drive it it would be nothing this as well maybe clean I would describe it or like fabric or like air and feeling are yes I should’ve said feeling before taste and smell because it can be quite strong abstract I describe it like it often makes abstract painting make more sense to me whereas undefined things are seen with the round and rough sketches but nothing clear as you would see with site feeling now my hand my left pinky and ring finger against my abdomen and the palm and some against my lower ribs and my left foot on top of my right shin and my behind pressed against the rug slightly sore from laying in the same position for a little while and my elbow against the leg of our living room table and the fingers of my right hand holding my phone in front of my face in the back of my head also Preston gets the rug is similar to my behind and really quite a lot if I were to focus over a grade about a time I want my body is feeling just my body itself I imagineThis being sent as art

ver if you were to say my art leads to nonsense usually when I get a rush and have a lot to put down but then still the motivation stays well there’s nothing left and so results in me saying whatever comes to mind even though it doesn’t make sense and really just wanting the black great against the sky to keep going so the art doesn’t run out without much content referring back to what I said earlier about a body and mind only be able to do so much in a limited time but Pricing I’m not the last talking faster running almost out of breath and wanting the light to show like it does on the ceiling shadows really just waiting for baby to get home laying on the floor alone and all my poems out of me feeling better actually having gotten something down and leaving a legacy if in this moment I were to die which is a large part of what drives me I think to leave something if I die to make something while I’m here and preferring to leave this motivation is not so clear as to let them drive me and be human and normal without having to discover and explain everything because then as I have beforeJust getting a headache and then losing the motivation and that not being good for anyone

like a little space behind the mirror leaned up against the wall in the corner behind the radiator or dust bunnies collect and protected not so open these small spaces make me wonder of cloistered worlds where cat paws with scratch and food falling off the dinner table will get lost and marks on the wall unseen won’t get patched or painted over and light won’t shine as often if long enough turning to paint a different color

staying with an idea long enough or moving on to match our attention spans wondering what length is right between gravity and well explained so if it in the beholder that will read brilliance into one wordAnd otherwise is in patient won’t sit long enough to get anything out of it anyway and all around all story short and long playing out just depending on who is there to read them

The need to create constantly pressing on me but needing to relax and remember that what will happen well and creation happens always just by living a story is told in just by seeing a painting is painted and just by hearing music is made so all the time the heart is there and the only variable is not whether I create it but whether I am open to seeing and hearing it

wanting baby to come home so badly just sitting here talking to myself not realizing how much I miss her until now being able to hug her and talk to her and just hear her breathing or working or rolling over in bed and looking up to see her watching her live her not life as she normally does and being so interested in it and her being interested in mine and making comments and asking me things

So much art really all around just a matter of capturing it and sometimes having to decide between capturing it and just enjoying it

let the good build up

it’s actually the work in the office all day focused on what has answers that crams my art into small pockets of time so it becomes less like a drip which spread out doesn’t pack a punch and so means nothing much in a concise enough form that can be read and impressed upon like a flood where if you let the good build up behind a dam and mingle together creating in your subconscious what comes forth all at once after work on the bus ride home scrambling to hold onto the rail with one hand and type the poem that’s been waiting all day on your phone with the other hand

creative

at first

thinking

being creative

to do

something new

then

notched down

and in

to a groove

having worn

the same path

ceasing to think

and feeling less

human

more machine

simple world

i see it so simple

what i can’t capture

with a camera

or painting

so try to capture

with a simple world

like simple

which crams

a castle

into a shoe box

productive

thinking

if i can just

put out

this much

and then

i don’t know

but at least

i’ll have

put out

that much

until now

i’m realizing

there’s no end

and you have

to keep

putting out

feeling myself

really sending

it strong now

feeling fast

and flowing

for the force

of momentum

that drives

an artist when

he appreciates

his own work

sleep drug

like sleep

is the drug

that does it

between dreams

needing

to forget

one world

to see others

share some

i make a bunch

just so there’s some

to pick from.

it’s all there anyhow

in one form or another

and you can experience it all at once

if you spend enough time alone

but have to labor getting it down

one by one

and picking the right ones

if you’re going to share it

with anyone else

superior sense

sometimes one art is more descriptive than another depending on which sense you’re trying to appeal to – i point to three roads that are relatively close. i am trying to point to the one in the center. i would be better off using my words and saying, “the one in the middle.”

art is like an egg

just needing a good sun nap

to forget everything i know

and fry my brain like an egg

so the art comes back into the void

from all around where it lies

in wait even when i think

it’s all gone but it’s really just

because i’ve been hard boiled

and in need of a scramble

greased

in the night

my poetic mind

is greased

without the corners

of the lighted world

to catch it

each sense has an art

Sitting waiting seeing for it all to be written even though it is always written. All sensory inputs could be described with words. Some inputs we don’t have words for. Imagine looking out at a scene and being able to describe it perfectly with words. So much so that the person seeing the words could see the scene perfectly just as you see it. Or the same for a sound. Imagine being able to describe it with words so the person reading the words could hear the sound perfectly. I suppose that is why we have music. Which makes me think that there is an art best suited for each sense. Music for hearing, painting and drawing for seeing, dance for movement and feeling, culinary arts for tasting. But what sense then is writing for? For imagination? For mental capacity?

love and sexual energy

having baby allows me to put my sexual energy into my art; my sexual energy for her is extra and overflowing, as it comes from pure love. i suppose my love for my art should be the same way. this is interesting. not motivated by popular opinion for my art. just by love for the art itself.

art is dead

i’m dead and all the art is out of it and there’s nothing to be said

(when i write this into the blog they seem kind of funny because i see the art before and after it and know it certainly wasn’t all out; but i treat these seriously because i know i was really feeling down at the time and had to push through to get the art out)

blurred colors

blurred colors come into vision

like the sliver on rings on fingers

and the green on leaves on trees

spinning around in the park

and the peach of fingers typing

on phone screens and blurry streaks

all of it like paint strokes with colors

that run and melt together

boat party

i close my eyes off into musical light ecstasy dancing to the rhythm of abstract shapes moving colorful behind my eyelids before opening my eyes to meet a harsh defined reality where colors are bordered in definite shapes and move again according to math instead of according to the feeling of dance

messy hair

my outward appearance

isn’t my art right now

while my aesthetic attention

is placed in painting

and moving words on pages

so i look like a bum

with my hair disheveled

and my baggy shirt untucked

writing depends on my feeling

i write something

when i feel bad

even though

it might be

the same thing

i would have written

feeling good

i’ll throw it out

and only if

my good feeling self

digs in the trash

uncrumpling and

exclaiming, framing

everything that my

bad feeling self

threw out

but the point is

the lens is more

for both reader

and writer

than the writing

itself

seeing beauty

looking from one angle

and seeing no more beauty

so thinking of leaving

to find more elsewhere

then seeing from another angle

and finding abundant beauty

right where you found it

from the beginning

and so feeling foolish

like a boy with no loyalty

who can’t remember his promises

forcing it now

several separate times

tend to show space past

premature dreams

really can’t

forcing myself

to write this poetry

can only paint i guess

while depressed

depressed painting

there’s no way to describe

with exacticity the melting feeling

of depression other than

the paint that i drop in globs

on the canvas and let run

by titling the canvas side to side

wasting my time

and dreading the morning

too many arts

trying to see too much art

and your lens gets muddled

looking at a tree stuck between

being painted and written

same as between a world

being worked or recreated

cheap art

a little cheap art

that doesn’t mean much

but is still pleasant

enough to make

an economic invalid

worthwhile

all of me

i don’t have the energy

to pour out like that

leaving nothing behind

while all i’ve got

is just enough to get on

nothing extra for art

that requires survival

and then some

get lifted

i get lifted

off into where

there is no

balance sheet

or rulebook

to tell me “no”

or slap my hand

which i need

sometimes

to stay grounded

i love art

i love art

so much

on the weekends

that some

sunday nights

i think i won’t

go to work

when i wake up

on monday

but then

soon remember

the yin

and the yang

the day

and the night

the dance

and the sleep

art is the leap

but there still

must be

the landing

and the takeoff

which must

go well

before

and after

the air time

that is art

and can go

just as it will

but money

and survival

and physics

and rules

and relationships

are still there

when you land

baby and i hanging art

baby and i bought art today

and argued about how to hang them

without any objective correct placement

to act as a third mediator

so left the arguments be

and all the paintings on the floor

i think baby will probably

hang them herself while i’m gone

better that way

she’s probably right

about the placement anyway

happy poet

i was as productive

as a poet can be

those months in san francisco

with baby supporting me

in her apartment

on the corner

of california and divis

on top of the wild hare

a bar that shut down

and the bakery with

a constant twenty person line

i say months because

it has only been five

or maybe a few days more

but not even a half-year

and i talk in the past tense

from the perspective of

an old poet

in another city

having lost baby

because i see that to be

the probable outcome

by no will of my own

but the will of the world

that has moved my life

up to this point

for the most part

expensive art

at the gallery

wanting to buy

expensive art

but having to

compromise

our artistic

preferences

for what we

can afford

train hopping

nascent never tells me

about itself until it’s already

halfway down the road

and surely a good one

i can see clearly now

but now so far past

i wonder whether to

run on after

or wait here patiently

watching cars counting

drops from the faucet

seeing when the next nascent

will rear its head

and hopefully catch on

early enough this time

to hop on like a train bum

making the leap

just to get on board

then laying back and

lacing my fingers

behind my head

as the right nascent ripens

and i’m just

along for the ride

deeper

when to stay

and when to

float away

to some-

thing new

how to tell

if it is written

and dug out

deep down

so fully explained

and all told

so there is nothing

more here

like an empty

gold mine

for a miner

or a dry glass

for a drinker

but wondering if

it is ever this way

for a writer

or if one thing

can really be written

over and over

and never

running out

of things to say

if you write

deep enough

accidental style

It is interesting when the line breaks are set by a poet in a certain way, but then one or two lines are too long when put into type, and they spill over onto the next line—such that you wonder if the poet was correct in his line placements in the first place, or if it’s even better with the words accidentally forced onto the next line by the formatting.

painted city

trying to

write the city

but mostly seeing

and so thinking

setting sun

on buildings

and faces of

people sidewalking

would be better

painted

so much art

So much art all the time offering itself to onlookers willing to see what’s always there waiting with itself being as it is only the onlooker changing and choosing to see depending on everything other than the beauty of the art itself though that beauty is subjective to being seen

waiting for wit

when walls close in

on art subjected

to a real world

sitting thinking

drumming up

something

or trying to

words a while

waiting for

wit to hit

quarter tab swim

on a quarter tab

laying on the beach

the ocean called me

taking off my jeans,

flannel, shirt, socks,

and shoes

there were other people

on the beach;

lots of people actually.

it was a nice day.

i took off my clothes

and walked toward the water.

tripping, not conscious

of other people

watching me.

in the water, freezing,

didn’t bother me.

out to waist high

a wave came

i dove in and

under the water

everything ceased to exist. the ego already disassociates on acid. the body can still remain lightly with a subdued awareness of the senses. under freezing water, however, that awareness is obliterated.

there is only the freezing all over. and the roar of water forever. waves crashing above like the world is falling apart.

forgetting to breathe because the art of being underwater takes precedence for my attention. even when my lungs shout, return to the surface, i cannot hear them.

the art of nature at large overwhelming my individual need to survive. it making no difference whether my body, a small part of all this, will rise to the surface and swim back to the beach, or drown here and sink and become one with the ocean that i am part of in one way alive or dead in another.

a writer’s work

it’s a writer’s work to articulate the forces that move us implicitly and wordlessly in our daily lives. while our economy works to answer for everything that is worth something and our religions seek to answer for what means something and philosophy seeks to answer for what is true; art seeks to answer for whatever is left over—just what is.

it’s a writer’s work to name what hasn’t been and to sometimes challenge what has.

a writer

i have been many things, but always a writer. even before i told myself i was, and even when i wish i wasn’t. less so when i’m happy, because it is hard to do anything else when you’re happy other than be that way, let alone to write.

everything is art

part of my theory is that everything is art; any decent argument i’ve heard against this comes from our primitive need to classify and sort and make sense of the world. otherwise, everything is very interesting just as it is, and any creation of any kind is a contribution to what is—which is art, all of it.

everything is art

all that you have is here and now, no matter what elsewhere or when

all i’ve ever written is the same thing said different ways

everything is art, it happens like this where i have no ability to edit my own work because it all seems great to me; everything seems great, even that cardboard box over there i wonder if i could break it down flat and frame it and hang it on my wall

Original art

I don’t mean to manipulate your attention by editing my experience; that seems to be more like mass-production than art. I have to keep it the way it appears to me, you see, otherwise it ceases to be mine and might as well be anything else. There is only hope that you would wander after it all alone and unguided and stumble upon what you might not have otherwise and then feel at first the pang of surprise and then second a joy at having found something that you are rather fond of.

But we must trade the possibility of never stumbling upon it in the first place for the guarantee that if you do happen to stumble upon something it will not have been placed there in your track—this is the manipulation. Instead, let art be unfettered and it’s offspring be more art, or else if we manipulate it from the start then we will only have derivations that are increasingly far from anything truly original.

How I write

With my writing I’m first a sponge, soaking up through my pores as much as I can. Then a splatter painter, getting it all out and down on paper as I feel it. Then I am a puzzle maker, cutting out pieces with jagged edges, sometimes cutting a big piece in half, straight through the middle of something that might have seemed cohesive. I put it all together, take it apart, and put it together again. Finally I am a sculptor. Preparing the work to be seen. Trimming excess at the edges. Once it’s complete, I make sure it’s really complete forever, and then I can’t look at it anymore. I move on and won’t come back no matter what.

Art diamonds

I feel best when I’m putting out art. Emptying myself of everything I’ve worked hard to cultivate. Giving back to humanity the art diamonds that I have salvaged from the soil of my experience. And as a result art diamonds come back to me from others and the soil of my experience grows richer and my next diamonds are more readily refined.

Art without explanation

I see art in everything that could just as easily be anything else but it is what it is; it doesn’t matter why, just that it is so gosh darn interesting, and that’s what I try to describe, as it appears to me, while avoiding the temptation to overexplain and force everything into a reason just because of my need to understand. I let it go and smile and say to myself, “This is it. And this is good. No matter whatever else.”

Music is good

Loud music gets me high. I close my eyes and know nothing else. It covers me and gives the darkness a quality of warmth, like the dark is hugging me. Blinking when the cymbal claps. I worry about getting up with it and having to get down later, like climbing a tree that is easier to climb up than down. Why are you dualist about this? I ask myself. Music is good. Don’t worry about getting down. Maybe you’ll grow wings or find a rope. Go with it, I tell myself.

Multi-directional art

I used to write and want to keep it going in the same direction no matter what. I’d have the initial idea and no matter what else occurred to me I wouldn’t veer off; I was limited in this way. Not to mention the cultural norms that were really barriers to my creativity, only allowing me to access so much in the first place. Now that I have access to more and I’m more willing to go off in another direction, my possibilities for artistic direction have multiplied.

High ceilings in churches

High ceilings in churches so our songs rise and the divine beings in the corners can hear them. I am stumped trying to write about religion now. I walked by a beautiful church on ninth street and saw the high ceilings through the beautiful windows. I thought to myself, “There is something about those high ceilings.” But I cannot separate my childhood ideas of churchgoing from the art I’m trying to write. They don’t seem to want to go together.

The aesthetic of having things

The aesthetic of having things: I am attracted to a person, a man especially, who seems to generally have things—things which we need, in particular. For example, when we are hungry and he says, “Ah, here have a piece of fruit.” Or when there is something to be paid for and he steps forward with money as if his pockets are full of it. Or anything at all where something is sought after that I or everyone we’re with would otherwise have to go out and get ourselves and he says, no matter what it is, “Ah, yes, here you go, no worries.” And never expects repayment.

Aesthetically, he is seen to carry things that he owns, like a backpack on his shoulders, the coat he was supposedly wearing at one point now in his hand, glasses on top of his head that serve a dual purpose to keep his hair out of his eyes. He is a demigod working towards either omnipotence or omnipresence—I am not sure whether it is power or presence that his possessions convey; either, godly in some way.

Abstract art is about feeling

I closed my eyes last night and thought of how abstract art makes sense. I tried to “see” my toes and legs and hips with my eyes closed. I was trying to feel, only with the sense of touch—my toes against each other, my legs against the bedsheets, my hips against my own skin. I could only come up with a rough sketch that didn’t match the exact picture I’d seen before in the mirror. I think similar when in love—opening my eyes and seeing, closing my eyes and feeling.

There is a certain emotion still that goes with even the roughest sketch. Something that just barely looks like a face, only the curve of one side of the jaw, a shadow between the eye and eyebrow, a line where scalp meets hair—individually, these marks, shapes, colors are nothing; together, they represent all the faces that we’ve loved, hated, longed for, and feared.

Death destroyer and birth creator

The physical world chews me up anyway. I want to have some control over my own destruction. Like a child constructing a tower with blocks or a miniature toy cabin with logs, I build myself up partly for the joy of stomping through, smashing and tearing myself down.

I believe in the two sides of morning and night, birth and death. A morning birth is building up and a night death is tearing down. They might seem at odds except for that what breaks up in the night reconstructs itself in the morning. The parts of us that release at death are born into others.

Art I was after

There is a tragedy I face as an artist standing between two worlds. My mediums of description are symbolic while what I’m trying to describe is not symbolic. I do more drugs and love more and forget myself, feeling that I am closer to the source I am trying to describe.

All the while I am destroying my powers of description as my brain deteriorates and my memory fades. So that the door is closing and I will come to a point where my abilities (to describe) and my closeness (to what I am trying to describe) meet in the middle of my life when I will write my masterpiece.

Thereafter my powers will worsen like the wings of Icarus burning off as he flies closer to the sun. Finally in my old age a solar blast will return what remains of my attempts to describe, and what I’ve borrowed and called myself will break up and spread throughout the source I was after all along.

Meditation saved my life

Sometimes I get all caught up and drugged out and so deep into my art that I can’t see back out. I start to break all my good habits and hurtle headlong into the furnace. This is where meditation has saved my life. I stop and remember to breathe and return to my true nature and everything is alright. I breathe in everything and let out everything and remind myself that I’m not supposed to hold any of it. I’m just a part of the whole flow. All that matters is I do my best and respect and love others.

Creative flood

After I finish a creative flood and get a lot down on paper, I like get drunk to kill all my old thoughts and brain cells and start rebuilding new ones. Probably not healthy but definitely helpful for my art—this is a larger them I’ve noticed: art is often not healthy.

It includes everything over and beyond what is allowed by our survival, everything over and beyond our physical bodies in space and time, on the far side past the veil of death.

 

An objective to start with

On one hand, you can subjectively play with it to make it your own. On the other hand, we need some objective to start with. You can chop up a tree and make it into a house, but there first has to be a tree. Or, you can roast a marshmallow and put it on a graham with chocolate, but there first has to be a marshmallow.

Similarly, you can write Lewis Carroll nonsense and made-up words, but there first has to be the English language. Or, you can be an anarchist and a vagabond, but there first has to be society mainly comprised of people who follow the rules. You can have a wolf in sheep’s clothing, but there first have to be sheep. You can have art, but there first has to be reality.

Order is the mother of disorder. Disorder depends on her to survive. As soon as everything is disorder, then there is only order. Then, in a twisted way, order becomes the new disorder.

Art is godly

I think my art comes from a deep desire to not just be a cog in the wheel. I want to tear out of what was going to happen anyway. It seems that so many people are just animals that stay alive. Art is godly. Art is really an opportunity to do something that’s just you.

Nobody knows

Art isn’t supposed to make sense. You could ask the artist, what does your art mean? And even she wouldn’t be able to tell you. She might try. She might tell you, I thought this. And I felt that. But the truth is she doesn’t remember who she was. And even in the moment when she created the art, it wasn’t quite clear.

Static art, dynamic me

I don’t like to over-identify myself. I am dynamic and changing. The only time I like permanence is with my art. I want to permanently achieve in the sense that I have written something down and I want it to last forever. It is what it is and I don’t have to think about it anymore.

Poetry on drugs

It’s much easier to get excited about poetry on the drug high. Working on the novel requires more precision like an exact science.

Do you like me?

It’s whether people like you. That’s it. That’s all art is. Because it’s not like there’s some truth to judge your art against. It’s all random and just thrown together. It mimics life in this way. All we have in the meantime is each other. Of course you have the option to go off and not be liked. But that seems to be the only really wrong thing to do. All we are is if we’re loved. That’s the main thing we’re after.

Glue

I go to this other world, I’m addicted to it. So that the real journey and true test of my life is making the journey back. The other world is toxic in the most sweet way. It is entropy and chaos. It is also creativity and love. I know it will kill me someday. The length of my lifetime will be determined by how many return journeys I can make.

When I return back to reality, the real reality that I have learned to stop calling “real,” or at least not any more “real” than my beloved other world. But this reality, of names and concepts, is what sustains my physical body. The principal commodity in this reality is a very certain kind of glue that keeps all my molecules together and maintains the cohesion of my sense of self. I huff on this glue, walking in straight lines on the sidewalk, learning and obeying the laws of nature, being careful and avoiding danger, eating and sleeping enough. I huff and huff until I’m strong and together enough to travel. At which point I step off the sidewalk and the earth tips upside down so I fall through gravity into outer space.

Out here, in my beloved other world, which I should stop calling “other” if I have stopped calling reality “real,” a new creative force pulls me in all directions. It is only the glue that keeps me together. I revel in being stretched, and right before my molecules are spread over the entire universe, right before I achieve omnipresence and thus make permanently impossible the return journey to the reality of sidewalks and safety. That is when, with all my strength, I pull myself together and return.

Tattoos

Let’s split the body into two categories: dynamic and static. The parts of you that are dynamic: your hair gets longer, you can get piercings, your muscles get larger or smaller, you get tanner or paler. And the parts of you that are static: you have two legs and two arms and a mouth and a nose. My biggest argument against tattoos is they’re static, they’re permanent. But if I have static parts of my body anyway, parts that the Creator decided on without asking me. Why not add my own static art to my body?

Body modification

Tattoos, piercings, and eccentric fashion are marks of free will. The most base body modification is none at all. Think of how a man would appear naturally, like an animal, with unkempt hair and long fingernails and naked. There is no choice at all in the natural appearance. Man appears as nature determines.

Next, think of man in society. He looks around him and sees how everyone else looks and for the most part dresses and grooms himself to not look any different, or at least not different enough to attract attention. Businessmen in suits, for example. In this case, man appears as society determines. In both these cases, natural and social, man does not himself necessarily choose how he appears.

It is only in the third case, that man chooses for himself how he will appear, makes his body like a painter’s canvas, and creates himself as art, such that his aesthetic appearance aligns with his metaphysical beliefs.

World eater

I eat taste and consider old worlds, then chew them up, mash the bits together with my tongue, and spit out new worlds.

My metaphysics inform my ethics: an argument for aesthetics

My metaphysics inform my ethics and aesthetics. “What is” informs “what can be.” I’m an artist and a writer because of my beliefs about what is. I treat life like a film or a story or a game. I’m relaxed because I don’t think there’s much we can do. And further, I don’t think much matters.

Defining “matters” becomes interesting philosophy. As most philosophy seems to regress to nomenclature, defining terms is paramount. By “matters,” I do not mean that nothing seems important. Of course, love and hope and friendship seem very important to the human experience.

For a while, I thought it was truth that mattered. If I could only know the truth then everything would take on meaning. Then for another while, I thought it was self-actualization that mattered. In some pseudo-material way, we have a place to fill in existence, and meaning is filling that space by actualizing or making real each of our individual full potentials, so I thought. Truth and self-actualization, these two seemed to “matter.” The only way that I can think to explain why it is they do not matter is with a crude economic example, or rather, a question: how do they spend? In other words, in what market do they have any value?

In our real-world economy, currency is valuable because it can be exchanged for goods and services, which are then used almost exclusively to satisfy our animal need for survival. So we get to a value at the end of economic motivations: survival. But I ask the same question in the same way that continually asking “why” serves the same purpose: how does it spend?

Once we’ve spent enough currency to achieve survival, then how can we spend survival? How can we spend the time we have to live? And there again we uncover another value like we are digging in a mine and finding diamonds. Time is a value. But how does it spend? It spends in terms of changes in space. What else signifies time? If the whole world were to freeze and not a single physical change were to take place, wouldn’t we say that time has stopped? So if we spend time by changing space, how does changing space spend? Maybe the physical world is connected to mental and spiritual planes—then the metaphysical possibilities explode. But the point remains the same: nothing seems to matter. And it doesn’t matter because nothing really spends.

I remain alive because the phenomenology of the human experience is beautiful and artistic and I like to watch and continue experiencing it just like I enjoy films and books. I’m also alive because the universe has order. There are rules to the game. I enjoy the game of life like I enjoy a game of chess or a soccer match.

Overall, I remain alive because I enjoy life. If I didn’t enjoy it, I would remain alive for the possibility of enjoying it in the future. Even if only for one moment of joy, that would be worth a whole life of suffering. And even if all of life were suffering, I think I would still find a way to enjoy it by some sort of detached curiosity. I believe in my experience, and I am so deeply grateful for it, even if it doesn’t matter.

All art

Human communication, conversation, texting, messaging—all people sending their art back and forth.

I can’t think of what I’m trying to say

I used to be critical of those who would claim to think of great thoughts but then say, “I just can’t articulate them.” I used to think that they didn’t really think great thoughts at all, they just wanted people to think they did, without having the obligation of proving it via articulation. But now I believe that these people really did have great thoughts. I believe that they were thinking of the ineffable and universal truths, truths that cannot be articulated in our empirical world. Truths like the Dionysian musical mood and the way that love feels. But these are not the truths that are valued in this world, so those that can think and feel great thoughts but can’t articulate them, these people are treated dubiously by the rest of the empirical world. Many of these must be the great artists. Those who were forced by their genius into outlets that were not conventional or orthodox. But what else would we have them do! There were no other vehicles from the other worlds, of which they thought (or more accurately, felt and believed), to our world here. It is the people who have the gift practical thought and articulation that thrive in the empirical world where they know how to speak the languages—mathematics, science and all other studies of the natural world—that hold sway over cause and effect.

Music high

I let music take me, I’m high. I know the higher I get, I risk being lower later, just by contrast. It’s fair, I believe. I’m thankful for the high. I must remember later to be thankful for the low.

Artist

I really do believe if I were just slightly more attractive to the world, I wouldn’t be so interested in art and counter-culture. At some point I realized that even though I was good at their game, I was never going to be the best. Because I wasn’t born with perfectly straight teeth to just the right family. So at some point I said forget it, and started to build my own worlds.

Art

As long as it doesn’t really matter, there is room for so much art in the world. Every decision we make could be art.

Create

I need a little of the sickness, sadness and depression to create; otherwise I just float along happy and smiling.

Here I lay

It was all of it still
as it was from the start;
alas, here I lay, dead,
buried with my art,
never having 
gotten hold 
of it.

Sculptor

He said it was necessary that he became like them before he could sculpt the world. A sculptor can only create the object with a great amount of personal skill and time alone. But the object always has a subject. And he cannot possibly know what it looks like without subjecting himself to the subject which he must remember when creating the object alone.

He gets into it and soaks it up, then goes away to render it in his art form. Before he must come back again to get more. He must be alone and away from it all to create, but only after being deeply with and part of everything.

Natural drugs

It’s the trippiest thing, after a lethargic Saturday, I wake up on a Sunday, and fight to return, not artificially with coffee, but naturally by sitting up straight in the early morning and enduring to do my work, for two hours; my back hurts and I am not enjoying myself, then all of a sudden at 9:45am, the whole world returns to me, and the art flows through me, so that I can write again, and the edges of everything that were blurry are sharp again.

The Artist

Her artistic life, she can only live one day a week; and spends the other six days getting ready for it.

So

I'm really starting to believe in it,
and have so much anxiety about losing it.

Anxiety

I drink coffee in the morning and write poetry and get so worked up and anxious and have a panic attack and think of so much at once that I’m thinking of nothing at all just feeling a great worry and so think to myself about my artist friend who after a day of creating has real men in her real bed and so think to myself: I just need to fisticuff tonight and I’ll feel better.

Market

No it’s not popular, but must it be, in order for you to like it? Must you be marketed to? Do you have any values and powers of evaluating on your own?

Amoral art

A solid philosophical belief in amorality is very helpful for an artist, because you never again have to take anyone seriously who says, “you are wrong,” and means anything by it other than: “I don’t like your art.”

Human art

Is not art necessarily a human thing end-to-end, a word we created to describe things that only we perceive, if esse est percipi.

Pinched

I like to keep a job so I stay pinched in a world of angles and boundaries and numbers; if I’m an artist all day I float away.

Two unnamed artists

In between two unnamed artists in the backseat, “unknown artist” reads on the radio, up and coming they say we are, right here we are, a writer and a musician.

Jackhammer

The world is wide and bright to me now, a giant industrial jackhammer machine guns down a highway bridge that no longer fits in the city’s plans, and I want to jump or run up some stairs; I’d really like to find a jungle gym.

Poem titles

I thought I’d remove the titles of each poem before I published this, but when I did the poems weren’t the same, especially the ones that are only one sentence. Which made me think there is something important about a title, like when you decide to read a book you make a judgment about its contents based in large part on its title, along with some other content on the front and back covers. You have an expectation about what the book will contain like a sign above a doorway that says “welcome home” or “please take off your shoes.” And so I decided to leave the titles because it makes for a dynamic micro-experience of each poem, splitting the reader into two of herself, one who reads the title and sets an expectation in her mind and the other who reads the poem and wrestles with her former self if it is not what she expected or feels smug consonance with her former self. And so I decided to leave the titles.

Pampered artist

I am consistently and thoroughly cared for, how was I supposed to create art when my only dissatisfaction was a lack thereof. The challenge of a pampered artist is to find suffering.

Dreams

Dreams are this weirdly objective part of our minds, where we just be without fear of judgment, I think a lot of art happens in our dreams, this is a daydream journal.