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guglielmo achille cavellini

alexei shulgin

WEB Thief

wayne belger

max aguilera-hellweg

sony labou tansi

the antipeople:

"They are blind, like the law. And equally brutal. The only escape from the brutalities of the shabby law of the uniform is to be big - big as in bigshot. And there is also a communicable kind of bigness, the bigness through contact that comes from being a relative or friend of the original bigshot. Dadou remembered something else he had read: Africa, that great shit-heap where one will take his place. What a putrid shit-heap of the word was! Neither more nor less than a great big shit market."


harriet martineau

If a test of civilization be sought, none can be so sure as the condition of that half of society over which the other half has power.

nicephore niepce

Point de vue pris d'une fenêtre du Gras à Saint-Loup-de-Varennes

hildegaard of bingen

O quam mirabilis est prescientia divini pectoris,
que prescivit omnem creaturam.

Nam cum Deus inspexit faciem hominis,
quem formavit,
omnia opera sua in eadem forma
hominis integra aspexit.

O quam mirabilis est inspiratio,
que hominem sic suscitavit.

lilian banuelos


"/los mil y un ………. aún rezagados
/los mil y un ………. aún rezagados
/los mil y un ………. aún rezagados
/los mil y un ………. aún rezagados
/los mil y un ………. aún rezagados

/los mil y un vámonos aún rezagados"

anna malfaiera

"I can no longer laugh with real joy
I can no longe use words with any meaning
I even doubt the ones
I had thougt were full of real warmth
I can only confirm the daily error
the monstrous complications the incurable disease
the deformed limbs the murders the war
the contagions from the radioactive air.
Men are irrational weak and vile.
Into this world I refuse to bring a child."

fernando millan

anna luisa karsch

"He was by Furies nurtured who with savage lust
First ground gunpowder, first a bullet cast."

Seiichi Niikuni

Seiichi Niikuni

marta paredes

dorothee volut

Inspiration - Les cahiers de Benjy:

"je vais cesser de parler je vais poser mes lèvres sur une matière je ne veux plus parler je ne veux vais je ne veux vais je ne veux vais poser mes lèvres sur un volume surface solide plein de résistance molle et contact les appliquer longtemps longtemps les coller complètement ni suce ni aspiration justement appliquer le vide contre le vide et toucher la surface en face je veux vais me coller à la surface en face je veux vais me faire glisser jusque sur sa face je veux vais supprimer l’air entre mes lèvres et l’autre surface je vais me coller à la surface je"

angela genusa

Facebook | Lexicon - xoxo/xoxox ratings

emese bakos

In autem esse dolore, qui te, praesent et, at nisl praesent in exerci qui nibh lobortis facilisi, dolor. Duis, facilisis zzril, commodo delenit iriure autem augue augue molestie lobortis velit laoreet ex ad. Enim ut volutpat consequat vel, aliquip hendrerit iriure te. In suscipit zzril vel aliquam consequat et, diam commodo, ad, eu in consequat sed, consectetuer ut nulla aliquip dolore. Luptatum facilisis facilisi dignissim esse nulla nostrud magna, veniam vel. Et diam vero eros duis lorem aliquam et enim tation.

thomas browne

religio medici

"In our study of anatomy there is a mass of mysterious philosophy…"

helen chadwick

yassar kaba


"if you can't breathe, you can't scream"

william king

how to eat:

"Unless some Sweetness at the Bottom lye,
Who cares for all the crinkling of the Pye?


The child who nightly to the larder skulks
Will grow a Belly of unwieldy Bulk.


Eat Beef or Pye-crust if you'd serious be.
A Shell-fish'll raise Venus from the Sea.


Some Sauces act as Friends, and others Foes:
The Roguish Mustard, dang'rous to the Nose.


May clouds of Pigeons round about thee fly
But condescend sometimes to make a Pye.


Where Love of Wealth and rusty Coin prevail,
What hopes of sugar'd Cakes or butter'd Ale?


In private draw your Poultry, clean your Tripe,
And from your Eels their slimy Substance wipe.


Many a Man who falls out with his Wife
With soft'ning Mead and Cheese-Cake ends the Strife."

jenny allan

and, in fall:

"The opposite of an abbreviation is two going where one cannot.
In its longer form does silence mature?"

kathryn rantala


"eye mote mite grommet
I almost
don't sleep much anymore
I never
do not don't
I my
grommet mote mite might lash middle I'mmm
mile mite
eye grommet
more so ever I do not
do I very much ever sleep here
and in the brain swells
lace mite mote lash mile might eye let
I never very mile much mote sleep
any more
I don't sleep
anymore mite
very much
I don't don't mote much
very more
I don't."

patrick gulke

Mary Toft

a pregnant woman's experience directly affects the fetus

gwen d'arcangelis

* PPBT 2005 Summer Seminar Participants*:

"GWEN D’ARCANGELIS has a B.A. in the Biological Basis of Behavior: Neural Systems from the University of Pennsylvania (May 1997), and is currently a Ph.D. candidate in women’s studies at the University of California, Los Angeles. Her research explores social studies of science with an emphasis on gender, race, and nation. As an undergraduate, she was interested in studying the biological mechanisms of human behavior, and worked in biology labs during and after college. After four years of working in neurobiology and genetics laboratories, her scholarly interest shifted to gender politics and the social studies of science—the individual practices, belief systems, and political influences that constitute the messiness of science in reality.
As a scholar currently located in the interdisciplinary field of women’s studies, D’Arcangelis is researching what role science, particularly biological and technological tools, can and should play towards improving the well-being of everyone in society. She is particularly interested in the role that government policies play in shaping the research and applications of biological and technological practices and tools."

Gabriella Coleman

Gabriella Coleman

jon beasley-murray

Radical Philosophy - Commentaries - March/April 2008:

"A strange reversal seems to have taken place, by which a national government with its concerns for unity and legal due process is identified with subaltern movements and the indigenous. And it is the economically powerful, whose interests regularly coincide with those of oil and gas multinationals, that are declaring autonomy and issuing demands that constituted power is unable to satisfy while retaining its territorial monopoly of real and symbolic violence. In short, and in the terms offered by Negri and Hardt’s Empire, forces aligned with Empire are behaving rather more like their description of the multitude, while the so-called multitude is identified ever more with something closely resembling the old-fashioned national-popular state."

christa donner

Lennard Davis


"Lenny Davis’s admirers will welcome his
most recent work, Bending over Backwards:
Disability, Dismodernism, and Other Difficult
Positions. This compilation of nine separate essays
offers a panoramic view of the author-activist’s
evolving ideas about disability, disability studies,
and literary historical criticism. It covers a breadth
of topics--the human genome project, ADA court
cases, concepts of citizenship, the history of the
novel, homosexuality, postmodernist theory, the
rise of Disability Studies, etc. A recent addition to
the NYU series Cultural Fronts, which seeks to
promote works of cultural criticism with policy
implications, this is not intended primarily for an
audience of historians. Still, Davis’s work offers
creative and challenging examples that may be
useful to our discipline and particularly to
Disability historians.
Davis argues that disability, as a category of
identity, has the potential to transform the
postmodern notion of identity. In previous works,
which include Enforcing Normalcy and The
Disability Studies Reader, Davis outlined the
social, scientific, and linguistic processes that
inform the meaning of "disability." In an edited
collection of his parents’ correspondence, Shall I
Say a Kiss, and in his own memoir, My Sense of
Silence, Davis revealed in poignant and personal
images the complexities of living as/with Deaf
people. Inspired by Jacques Lacan and Michel
Foucault, Davis melds the theoretical with the

Agni Vlavianos-Arvanitis

Alphonso Lingis

Janus Head 3.2 / Alphonso Lingis - Dreadful Mystic Banquet:

"Alexandra David-Neel tells of a rite practiced in old Tibet called chöd, which she had witnessed and into which she herself had been partially initiated. It is a kind of mystery play with one actor only, the celebrant. It has been so devised to terrify the participants that one hears of men who have suddenly gone mad or died while engaged in its performance.

It is performed in a cemetery, or any wild site whose physical aspect awakens feelings of terror. The place is thought even more suitable if it is associated with a terrible legend or if a tragic event had actually occurred there recently.

The rite is designed to stir up the occult forces or conscious beings which may exist in such places, generated either by actual deeds or by the concentration of many people's thoughts of imagined events. During the performance of chöd, the performer may see himself suddenly surrounded by players from the occult worlds.

The one to perform chöd, the naljorpa, must first learn the ritual dance, his steps forming geometrical figures, and also turnings on one foot, stampings and leapings while keeping time with the liturgic recitation. He must learn to handle, according to rule, the bell, the dorjee, and the magic dagger (phurba), to beat rhythmically a small drum (damaru), and to blow a trumpet made of a human femur (kangling). The dancers are young ascetics emaciated by austerities, clad in ragged robes, their unwashed faces lit by hard, resolute, ecstatic eyes. They are preparing themselves for a perilous undertaking.

The ceremony begins with long mystic preliminaries during which the celebrant tramples down all passions and crucifies his selfishness. Then the celebrant blows his bone trumpet, calling the hungry demons to the feast he intends to lay before them. He envisions a female deity, who esoterically personifies his own will, and who springs from the top of his head and stands before him, sword in hand. With one stroke she cuts off the head of the naljorpa. Then, while troops of ghouls crowd around for the feast, the goddess severs his limbs, skins him, and rips open his belly. The bowels spill, the blood gushes forth, and the hideous guests bite and chew noisily, while the celebrant excites and urges them on with the liturgic words of unreserved surrender:

"For ages, in the course of renewed births I have borrowed from countless living beings--at the cost of their welfare and life-- food, clothing, all kinds of services to sustain my body, to keep it joyful in comfort and to defend it against death. Today, I pay my debt, offering for destruction this body which I have held so dear.

"I give my flesh to the hungry, my blood to the thirsty, my skin to clothe those who are naked, my bones as fuel to those who suffer from cold. I give my happiness to the unhappy ones. I give my breath to bring back the dying to life.

"Shame on me if I shrink from giving my self! Shame on you, wretched and demoniac beings, if you do not dare to prey upon it . . . "

The act of the "Mystery" is called "the red meal." If the initiate is one far advanced, it will be followed by "the black meal." The vision of the demoniacal banquet vanishes, the laughter and cries of the ghouls die away. Utter loneliness in a gloomy landscape succeeds the weird orgy, and the exaltation aroused in the naljorpa by his dramatic sacrifice subsides.

Now he visualizes himself having become a small heap of charred human bones that lie on a lake of black mud-- the mud of misery, of moral defilement, and of harmful deeds to which he has cooperated during the course of numberless lives whose origin is lost in the night of time. He must realize that the very idea of sacrifice is but an illusion, an offshoot of blind, groundless pride. In fact, he has nothing to give away, because he is nothing. These useless bones, symbolizing the destruction of his phantom "I," may sink into the muddy lake; it will not matter.

That silent renunciation of the ascetic who realizes that he holds nothing that can be renounced, and who utterly relinquishes the elation springing from the idea of sacrifice, closes the rite.1

Marquard Smith

"It is no longer the case that conversations around prosthesis begin and end with the question of deficiency. But this was not always the case. To stress this, David Wills, for instance, in a forthcoming article entitled ‘Preambles: Disability as Prosthesis’ points to ways in which the genealogy of prosthesis is so often conceived of as a discourse of deficiency. Here Wills argues that the matter of identity in disability studies as well as the identity of Disability Studies itself, along with the place of prosthesis within these discourses, has previously been organised, unlike most other ‘minority studies’, around ‘lack or deficiency’. That is, the form of the discipline of Disability Studies, the identity of its figures of articulation, and those prosthetic bodies of enunciation are always already found wanting. Prosthesis is the mark of this deficiency. As such a mark, it registers itself as a substitute for something that is no longer there, thereby drawing attention both to what is missing and the absence remaining. Wills goes on to remark, somewhat caustically: ‘[d]isability cannot ever be other than deficiency, incompletion, inadequacy, terms which, within the metaphysics of presence as transcendent positivity, not only are by definition negative, but, more pertinently, explicitly connote non-integrality. The disabled are thus by definition “incapable” of identity inasmuch as identity refers to an uninterrupted-organic-sameness-present-to-itself-in-its-wholeness-and-singularity’.

But as Wills contends, and rightly so, since the deconstruction of the metaphysics of presence, a deconstruction that has been ongoing arguably since the inception of metaphysics, this kind of argumentation is neither efficacious nor for that matter valid. In this instance, the dismantling or taking apart of the edifice of what he names this ‘metaphysics of plenitude’ is grasped through a realisation of the constructed nature of the human body, what that body is, and does, and what and how it means. Against the myths of the essentialist and organicist conceptions of the body proper, or proper body, disability studies can present a body that is a structuring principle, a lacuna, and a constituting part of this metaphysics of plenitude, thus ironically laying bare the deficiencies of this very metaphysics. Dismantling and assembling are inseparable. The organically integral body is itself, as Wills goes on to say, ‘always already imperfect, mechanical, in relations of dependence, originarily disabled or incomplete; what I, in short, would call prosthetic’.

There are two definite and tangible consequences of how such a reconsideration of prosthesis refutes discourses of deficiency. The first is the dawning realisation that a prosthesis is never simply the addition of a foreign element, an attachment, an extension, an augmentation of the body as such – as Immanuel Kant would have it in the second part of his Critique of Reason. Rather, to designate and define the form of the prosthetic body is to show that the organic and the artificial, meat and machinery, like the normal and the pathological and the ordinary and the monstrous, are always and already of one another. An originary technicity. To distinguish between the inside and the outside of the body misses the point. What matters is the continuous articulation of the ever-changing contours of these heterogeneous surfaces. This, then, is not a question of deficiency but simply a matter of how bodies as assemblages arrange themselves, differently. The second consequence is to grasp not only that the human body was never whole but that the body per se, and not just the disabled body, must be conceived of as a body that is always and already fragmented, in bits and pieces (corps morcelé)."


espen aarseth

"In ergodic literature, nontrivial effort is required to allow the reader to traverse the text. If ergodic literature is to make sense as a concept, there must also be nonergodic literature, where the effort to traverse the text is trivial, with no extranoematic responsibilities placed on the reader except (for example) eye movement and the periodic or arbitrary turning of pages."

hypertexts like the i ching, calligrams

Joseph Weizenbaum

Eliza JS, the JavaScript Eliza

TRIVIA - Voices of Feminism Issue 1 : Barbara Mor

TRIVIA - Voices of Feminism Issue 1 : Barbara Mor

SPT (Research in Philosophy and Technology) - Volume 11, Number 1 - Theorizing Technological and Institutional Change: Alienability, Rivalry and Exclusion Cost by Paul Thompson

SPT (Research in Philosophy and Technology) - Volume 11, Number 1 - Theorizing Technological and Institutional Change: Alienability, Rivalry and Exclusion Cost by Paul Thompson: "The concepts of alienability, rivalry and exclusion cost and the theoretical framework of institutional change allow us to pose questions that have been asked by Herbert Marcuse, Langdon Winner and Andrew Feenberg in a new way: If technology is in part responsible for the shape of our institutions, and if institutional change in the sphere of law and custom can be subjected to philosophical critique and democratic guidance, why shouldn’t technology be subjected to the same critique and guidance?"

SPT (Research in Philosophy and Technology) - Volume 11, Number 1 - Theorizing the Cultural Quality of New Media by Philip Brey

SPT (Research in Philosophy and Technology) - Volume 11, Number 1 - Theorizing the Cultural Quality of New Media by Philip Brey: "In Holding on to Reality, Albert Borgmann develops a critique of cyberspace (Borgmann, 1999). Borgmann argues that cyberspace presents an illusory escape into another reality. He claims that it tends to trivialize and glamorize facets of reality that appear to one detached from their context and setting, and that it blurs the distinction between fact and fiction."

Hubert Dreyfus has critiqued computer-mediated education (Dreyfus, 1999). He argues that education centrally involves the transmission of skills and a process by which educators foster commitments in their students and stimulate them to develop strong identities. He then argues that such skills, commitments and identities cannot adequately be transferred in distance education since they require bodily presence and localized interactions between students and teachers. This requires a relation of apprenticeship, which according to Dreyfus cannot be attained on-line.

Paul Virilio has argued that electronic media, developed and used in a capitalist consumer society, combine with other technologies in speeding up the process of production and consumption so as to create a culture of speed (Virilio, 1994). The immediate availability of information and the continuous production and consumption of new information ultimately lead, according to Virilio, to a feeling of confinement or incarceration in the world. Virilio also holds that the culture of speed threatens writing and the author, because the speed with which information is produced and consumed only allows for shallowness.

Virilio, P. 1994. The Vision Machine. Indiana University Press. [trans. from French, La Machine De Vision, 1988]

Andreas Vesalius

Carrie Mae Weems

The idea that genes are connected to behavior carries the potential for people to ignore the historical forces that bring people to where they are. The danger lies in assuming that this new science, along with computer technology, will put us on a level playing field. That is a dangerous mistake because it doesn't. Who will have access to these amazing technologies? Will it be poor people or people with lots of cash? Right now, it's people with money. It's very classist and racist."

Nancy Kedersha

Nancy Kedersha:

"By color-coding different structures within the cells and superimposing the views, I can see how the parts fit together. Then the real work (or perhaps art) comes into play - integrating the patterns into a picture. Imagination is a large part of the process, for the goal is to devise a testable hypothesis that explains the cellular function of a protein of interest."

doll yoko

search for beauty without features
something deeper than any signs

witold wojtkiewicz

elizabeth bohm

from silhouettes of children life

jas w felter

bentre king size - saigon, vietnam

sandor kanyadi

Dancing Embers [excerpt]:

"the mute

At times I still hear infants'
marrow-piercing howl.
Europe speaks in many chords.
Not only the muses of Helicon but
the babies thrown off Mount Taygetus
deafened the gods of fate.

The millennia of howling,
the plucking of harps and zithers,
the beating of drums,
the roar of bells and engines,
the shelling and the bombing,
have blasted out an atmospheric
pressure cave,
rendering us hard of hearing. Taygetus has taken root in us. Our shoelaces can undo themselves.
All it takes is one hard look, the wave of a hand,
and we fall in line, dumb and numb,
some with head held high, some deeply bent,
but we all obey the call.

There was a deaf-mute living next door,
a real hard-working beast of burden,
they'd kept his nose to the grinding stone
till he turned into one.

When the Spartan Home Security came to pick
him up though, he earned a place in history:
he grabbed a pitchfork and started
to kick, bite and claw
like he used to as an infant,
and he howled too, but as an adult.

how much longer

this non-conformist fever will burn
only until it shapes up as
a cozy tenured position
with all benefits paid

and from the backseats of power
it will look like dissent when
someone tries to keep warm by
blowing on his fingers or shuffling

out of his row
drifting off
toward the back"

maya sarishvili

jean-michel maulpoix

La poésie des années 1990 entre constructivisme et aggravation:

"Nous sommes là au plus près de la tendance « trash » d’une certaine poésie française d’aujourd’hui, résolument anti-lyrique, mais qui ne se contente plus de dégonfler ou de mettre à plat le lyrisme : elle saisit le réel au plus bas, au plus ras, dans sa brutalité et son incohérence. Plutôt que du côté de l’écriture, il semble qu'elle se tourne à présent vers la mise en scène de textes trouvés : documents bruts, montages, ready made, magasins ou chantiers textuels, voire simples performances sonores, proches de ce qu’est l’installation en peinture. A ce stade, la poésie contemporaine se rapproche des arts plastiques et rejoint tardivement des démarches déjà inaugurées de longue date du côté de l’art..."

Bayer / Johansson

ur Det sjätte sinnet: "franz goldenberg kom in genom dörren och räckte mig handen, jag räckte dr ertel handen. dr ertel räckte marion bembe handen. marion bembe räckte dr aust handen. dr aust räckte dr herbert krech handen. dr herbert krech räckte fröken gisela lietz handen. fröken gisela lietz räckte ernst günther hansig handen. ernst günter hansig räckte dr karl linfort handen. dr karl linfort räckte herr joseph lembrock handen. herr joseph lembrock räckte dieter honisch handen. herr dieter honisch räckte doris ottlitz handen. doris ottlitz räckte margarete reichardt handen. margarete reichardt räckte walter meister handen. walter meister räckte sergio pereldi handen. sergio pereldi räckte prof. arthur b. gottlieb handen. eftertänksamt räckte professor arthur b. gottlieb herr wildenstein handen. herr wildenstein räckte vera fugger handen. vera fugger räckte gillo dorfles handen. gillo dorfles räckte ives acker handen. ives acker räckte bruno buzek handen. bruno buzek räckte felix heybach handen. felix heybach räckte dr. jirgal handen. dr. jirgal räckte dr. lehmann handen. dr lehmann räckte rudi mayer handen. rudi mayer räckte roger salmona handen. roger salmona räckte charles kahn handen. försiktigt, liksom på sitt vis, räckte charles kahn mac greenfield handen. mac greenfield räckte neda sestan handen. neda sestan räckte luther allan handen. luther allan räckte neda sestan handen. neda sestan räckte åter luther allan handen. nu räckte luther allan felix rüegg handen. felix rüegg räckte doris ottlitz handen. doris ottlitz räckte ives acker handen. ives acker ville räcka sergio cohen handen. slutligen tog sergio cohen emot handen av ives acker och räckte den"

elisa biagini

Morto di fuoco
la sua pelle tira
è un rosa che si spegne
è carta morta,
solo il cartello non arde
con lo spago:
si specchia enorme nella mia pupilla.

Young-Hae Chang, Marc Voge


Young-Hae Chang, Marc Voge


Deena Larsen




Ainize Txopitea


Anyte of Tegea

Black blood boiled up through the thick hide,
and amidst the slaughter it smeared the earth with gore.

Thersis; so you are greeted even though dead.

all around the ocean
trembles as it gazes on her statue, oil-smooth.

JM Calleja


Asmus Jacob Carstens


Laila Akhyaliyya

"So they hear their sounds and hungry cries
And give them back from that as echo
They bend to the naked heads as if they
Are boy's balls made of rabbit's skin
When the dark leaves them they give them
a drink of the pool nearby never empty.
The name of harshness is theirs and chicks
Make an uproar that is not understood...."

Andre de Bouchet

poemes de Andre de Bouchet:

"- Cession

Le vent,
dans les terres sans eau de l'été, nous
quitte sur une lame,
ce qui subsiste du ciel.
En plusieurs fractures, la terre se précise. La terre
demeure stable dans le souffle qui nous
Ici, dans le monde immobile et bleu, j'ai presque atteint
ce mur. Le fond du jour est encore devant nous. Le
fond embrasé de la terre. Le fond et la surface du front,
aplani par le même souffle,
ce froid.
Je me recompose au pied de la façade comme l'air
bleu au pied des labours.
Rien ne désaltère mon pas."

Judy Rifka

War of the Worlds

Eadweard Muybridge - zoopraxiscope

reb livingston

reb livingston:
"Lament for Fronting

O Damsel, how is your torso . . .? How you tiptoe! O Maiden, how is your torso . . .? How your slip shows! O accomplished woman whose benefit now annulled, how do you abide? O Nymphet whose downgrade unnerves your higher priestess, how is your torso. . . ? After your benefit annulled, now how do you abide? After your indulgence, your warmth and interest, how is your torso. . . ? Your tabernacle unworshipped, now how do you abide? Your altar turned to syrup, how is your torso . . .? You are not the prized tulip in a field reduced to turnip rounds. You cannot wakeup beloved in a meadow reeking fish. You cannot pose as impune to those who sowed before you."

Alfonsina Storni


"Tú me quieres alba,
Me quieres de espumas,
Me quieres de nácar.
Que sea azucena
Sobre todas, casta.
De perfume tenue.
Corola cerrada

Ni un rayo de luna
Filtrado me haya.
Ni una margarita
Se diga mi hermana.
Tú me quieres nívea,
Tú me quieres blanca,
Tú me quieres alba.

Tú que hubiste todas
Las copas a mano,
De frutos y mieles
Los labios morados.
Tú que en el banquete
Cubierto de pámpanos
Dejaste las carnes
Festejando a Baco.
Tú que en los jardines
Negros del Engaño
Vestido de rojo
Corriste al Estrago.

Tú que el esqueleto
Conservas intacto
No sé todavía
Por cuáles milagros,
Me pretendes blanca
(Dios te lo perdone),
Me pretendes casta
(Dios te lo perdone),
¡Me pretendes alba!

Huye hacia los bosques,
Vete a la montaña;
Límpiate la boca;
Vive en las cabañas;
Toca con las manos
La tierra mojada;
Alimenta el cuerpo
Con raíz amarga;
Bebe de las rocas;
Duerme sobre escarcha;
Renueva tejidos
Con salitre y agua;
Habla con los pájaros
Y lévate al alba.
Y cuando las carnes
Te sean tornadas,
Y cuando hayas puesto
En ellas el alma
Que por las alcobas
Se quedó enredada,
Entonces, buen hombre,
Preténdeme blanca,
Preténdeme nívea,
Preténdeme casta."

Rosalía de Castro

Poemas: "


De la torpe ignorancia que confunde
lo mezquino y lo inmenso;
de la dura injusticia del más alto,
de la saña mortal de los pequeños,
¡no es posible que huyáis! cuando os conocen
y os buscan, como busca el zorro hambriento
a la indefensa tórtola en los campos;
y al querer esconderos
de sus cobardes iras, ya en el monte,
en la ciudad o en el retiro estrecho,
¡ahí va!, exclaman, ¡ahí va!, y allí os insultan
y señalan con íntimo contento
cual la mano implacable y vengativa
señala al triste y fugitivo reo.


Cayó por fin en la espumosa y turbia
recia corriente, y descendió al abismo
para no subir más a la serena
y tersa superficie. En lo más íntimo
del noble corazón ya lastimado,
resonó el golpe doloroso y frío
que ahogando la esperanza
hace abatir los ánimos altivos,
y plegando las alas torvo y mudo,
en densa niebla se envolvió su espíritu."



Slowly quietly gold is collected under your command
slowly quietly
Slowly quietly wheat is distributed under your command

slowly quietly
Slowly quietly people's bread is served out under your command

slowly quietly.

Gisele Prassinos

Gisele Prassinos? - Women and surrealism - tribe.net:


One day, it was cold.

Over the river spread a white sheet, hiding the uniformly somber hues of that day.

When night fell, a man came up out of the water. He made for a hollow in the stone, where already a dog had taken refuge. In the light from a luminous corner of the sky, I could make the man out: he wore on his head an immense funnel of string, delicately worked and adorned with sharp pebbles, which he had had a tinker friend make, in exchange for a ball of red thread."

the young persecuted girl

A young girl who was in bed was afraid lest a butterfly she saw that morning came to wake her. Before going to bed, she put on a necklace of fresh chervil and little dull glass ladybirds, striped with yellow wax cloth. She was very proud of it and thought the butterfly wouldn't dare touch here when it saw that she was not alone.

my sister

I know my sister smells of bananas. Her large hair, when it rubs my nose, has the ordinary smell of missed dessert. But when she turns toward me and her mouth opens to smile at me, I like the new smell so much I feel like biting her lips and tongue. Underneath there is something that cracks and carries you away.

Soon my sister will fall asleep. I take her pointed arms and cross them over her eyes so that the last light will close them altogether. But she keeps smiling triumphantly at me and the strong odor rises, so strong that suddenly I think of killing my sister in order to take it from her.

I sink my knife in, cutting through her pretty gown. Under the sheets her hands are cold and white. Mine, too alive, have no strength, but I see in her hand, a little puckered fruit made of shiny rose fragments that I melt between my fingers.

Paul Scheerbart

3 Novels:

"The rhythm represents the physiological emotion inseparable from the idea. Phonic values are embodied irrespective of the semantic aspect of the word. In his book 'L'Arte dei Rumori' ('The art of noises') (1913), Luigi Russolo, futurist, noted that 'there exists in language a wealth of timbre that no orchestra possesses... nature has endowed the instrument of the human voice with unique timbre-sounds. ... poets do not yet know how to derive from this inexhaustible source those expressive and emotive elements capable of giving their message a human resonance'."

Albert Ehrenstein

Magic Tales:


Image 12

1. Smyrna. Weakened by the privations of the long sea journey, the poet, before entering the city, dyes the gray hair on his head and beard. Sings for his very bread in the public squares. But the people laugh at him – he had a bad hair job; he ended up with green hair and beard. Exhausted, the poor beggar-musician, followed by children making fun of him, sits on a bench in the city park of Smyrna, falls asleep propped against the bottom of the city wall. Heedless of the sign, 'This area is for public-minded citizens,' a camel reaches over the wall and, attracted by the green color, devours Homer’s hair down to the scalp. After that he wears a wig."

Frank Mitchell

Racehorse Breeding Theories

The First Horse-Song of Frank Mitchell (Blue)
Key: wnn N nnnn N gahn
All ahrenow some ‘re there & mine all (gahn) & some (gwing) there are mine all (gahn) & some
(gwing) there ‘re mine there nnnn N gahn
All ahrenow some ‘re there & mine all (gahn) & some (gwing) there are mine all mine all (gahn) &
some (gwing) there ‘re mine there
(Nnnnn N gahn) because I was the boy raised ing the dawn & nnnn but some there are mine all
(gahn) & some (gwing) there ‘re mine there
(Nnnnn N gahn) & in the howse the bluestone home & mmmrrr but some there’re all (gahn) &
some (gwing) there ‘re mine there
(Nnnnn N gahn) & in the howse the shiningwingNdgahn & some there are mine all (gahn) & some
(gwing) there ‘re mine there
(Nnnnn N gahn) & ing the swollenowse his breath has blown & nnnn but some there are mine all
(gahn) & some (gwing) there ‘re mine there
(Nnnnn N gahn) & ing the howse the hoNloly home & mmmmm but some there ‘re mine (gahn) &
some (gwing) there ‘re mine there
(Nmmmm N gahn) nndin the house of precious cloth we walk (p)pon (N gahn) & nnn but some
there are mine all (gahn) & some (gwing) there ‘re mine there
(Nnnnn N gahn) N prayersticks that are blue N wwnnn but some there ‘re mine (gahn) & some
(gwing) there ‘re mine there
(Nnnnn N gahn) with my feathers that are blue N wwnnn but some there ‘re mine all (gahn) &
some (gwing) there ‘re mine there
(Nnnnn N gahn) with those spirit horses that are blue & wwnnn but some there ‘re mine all (gahn)
& some (gwing) there ‘re mine there
(Nnnnn N gahn) with those spirit horses that are blue & dawn N nnnn but some there are mine all
(gahn) & some (gwing) there ‘ re mine there
(Nnnnn N gahn) with those spirit horses that are bluestonawu N nnnn but some there are mine all
(gahn) & some (gwing) there ‘ re mine there
(Nnnnn N gahn) with those horses that are bluestone & nnnn but some there are mine all (gahn) &
some (gwing) there ‘re mine there
(Nmmmm N gahn) with cloth of evrygind to be(e) there N rrr but some there ‘re mine all (gahn) &
some (gwing) there ‘re mine there
(Nmmmm N gahn) with jewels of everygind to be(e) there N rrr but some there are mine all (gahn)
& some (gwing) there ‘re mine there
(Nnng N gahn) with hoganorses of evrygind to be(e) there N rrr but some there are mine all (gahn)
& some (gwing) there ‘re mine there
(Nnnn N gahn) with sheep of evrygind to be(e) there N rrr but some there are mine all (gahn) &
some (gwing) there ‘re mine there
(Nnnn N gahn) with cattle of evrygind to be(e) there N rrr but some there are mine all (gahn) &
some (gwing) there ‘re mine there
(Nnnn N gahn) with men of evrygine to be(e) there N rrr but some there are mine all (gahn) & some
(gwing) there ‘re mine there
(Nnnn N gahn) my howse of precious cloth in my backgwingNgahn N nnn but some there are mine
all (gahn) & some (gwing) there ‘re mine there
(Nnnn N gahn) the house mmm precious cloth we walk (p)pon & nnn but some there are mine all
(gahn) & some (gwing) there ‘re mine there
(Nnnn N gahn) & everything that’s there before & mrrr we walk upon & nnnn but some there are
mine all (gahn) & some (gwing) there ‘re mine there
(Nnnn N gahn) & everything that’s more & won’t be poor N gwing N gahn nnnn but some there
are mine all (gahn) & some (gwing) there ‘re mine there
(Nnnn N gahn) my horses that are living to be old & blesst naht nnnn but some there are mine all
(gahn) & some (gwing) there ‘re mine there
(Nnnn N gahn) because I am the boy who blesses to be & dlll but some there ‘re mine all (gahn) &
some (gwing) there ‘re mine there nnnn N gahn
All ahrenow some ‘re there & mine all (gahn) & some (gwing) there are mine all (gahn) & some
(gwing) there ‘re mine there nnnn N gahn
All ahrenow some ‘re there & mine all (gahn) & some (gwing) there are mine all (gahn) & some
(gwing) there ‘re mine there nnnn N gaah!

Dorothy Demetracopolou Lee

"Some years ago, I published a book of selections of my articles. I had written them for my colleagues as a form of communication. When they appeared as a book, they were used in undergraduate courses. And I found out, with horror and guilt, that the students I talked to had found the truth. I was the author, I gave the authoritative statements. I could not even argue with them because they answered me back from the authority of my book. I felt that I had dumped a load of gravel on new, thin, weak, gloriously alive grass, or even on seed that had never had a chance to sprout."

1976. Valuing the Self. Prospect Heights, IL: Waveland Press.

Walter of Chatillon

Satirical Poems:

"1. Tanto viro locuturi
studeamus esse puri,
set et loqui sobrie,
carum care venerari,
et ut simus caro cari,
careamus carie.

2. Decet enim, et hoc unum
est inprimis oportunum,
ut me ipsum iudicem;
homo vetus exuatur,
homo novus induatur
ante tantum iudicem.

3. Commendarem mundi mores,
set virtutis amatores
paucos esse doleo;
quod si pravos reprehendam
et eis non condescendam,
bella michi video."

Basa Andere--Rufus C. Camphausen

"(Basque, 'forest-woman') In Basque legend Basa Andere is said to be a beautiful woman, 'perfectly shaped' for love and covered all over with soft, golden hair like a cat's. This Basque 'wild lady' can usually be met near a sunlit stream in a forest, where she awaits the wanderer while combing the hair of her soft belly with a golden comb.

It is said that the pleasure of making love to a Basa Andere is so intense that a man will die from it at the height of his orgasm. The dead are found with their backs arched in the agony of unimaginable pleasure.
(From The Encyclopedia of Erotic Wisdom by Rufus Camphausen, 1991. Rochester, Vermont: Inner Traditions)"

ARDAT-LILE They are noted for the voracity of their sexual appetites, and for the delight they take in doing harm to mankind.

BASILISC A monster who comes into existence as the result of some deviant sexual act, most commonly, sodomy.

CENTAURS Much more than the Satyrs, the Centaurs were forever lecherously inflamed.

CHUIAELS (or CIJURREYLS) Hindu succubi who perform fellatio until the very life is sucked out of the enraptured victim.

CORYBANTES Asiatic - orgiastic rites and wild dances.

DRUJAS (or DRUJES) noted for their raging lust, deceitfulness and general corruption. They delight in "crime and pollution," and their main objective is to lure others to ruin, pain and depravity.

Stanley Diamond

The Uses of the Primitive:

"contemporary states forge or ignore history; create political myths which propagate the official version of human nature and an inevitable past that wholly justifies the present. The capacity to create primitive myths that explore the ambivalence of man, and the incessant struggle for a common human identity simply withers like an unused human muscle."

the author finds himself rediscovering the flaw in the monolith--human nature--and the necessity of a more existential realization through a more primitive expression.