Mind can be Clear Mirror or Mirror Filled with Frames

How to Make a Cake & Eat it Too.

What to buy:

1 8x8 inch, 2 ½ profile canvas
1 6x6 inch, 2 ½ profile canvas
1 8oz. tub of while acrylic paint
2 small tubes of blue & gold finishing acrylic
Zap super glue
colorful buttons
thread

What to do:

glue 6x6 canvas on top of 8x8 canvas
heavily spread white paint over it
put buttons on it
wait to dry
thread around the buttons

What may happen:

She purchased a cake, or rather, an idea of one. She took it home, watched it and showed her friends. They too, wanted to try it. One of them said “I bet it tastes just like one”, another said “Don’t touch it. It might get all over your fingers.” “Try it”, she said, and handed them a fork and knife. Only, it wouldn’t cut. “Close your eyes”, she said, and a slice came out.

They are seated at a birthday party, whose, we do not know. The birthday did not belong in the room, it was the room that had nothing to do with the person, whose birthday they were celebrating. A room which gathers opinions; the space interior, a square. In this square people are inside it, puncturing the air, voices begin to thread a long line of talk; it is in talking that a line begins to define several points, these points that wrap around several buttons.

He unbuttons a white collared shirt in the dark of a smaller room on the second tier of a house. “Do you have a needle”, he says. She is standing on the opposite end of a threaded sentence. In every instant they are separate until their inflections had potential to rip a seam. At an interval on the line, he approached her and cracked a button and there appeared another definition of pink, one that couldn’t be spoken.

In spoken parts, degrees of pink emerge; a common denominator is needed for the story to agree to, though color might be a state of motion. The telephone rings as constant embroidery, unnecessary when no one is there to pick up. All have left the party. No one is inside the birthday of the one who never came. In the center of a room, a cake; the cake which guests stood around to wait collectively. Someone says “How shall we eat it?” Another says “I don’t want to wait my whole life to eat what can‘t be eaten.”

At mass, a child coughs during transubstantiation. The priest drops the host onto the ground, unsure if the gesture was reduced to accident, flesh or art. Would Christ be present in any of these after hitting the ground? People stood in line to receive whatever came of it, believing for different reasons, each standing in their own body to eat an idea eternity.

It Was Lovely today in the Mid-70s.

Today in the MaryAnn Brown Memorial,
I recorded 4 poems from Roses of the Non-City
inside her "tomb", so hollow and moist in
there, you could get a sense of stagnant climate.
Maybe this would have some effect on the voice, whats
around it, death or preservative, rain without
the water. Either way, it was something else
to project the poems into that artifice.
Then we headed to the piano in another room
to use 4 different notes to replace
the comma, period, semi-colon & colon,
after I had explained that the poems
are in a state of not have one consistent,
proper execution when being read out loud.
Lately I've been feeling that they're not
supposed to be read out loud because
of the verbal restraints; how can a punctuation sign
be performed? A few months ago, it was suggested that
I use a set of bells to strike during every line break,
each corresponding to tone. Even if punctuation
loosens the borders between them (regarding a sense of movement, speed, pausing,
or continuing) in sentence fragmentation, it also bares the
weight in executing those particular line-breaks verbally if each
space is an 'internal-rupture'; a closure and release.
I used to play piano as a kid, something I've felt guilty
about not having pursued and wish to try again. But today,
it was tried by sensing the tones of the punctuations, marking
the keys with post-it notes. Using two high&low octaves,
c-sharp=comma, c=semicolon, a=colon, a-sharp=period. These assimiles were
based on pitch and movement (of the signs). The limitations are open to
using whatever acoustic so long as there's variations, be it bells, piano, whatever.
But the need for tonal variables are based on not having a means
to verbally execute punctuation in every line-break, which then
alters its function into a different state, that being performative.

But earlier in the day someone approaches with a digital camera on Thayer St.
and asked if I mind that she ask me a few questions to which I said, sure.
"Are you happy?", then I said "you mean, today?"
& she said "yes", then I said "I'm not sure."
& she said "how about generally?", then I said "I'm not sure of that either."
& she said "can I ask what that is that you're holding?"
"petals".
& she said "where did you get them from and why do you have them?"
then I said "I found them on the ground..because they're pretty."

Later a student asked why I had roses as part of the poems.
Then I said because of the petals, which is only part true. all the
other petals might be a lie.

1957 French Commercial for Necchi Sewing Machines: Puncturing intonation, speed, movement of the prosepoem into Fabric

Hairmachine, I am ..........::::::;,;;.;;,;,;,;.;;,;,;.;;,;,;;.;,;,;,,,,,,.................;;.::::::::::::::::....:;;;;;.;,;.;,;.;,;.;,;.;:.;,;.:,;.;,:.;,,...:,:,::::,..,;,;.,;,..,;,.,;,;.,,;.-----------,.,.;,.,.;;,:::;,,,,;;;;;;;;,;.;,;.;,;.;,;.;,;:.,;..,:,.,..;l,;;.,,,,,,,,::;.;,:.;;,:.;;,:.;,;:,....,.,.,.....:::::::::::::.,,,-----------------,,,,,;.;;;.;,;;.;,;.,,,,,,,::::::...........:,:,;.;,;::::::;;;;;;;,;.;,:,,.;,.;,:.-----------:,;.;,;...:,;, to make punctuation tangible.