1. |
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line up low weight; bodies ready, hang dehydrate; implode and waiting; whose skin is a map to copy; covering anatomies, acting mapped; tact intact in tact to trap entrapped, bodies and bodies; cutting/recovering bodies, acting mapped/back, tact in tact intact, failed to grasp this newest fact. line up low weight, bodies are failing, sing compensate these days.
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2. |
Giant Robot (177b)
04:06
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divided into belt colors, crouched down giant robots always fight early. these things take good planning. avoid the generator. in this day and age we try to keep ourselves energized/entertained, it’s not so simple anymore. the kind of weapon has been the result and not the cause. we can stop anytime we want. it’s epic redefined. adopted the structure, the structure of motion, applied it to static.
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3. |
It's All Alright (173b)
03:27
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it’s all alright to start and stop alone without anyone. to disappear and move to, stay on without
those old supports and free time, right to fit, write it off again.
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4. |
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treat these bodies as a dialogue, only talk about ourselves, we don’t ask those kinds of questions anymore, will the motions to take apart, toward moving only ourselves, where we only want to please ourselves, where we only know to want ourselves. find and combine; she won’t enter, into that kind of pact. escalating in feedback, stopping short to contact with the intent to please and spread by holding back.
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5. |
Hybrid Energy (197)
04:56
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and float up to the ceiling, crush the floor where you walk, stop me with your eyes. your arms, your chest, your gut; at night your feet are the target, your blood it bleeds through your hands and from your spine.
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6. |
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just in, in too, a study in her; five silent sleepless days; in and just in everything split in two ways, in and out of frame; just in again. sleepless still, still that way. you are the last one I’d ever want to run into; the one I’d should have never wanted to turn into two; two months to regret, two years to feign, then forget. just five silent days, so far away. the only time to be just in, to be without you and around just in you, into you in two final ties, figurement to tries inside. breaking up broken, longer than what was broken. it’s no longer just play and I am the first one I will blame; and waking up broken, just who is getting broken? finals taking the form (of) forgetting and trying to stop it, just in time to forget it; and trying to break it, just to forget it. shouldering the crabmeat of my pockets free. the waiting wasn’t as fun as it could have been on the long golden sandy beach.
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7. |
Esther Begins to Dream
05:57
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doubting myself. and swooning to the sound of your honey voice. I choose static over silence. it’s a sound to lie down and hides what I don’t like about myself. it comes and covers and lies are hidden in the noise. there. lost on me like I am losing you slowly and watching it happen. and sometimes I catch myself wishing for October. you’re waiting for her to start dreaming, for me to stop breathing. I shut her eyes, they dim in the distance when nothing is real except for you. I listen to what you don’t say just like you asked me to.
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8. |
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ten times too far, lie down to forget, don’t you think you’ve been waiting around long enough; the left side of the map, the wrong side of the relationship, can’t sleep around it, can’t replace those shaky months. patterns of mastery, tones on tape for us, to read into, everyday rights and wrongs, prose and painful, things to tear, prose and pedestrians, everyday routines. don’t try to sleep it away with everyday routines.
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9. |
Rewrite (71)
04:06
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take to flirting, I’ll write you back. talking while sleeping, I’m coming back. gone down and back again to ask, how is it the best? rewrite, write me back; don’t talk about it ever again. work it out, out of my life. let go. for us, forget; gone away and back again to ask, why was it that way for us? don’t come back. don’t let yourself let go and back into my life.
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10. |
XL (91/88)
03:56
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he was on the slim side, but wasn’t feeling camera shy, the smallest man who couldn’t hide. if what was on the inside wasn’t like a second skin, it was the what he put aside. forced into a compromise, proprietary politics, a dialogue of mass and size. the second, third, and fourth tries; ripping plastic, cutting cloth; property sick spinning lines. living large, extra large. game over. the world is a well lit world, but there is nothing to wear. we know what the people are talking about, singing about, shouting about, we know what the people are talking about, singing about, shout a little louder baby.
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11. |
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we are rational. we are vocational. do the duty. pitch the ethos. explain yourself. (I don’t think that is possible). laughing, ugly gestures; no teeth, she smiles politely. to theorize, to analyze, construct the ideal counterfactual. use heuristics for understanding characteristic uniqueness. your weakness becomes my target of moral outrage as my own failures become that much harder to face. it’s easy to find the meaninglessness in something meaningful. you’ve aged beyond cool, but we still see you in the same way. accident to relapse, again. small birthed and smaller words on empty writing, whose self denied self on and around sleeping. [out of mouth again.] exalted breaths out of mouth, birthed breaths (and) broken skin (off lips).
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12. |
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we can sit head to head on chairs in your living room and I’ll teach you how to tuck lies and politeness into small cuts near your ankle. it will work for you, but I’ve always had trouble with this. irreplaceable, the junk recording of a young girl receiving slats. fifty count and forty down and ten to go. and he faced cement religious, resting and breathing. and you hate yourself, but I’d never know it unless you turned away from me, shoulders and back exposed. and something makes me…
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13. |
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by the removal of a device for focus. reintroduced to me. a change of clothes, and then you’re spotted and congratulated. lips that offer gentle praise. ideological likenesses are identified. transportation bestowed. the music is manual.
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14. |
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thin lips and beautiful eyes, smiles with only one side of the face. rough around the edges, but I hadn't noticed. wanted to kiss and be kissed, just too unrealistic. turns the page, writes around the edges. writes around the box of numbers; reinvents herself (again). wonders whether other people do this like she's come to do this. or is this a waste of time? dot-matrix projections, projected against black panels floor to ceiling, soundtrack music like something played out in the last scene of a movie, like her favorite movie, thick with feelings inscribed. seeks independence in dependence, she implodes. it was a clear-out, shutdown, drop-dead kind of day, the kind of day where you rub your eyes and wonder at wanting more surveillance. unhindered and unhinged, she embraces realization clear-eyed. reactant runs the risk of hurting, of being in the light.
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15. |
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A Study in Her Chicago, Illinois
ASiH is Constantine Nakassis, with Philip Apostol, Andrew Black, Tamara Black, Lucas Carscadden, Julie Cousin, Shakthisree Gopalan, Michael Guggino, Alex Hedstrom, Judith Kaplan, Fluke Lemming, Magda Nakassis, Kyung Nan-Koh, Mike Mikowicz, Jonathon Moser, Justin Moyer, Elsie Muñiz, Kedarnath Sairam, Pavan Segal ... more
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