Distribution Automatique

Tuesday, November 11


Wall Sing Matilda (She Take Me Money &)

The representations call for something
of their own. Their mimicry is an
imitation of the dots that connect the
present sum total of the present from the
already transformed past moment present
in that plane. All ties in pyramidically
(algebraic watchwords I once called it-
some thing- dash parenthesis- a made
object.) Something ( the card game) is not yet
named. (Include the newspapers in this and all
of 20th Century political history- the Lindy,
Beatles, Peter, Paul & Mary, Ford Motor Company,
Al Capp- Jesus Christ why won't these names
leave me alone? (reconstruct your whole childhood
for a grade, close parenthesis).

Now name it- starving children, burning children!
Pianissimo (up yours, buster, D blank K, Cherry

All contain bannisters, all utter themselves
into too many history lessons, all trade in
their clarinets for company air time. Castenets!
I think it's time to glissando into a linguistic

For this, he kept to himself in
chains, he dragged himself from office to office in
unholy tedium- for fragments of time once a year he
was totally free to Polka his/her brains out.
Wanna ketchup of flow behind- airflow
or go with the Flo.

Drop this show, through some filter, into reality.

1/20/86 acoustical differentiation= information
(hearing thoughts/ hearing outside sound)


2) Salvator Dali's Critical-Paranoiac
method- to see the interconnections
of "terror" and power
awareness of

1) The interconnections between
events may be the deepest form of

to connect knowledge the deepest knowledge


Doubling, tripling, quadrupling of thought:
what is called "the associative chain"
is a linear image which does not provide
an adequate visualization (visual
representation) of this inner process (experience).

One thought does not simply "lead" to
another thought. When a thought is "heard"
more resonantly, it gets up a resonant
"strumming" across many latitudes of
inner experience. These "strings" or modalities
or aspects of cognition and emotion are
spread like nets across wide areas of
inner life, encompassinng countless "points,"
nuances, memories, hungers, fears, wishes.
Yet, at certain times, a thought or feeling
leaps across all
boundaries of sense and sensing, interconnecting
and interweaving innumerable nuances of
experience, yet encompassed in some specific
sequence of words [Wittgenstein: words are like
notes on the keyboard of the imagination.]

Note I fouind tonight (written about 1976)
"All substances have a trick."

The idea of going through my notebooks
with an eye towards what I like


When you know what you want you
look at the obstacles as annoyances,
not disappointments.

All notions of succession or tracking
or measurement, all ordering
paradymes, in fact, are dependent
on and built upon everyday notions of the
consecutiveness of temporal experience.
A brick is piled on another brick which is
piled on another brick. After a time the
walls are complete and then they are connected
by a roof. Above the roof, the sun and
moon are shining.

Yet nothing follows anything else,
though day by day the house remains &
the walls remain, and the roof remains and
the sun and moon rise and set over it, again
and again, and again and again.

There is no end to this because there is no
story and never was a story. We
wanted the stories to quiet ourselves- lull ourselves
on a cold night, in the
scary dark. Deep into the darkest night of
evening we sang songs and still sing them
because the future is unknown, remains
unknown, eventually & once and for all, all unknown.

Time is still, it's our hands than move.

(I completed this book the same night I saw
Ron, whose name is the first to appear in it.)


The question of immensity is a question
of visualization. if it is possible to
imagine an actuality, its possibility of
actually being perceived is greatly
increased. This is the place when attention
comes in. When I'm not looking for something, it
is hard for it to get my attention.