By the Same Authors

THE SECOND INFERTADA (1987)

THE GLANCE OF THE PYRAMID (1993)

THE HORIZONTAL LATTER (2009)

Dedicated to J.D. : J.M. : C.G.: G.E.



 Jumpology
Land of Escape
The Rogue Eye
Landscapes as Gestalt Recreations of the Spectacle
It Only Needs to Work Once

Bjorn Gay & Celest Etra

Translated by Arturo Wills

Chimichuri Press
Baxia, Portugal
Copyleft, 2010
 Jumpology

Land of Escape, or, The Rogue Eye

Jumpology 1 and Landscapes as Gestalt Recreations of the Spectacle, or, It Only Needs to Work Once

1
Artistic estrangement: Philippee Halsman + Joesph Beuys
IMPERSONAL Indicating Existence

EXPRESSIONS

a lion in the house

she called me
drawing the shades
testament momentary humming
token of (im)personal jump
penstamen testament
to rogue too pentacle
spectacle ! rogue text box

molecular
 to rogue eye, bird-jump, minute
hanging mid-air
the impersonal flower attracting the impersonal

spectacle, vestibule, carpel

un-soled, un-isolated
 the literal is
hanging mid-air
as sight is hanging
mid-air, wired through
though, and sundry

this
 to rogue eye, bird-jump, minute
hanging mid-air
the impersonal flower attracting the impersonal

spectacle, vestibule, carpel

un-soled, un-isolated

the secret was french. the birdʼs stamen, rouge.

THERE IS A SUN. THERE ARE SEVERAL.

There he goes, getting Mystical. Grammar

was a practice of distraction from the orig. :
[Word.] The cider proportionally less, less
more than, and rich in tannin. There, certain
an obscurity in his explanation,
asymmetrical explanation to this,
closer, obscurity.
Kredi, Kuri, Ludi
 ESCAPE

Il ne faut pas oublier que les langues

artificielles nʼont pas souvent
réussi............

“Do not put me so near to the window,

I prefer a place near the door.”
sparse the apo-tropic joy of this

sparse the lip

when the tooth jumps
through its
hoops
apo-prosody
 Kredi, Kuri, Ludi : To believe, To Run, To Play.

Simple simplicity. Beautiful beauty. Drunk drunkenness. What is better

than health? I have the largest dictionary of all. Do you know me?
 next

next

lonely numinous
where
this is what they said to latch the artifact
 this is that

What happens when you take the figures out of the pictures? Does that make it a landscape?
No, the displacement of the signifier changes what is signified. It is the differance 2 .

2
Derrida. Jaques. 1982. "Différance," as it appears in Margins of Philosophy; pp.1-28.
myself
 TRICKY LITTLE

reflexive bird words

ego-next next-nest
i knew what to say
by knowing saying
 it figures
like what cannot be thought
elegiac jump
 complicity

he is in hell, or not here, or dying.

a lionness with wings illegible has killed

a man with her sky-lit
marble-harvested
real petal of cold sense
variety of the world arises from actions
jungle cushion
trance objects of enjoyment
phone calls

utopia/distopia
 waiting for
to die is

to be held above mourning

of torso, cat-jump
the nucleus
 breaking porcelain
thick description
his narrative held above everyone elseʼs
idea of what happened

sparkling coal
my death shrine
typo
The technology of this chrysanthemum was just now invented.

I am talking about the flower printed

from years ago.
complicit flowers, pleated in a landscape
ephemera &
vice
& versa
 And of how we see time in the fabric,
and still want to cut through.
Itʼs a tissue and itʼs a dye, a temporary thing

I got so interested in form and function,

I almost forgot
the bruises beneath language, colorʼs stamina,
stamens wet with pollen jumping.
the expense of land
and bruise under
 myself

escape
the famous place called

there, there
there are
not enough
peopled words
for the peopled
pictures
ecstasis / excess
then he put the ravishers to flight
 ekphrastic life
learning to fly i mean

like an excess articluate

bird-daemon

this well-lit life

photo
 i could ask for nothing
that ground-speak of god-speed
and place my wings
back in place
those fragile wrecks of art,
those lattice articles fringing
the phantom limb