‘Lan(d)guages’
Ooze, overflow, percolate. Forget form. Matter. In-between substance. The forms of substance. Space. Ideas. Notions, conceptions of tactile things. Spillage, seepage occurs. Cut once written. Plaster syndicates heavy formed and neatly tucked. Space. Metaphysics, no definition in reality. Unreality. Physical, empirical reality. Meta, estimated. Mountain, outside the mountain. The mountain surround, established like bedlands, traces on mind and in fingertips, when was on the mountain. Mountain surround, now surrounds, outside mountain. Rosa depersonalised, Nonni cathartic enraptured imagination, Heathcliff behaviour, Cathy overtaken. Rosa in the land out of body, Nonni out of bed in bed, Heathcliff and Cathy, a strenuous dual. Has not sept into my mind, imagination or ownership of body but into my corner of Stow. Islands: mythologies, vacant, terrain inactions that inform imperceivable action. Islands in the studio, between matter and small worlds in paint and reaching my leg. Matter ‘talks’, transcribed into inner rhythm which enters in harmony into exterior acoustic landscape including me. Shingu said water is another catalyst of emerging energy. Lexical. Language. Talking without words, with signification. Mythologies, are signification. Barthes said that. Visual things become a kind of writing when given meaning and lexis. Plaster allows paintings to be expanded. Plaster seeps into the printed words sat next to it. Plaster is writing and also painting. A year ago, obsessed with Phyllida, I thought about sculptural paintings, how physical changes space, and because of Roni, I know realise it changes temporality. Space becomes ‘a temporal’. Hesse pushed me into the bedlands after that because her physical things fluctuate hard and soft, warm and cold, solid and liquid. Mythologies amplify this as language, then allow thresholds, boundaries, barriers to be disturbed. Real mythology, not like a word I’m using to describe an imaginative thinking about us, matter, substance and land, is helpful to contemplate and activate. Nordic myth shows realms, like in Pure Land Buddhism, which are unreal but real, demonstrations not exact, expansions of a participation occurring in existence of living, walking, and making decisions. It’s the physical unphysical I like. The imagining, which helps the thresholds to be overtaken. Bedlands do it when you don’t want them to, like a pill. Mythology is an activated environment. In stow, my corner is mythological. The thresholds between when I was walking lots last semester and the being here in stow making work or watching tv or reading or writing an essay are all unfastened. This is the elucidation I’m trying to provide. After 4 months I don’t know if I will understand this anymore. The stationary space which stimulates psychosis will no longer exist, shifted somewhere new.
Lan(d)guages, (April 2023) - published in SPAM Press’ Brilliant Vibrating Interface, supported by the Edwin Morgan Trust. (2023). BUY HERE.
Spills, he spoke of, Spills. Deleuzian theory of words, lexis and formation. Delusion. If writing was an eruption of the earthe’s crust -the eruption of a volcano- Deleuze was a volcanologist. Not always, and when he did practice volcanology, it was much less conventional than one would assume a volcanologist had to be. He was a poet first and foremost. And this, by theory, came from what all land and land beings come from – volcanoes. Lets pretend then that Gilles Deleuze was a young child when he and his family in his childhood home suffered terrible consequences of an angry volcano… but he survived, with a few miniscule shafts of rock and sediment wedged into his body. He erupted words which were poetically inclined for the rest of his life, yet he was ambitious to analyse the nature of the volcano, a part of himself.
