Other Mysterious Lights

It was entirely possible to say something new each day. Marty would wake like a vampire rising from a coffin in a quirky b movie, stiff as a plank at a 90 degree angle, as if lifted by a row of invisible supporting dancers. Once vertical he could see his reflection perfectly in the full length mirror mounted to the wall opposite the bed's foot. The red shape of his mouth covered in clown paint would stand out in sharp contrast to the white grease paint on his face and the baby powder in his curly hair. It was entirely possible to then contort his mouth into shapes supported by the motion of his tongue and the vibration of his vocal cords, allowing him to emit mostly coherent phrases to be captured by the gramophone operated by twelve tiny mice.
On day one Marty rose and said,
"I want to roll through the garbage like God."
Diligently the mice recorded this statement and played it back for him.
On the second day, upon rising like an arrow from the bed, hands crossed over his chest, sheets tossed sloppily asunder by his rising form, Marty announced,
"This one has a crooked mouth."
The mice recorded it and played it back before resuming the construction of a dress made of various garments collected from unattended dryers in a nearby laundromat.
On day three, rising in the usual fashion, Marty spoke the following words,
"You know how everybody says I used to cry all the time? Well I did, but it wasn't just because I had  a bad marriage and a bad childhood, even though I did. I used to cry a lot because I feel things really deeply, not just for myself, but for other people too.  My husband shot himself in the head. That's why I used to cry so much, not for myself, for him, because of the way he must have felt to do that."
Dumb founded, the mice played the recording back for Marty. One of them fell into the mechanism and caused  the needle to skip replaying, "must have felt, must have felt, must have felt" until his compatriots freed him.
The next day, the fourth, the mice were poised to receive another monologue.
Marty rose and uttered a single word,
"Connecticut."
On day five,
"More riding in boats, eating brie, writing poetry."
Six
"What is your favorite fruit?"
The mice took a survey. Three for pineapple, 2 for apple, 4 for blueberries, 2 for banana, and 1 for avacado. They embroidered their answer on Marty's pillow case.
On day seven more cause for reflection,
"Let me ask you a question, do you have any sort of rule that you follow? A reason or something?"
Due to the fact that Marty never commented on the pillowcase the day before, the mice refrained from responding to this particular query. They spent the rest of the day drinking  peach schnapps from thimbles and wondering about the merit of their work.

Connection

He showed me some pictures of our not yet conceived experiment that I had relayed to him from a distant space time probability . We were not well acquainted, but shared a mutual interest in the transgressive applications of astral light put forth by G.

"True creation is not about words. It's about tears," J. said.
The connection between us was instantaneous. We built delicate structures from hydrogen, oxygen, and carbon. I thought it best to make observations and adjustments from a closer vantage point.

I was now diving into some kind of primal network, a tightly woven system of existing and evolving quantum worlds. The details were quite clear. I transmitted the schematics back to J. using a patented method of intervening and tapping into the quantum communication capability of carbon based neurons.

To develop a system of emergent intelligence I tried to reach the part of my own brain that processed fear and mapped our creations after my own design. We wondered if there might be some danger inherent in this method.

"Will the thing that passed through the makers still live?" J. asked.
"Only if there are some specimens willing to leave the safety of consuming behind to become makers themselves."
I suddenly realized this is where I would meet my fate. Despite risk and ethical ambiguities we pressed forward, certain that a sacrifice was called for. I would have to go deeper.

Due to the similarities between my own system and our manufactured systems the interface was often confusing. The delineation between self and other grew blurry.  On the day of my final descent J. suggested:
"If we loose communication, don’t stop, especially not when you feel lost. The best method for finding the way when you feel you have lost it, is to keep going. Ignore the question of whether you’re going in the right direction. If you stop when you feel lost, you will remain in the land of the lost."

As I became more entrenched in our designs, communications with J. were indeed severed by electromagnetic interference. I had entered the black valley. In the interior I met with the ministers of culture.
"What has become of J.?" I asked them
"We are sorry madam. He is beyond our reach. We have prepared a place for you among us that you might be comfortable despite your loss. "

They offered me sustenance but I refused. I could no longer remember who J. was but  I just knew I had to keep going. If I could break through to the other side I would then accelerate forever becoming both more and less than I had been before whatever it was that I had started with this mysterious J.

The Shape of the Process

It is not the content that flows through us that we want to change.
It is not the content that we want to pick and choose and refine to fit our particular specifications.
It is the shape of our inner structure, the flow of the pathways inside our inner labyrinth, the wiring of our neural network That is what needs to be transformed.
The content is always different. The content will always be different.
The content never changes. The content will never change.
But the process that transforms it can change. It is this change in the process that we seek.

Our life itself is a process, our bodies, our thoughts, our sensations, our hopes, our dreams, the shape of our movement through time from birth to death. All process, all waiting to be carefully altered, all waiting to be rearranged.

Life flows through structures. It becomes defined by the obstacles and blockages which it encounters, by the shapes of the structures through which it passes. Life assumes the shape of the vessel into which it is poured. That is what makes it specific, that is what modifies it into being unique, that is what gives it an identity.
There are structures that trap life so that it grows stagnant. Think of pools of black water, think of old houses without light, think of forgotten cemeteries in the backwoods of lost towns.
There are structures that allow life to flow continually through them. Think of a river, of the wind, of sunlight streaming down onto the earth from a bright blue sky.

We may think of ourselves as structures defined by our habits, programmed biological computers through which the raw energy of life travels. By transforming our habits we may restructure ourselves to allow life to flow freely through us. As it flows, it gains momentum, it changes what it touches, it reinvigorates the path.

Posture is a basic way to direct the flow of energy. Our bodies are like antennas that can be bent this way or that to pick up various frequencies of radiation. Paying attention to our physical habits will lend us a clue as to how we are presently processing life. Intentionally building a repertoire of postures that facilitate life will help to change the structure from the outside in.

Our bodies are keys to other planes of existence, they are tools for manipulating realities. Everything is altered by posture, by reshaping structure.
Allowing our reality to be shaped by unconsciously formed habits and postures is to be unnecessarily imprisoned.
Intentionally forming habits and postures to direct the flow of life consciously is to be a surfer, a magician, a free builder.
Once the structure changes the energy will flow endlessly through it for as long as the structure remains.

Keep a notebook with you for a total of six days in order to record re-occurring mechanical manifestations. In other words, keep a log of some of your most habitual gestures and the accompanying moods and circumstances.

You should begin to notice these re-occurring gestures as you are performing them. During the course of a day, whenever you catch yourself in one of your mechanical manifestations, say to yourself, "Cut! "
At that you point you should freeze. Then say to yourself, "From the top." And prepare to repeat the scene. Say, "Action." And perform the gesture again.

This can also be done with a partner. The two of you should be familiar with each other's catalog of mechanical manifestations. When one partner notices the other engaged in a habitual posture or gesture they will issue the commands for them.

In either case it is useful to run through the sequence up to three times when showcasing a particular manifestation. When you are finished you say, "Break."
Break.

Perpetuation

You don’t know us, know us, we know. I know and she knows and he knows. We know one that we know, that one that we know. One, two, three O’Leary. Cookie cutter cosmic consciousness. The seed is very simple. I am very simple. The seed divides and multiplies, divides and multiplies, divides and multiplies. I am very simple and very complex. One two three O’Leary, watch me grow and grow. I know, I know. I repeat what I know. Repeat what I know, one two three… You don’t know, how simple to grow. Something small. Something simple. Replicate. Something small, something simple. Create. From any one line, make another, and another. Make a triangle, a trinity, triumvirate. I am one shape and many lines. Make a pinwheel. I am one shape and many. I grow and grow. You were one cell and now many. One cell. Divide. Replicate. Grow. Make and shake and quake. One cell divides. One being, many cells. And many comes back to one. I am a pinwheel. I am a triangle. I am a line. I am a line. I am an angle. I am a triangle. I am a pinwheel. Again, again! We like to grow. Replicate. Create. Mate. You know mother. You know father. You know X. You know Y. You don’t know us. We are pleased to meet you. Know us. Us. I. You. I know you, I know you, I know you. I know U. Love you. Yes. Y E S. Young, yarn yearning eternally excavating energy stored somewhere sleepy. Replicate. Young yarn yearning, eternally excavating energy stored somewhere sleepy. Reverse. Sleepy somewhere stored energy excavating eternally yearning yarn young S E Y.
You don’t know us, know us, we know. I know and she knows and he knows. We know one that we know, that one that we know. We know you. U. You know. We know we. Congruent. Triangles. Web. Very simple, very complex. One, two three, O’Leary! I am a line. A line segment. The line extends eternally. I am a segment. We are an angle. We are a triangle. A circuit. Spin. Ta, ta, ta from me to he to she. Cookie cutter cosmic consciousness. The seed is very simple. It grows complex. Many branches from one seed. Many seeds dropped from one branch. We grow and grow. One cell divides. One being, many cells. Grow and know, and know. I know and she knows and he knows. One two three.

Warm Star

It is a lovely warm little star. Not the biggest type of star there is in space, a blue giant, and not the smallest type either, a blue dwarf, but a lovely yellow sun. A unique star in this part of the universe, in that it is steward of a planet that teems with carbon based life forms. A motherly star. A star with a warm heart. This little planet that it has fostered is rare too, at least within this region of infinite space. A sort of museum of varied life forms. In the minds of other planets and other stars within this locality it may well be that this planet and this star are regarded as a pair of deviants, a sort of mutant team hosting a sort of infestation. Or they may not notice at all. One must wonder over the beauty of it, the rarity, the precise positioning that makes this museum of life possible; the star doing its best and the planet offering the elements that make up its composition to spawn and sustain a myriad of creations.
Fantastic.
We humans have put a motherly face on the sun and then a fatherly face on it and a motherly face on the earth, thinking of it as male or female. We suppose that whatever we happen to be down here in the museum sets the standard for the principles of the cosmos. As if the painting dictates the nature of the painter.
We know nothing. Certainly nothing of the love of stars and planets. We see black holes as frightening, the death of a star. What if the black hole is the flowering, the blossoming of the star? Or perhaps what we know of as stars might be like the blooms on a tree, and the black hole resulting from the star’s super nova is the fruit. The fruit of one tree is the beginning of a new tree’s life. That fruit contains and feeds the seed until it is ready to sprout.
We imagine that some being or beings from outside might look upon us humans of earth and be wowed by our capacity to love and be stunned by our ability to hate. It is the equivalent of ants dreaming that their service to the queen will touch the heart of an elephant. An elephant would hardly notice an ant, or even an entire colony of ants, and if it did, intelligent though elephants are, they would not take the ants service to the queen in the same context that the ants themselves do.
We are rare and unusual, but we are not the center of the universe. All things do not correspond to our own evolution, our own processes of insemination and gestation. We are one possible outcome of certain conditions, randomly produced sequences of events. That we are a product of chaos makes us no less beautiful. That we were not planned neither adds to nor diminishes our potential. Our potential to do whatever it is that we can do using the most of our abilities.
Imagine a bucket of multicolored interconnecting blocks. That is the potential. Imagine spilling them out onto the rug and endeavoring to build whatever you can using as many of the blocks as possible. There would be different ways to configure them, many possible variations. It would also be possible to refrain from using all of the blocks, all of the potential, in order to build something that was only blue, or only white.
As far as our potential goes, we are like a child who hasn’t even seen all the blocks because he was so taken with the red ones and particularly the red squares, and is only vaguely aware that there are more blocks on the rug and he could build something other than a high red tower.
We know nothing. We wither as blossoms. The fruit never swells, the seed is never nourished, the gateway to the new tree is never opened.
Still, it is a lovely warm little star, doing the most it can. We are just a side effect of its own self explorations.

Creation and Property

Nobody can own music.
Nobody can own a sound.
You can make music, you can make a sound, but you can’t keep it in bondage.
It’s like a child. You may birth it, name it Rainbow and raise it on organic vegetable matter and Dalai Llama quotes excerpted from coffee table novelty books, but when it turns 18, if it wants to ride in red sports cars with gangstas and shake its ass in a skin tight mini skirts made of genuine baby white tiger skin, then that’s just what it will do.
The things which accumulated in you and resulted in "the song" were not unique to you, they came from elsewhere.
For example, your siblings also feel the angst that remains from your father’s drunken abuse, and your love of wild flowers is shared with scores of green peace enthusiast, hippies and botanist. That chord arrangement is only slightly different from others, and probably is identical to an arrangement featured in a polka song written by an accordion player that lives with his mother in Michigan and works as a used car salesman by day. The only thing distinguishing your arrangement from his is that the rhythm is different and yours is strummed on an acoustic guitar rather than keyed on an accordion and you have an audience and got a record deal while he suffers from loneliness due to his pig nosed face.
The very idea that creative material should be owned is an uncreative idea. It is an idea that says: “Now I have made this and no one else can make anything else like it or from it or I’ll sue their ass for copyright infringement”
Creativity is using anything and everything and making something new from it, something slightly different or unrecognizably different. Kudos to anyone that can take part of a song about love and peace and turn it into a song about hate and violence. That is called being creative. No one comes up with anything brand new and all their own.
We are all composites of the many different influences which converge within us and our ideas and creations stem from this composite creation that we call self. We do not know the nature of our self, and not knowing our self, how could we ever presume to possess it, let alone those composite spores that it spews into the ether in the form of poetry, song, or sculpture.
This self is on loan. We borrow it for a while, taking it for a spin before it evaporates. These impressions shaping our creative impulses, are viewed through the borrowed lens of self. They did not originate within us. The color of the sky was present long before we were and the birds were singing about it long before we started writing about them singing about it. The thing which made the song was not yours, the things that the song is made up of is not yours, those things that inspired its making are not yours, how could the song itself be yours?
Nothing is new under the sun. There are no original ideas. Your ideas come from others. From the sound of your mother’s voice when you were twelve, from your father’s old car, from the lake you nearly drowned in, from the song that played on the radio when you first kissed, from the way she screamed when she left, from the theme of that cartoon you watched when you were four, and the song your grandmother hummed when you were 13 months old.
There are things at work within you which you are not even aware of. That song you wrote may very well be an approximation of something you heard when you were a child or in the elevator three months ago. That you were unaware of its influence on you does not make the resulting song original. It came from somewhere.
To be creative is to see what there is to work with and work with it in any way possible. To steal, to borrow, to reuse and cause mutations, that is creative. To forge something new of what was is God-like, opening up infinite possibilities. To spend one’s life obsessed about protecting a small blot of intellectual material is limiting and can only lead to decay, to the end of possibilities.
Creativity is brave. To be a true creator is to scatter creations like droplets of water from the trembling wings of a heron. You do not take time to count the droplets, or to try to catch them before they can dance off of the wings of another.
If someone takes what you have made and does something new with it, that is a compliment. If you were focused on creation and not ownership, you would be unafraid to loose the drops of water that scatter from your wings, you would know that soon you will dip into the waters of life in search of the wriggling fish and new things will scatter from you as you part with the water again and ascend with your catch. This can happen again and again if you are active and not busy catching and adoring the product of dives into the deep that occurred once long ago.
When you create, you are in the present. What you created, that is already in the past. Dead and gone. If you are interested in ownership, sue the earth itself. For that is where you came from and that is where you’re going.

Process

They come towards me, down the street, or through tubes of old rusty metal, or by way of letter or wires that burn when they touch each other and then they can transform themselves into things that they weren’t to begin with, but still they come toward me, they are unifying principles, pure mathematical equations which live and breathe and fuck and come back for more and they do it all in many different strange contexts, in chambers of nightmare, and chambers of light, and chambers of fullness and chambers of emptiness that stretch out beyond my sight.
They come to me and I take them in, I eat them and then I burn myself into them, we burn ourselves together and then we touch them some more, delicately letting their essence remain while stripping it of everything that came with it, and so we can see that feedback is a principle, not just a principle but the principle, the solid bed rock of our work, that has no name and claims no understanding, an activity without meaning in a world of pure and clear purpose, it is the feedback then that figures in our muddled science of ghostly cybernetics, we are pilots through a land of garbage, birds of carrion in a wasteland of dead cars. We are natural and we are industrial, they come and they are me, and I put myself into them and turn them into something other, they are the little bits of protein that we make into ourselves through elusive processes formed of other more basic processes, such as feedback, such as melting, such as fusion, such as analysis, such as dice rolling on a sunny day, such as confluence of events, such as random neurons firing when they shouldn’t and sprinkling their lightning semen all over the naked flesh of my inner cerebellum, procreating when they should be resting, fucking when they should be at peace. Leave them alone, that is what they do, and they will do it when they have to, not when you tell them to, and they won’t do what you say, what you say is just more food, and it filters through their shape and takes it into itself, much like them, for it is them, and what you say comes to me and I take it in, and sometimes it hurts me and sometimes it pleases me and sometimes I just bite into it and send it sliding down my esophagus like so much more food, eager to take on a new form, so feed me, beautiful, feed me what you have. If you want to set conditions, I will eat them. If you want to say what it was that you saw so many years ago, I will eat that as well. Feed me. My mouth is open and I am still hungry. I am as ravenous as I have ever been. My limbs shiver with the deep need to chew on your hot gifts.
At this time, and it is not guaranteed that this will last for more than a moment, and it is very likely that by the time you read this, this will no longer be true, and such is the nature of all messages, by the time they arrive they are already old news, and I can simply tell you that everything changes, and everything must change for it to be what I am right now, and what I am is a process, a conceptual scheme, an abstraction of the second level, a structure with holes and chambers, tubes and elevators, sliders and knobs, amplifiers and microphones, cameras and projectors, ovens and little plastic containers to store cold food. What I am right now cannot be easily handled and it can’t be clearly implemented, I am a few steps beyond my own understanding and so, any attempt at telling you what is happening is bound to be confusing or disruptive or simply a lie, and once I come to understand that, then I know that I must lie freely, for only in the free lies will I find the truth, and, having established this, I will tell you then that I am composed of:
A) An action, like running my hand over a woman’s back or slicing across a piece of meat with a razor sharp knife or licking at my lips or swinging from a tree or leaning back and exhaling loudly as my body adjusts to the comfort it’s been seeking after a long night of dancing in circles, and it is likely that it is the only dance possible, and if we see anything other than circles we are simply getting lost in the details, missing the vast circle of life for its individual iterations, circles upon circles, all dancing, and then we can say that all of these are circles, all actions step out and come back, in one way or another, the sliding of the hand over the woman’s back must eventually move up, back up to where it once rested on her cheek, and the razor sharp knife must eventually come back to its resting place in the drawers of a kitchen, here or elsewhere, and my tongue, as much as I enjoy its slimy surface running over my dry lips, it must eventually pull back into my mouth and I must let go of the branch and, as much as I enjoy laying here on this soft green carpet, in the darkness of a place so far away from anything I find familiar, still I must get up eventually, we have to go home, and home is where things start, and home is where they end, and so it is all indeed a circle, and so an action, a circle, and we see this circle as a sequence of constituting sub-actions, ever smaller circles, smaller and more refined, so tiny that they will escape even the most subtle description, for the woman’s back has as many hills and valleys as the most complex mountain range, and they are both monumental and they both must come to an end, for they are not home yet, they are in the middle of their vast circle, and as much as I enjoy being here, running my hand down this woman’s back, soon she will be gone, or I will be gone, or we both will go, and soon there will be nothing but dust where there was a vast smooth back and my hand itself will be a dank smelly memory of life turning into life, and that is indeed what I am then, a process through which death becomes life and then becomes death again. The states of the world through which we move in this circular dance of desire and laughter and tears are referred to as stages of the process, and so look around, and you will see all the stages before you, the stage of open mouthed admiration, the stage of intense dedication, when the eyes barely move and the hands vibrate with energy that had been previously hidden, then the moment of flowering, when things begin to come together and you see it all before you, yes, as if it had always been there, as if it could not be any other way, and then the moment of hardship, when it could definitely be some other way, indeed you wish that it was, and it seems that we are lost at sea and the ocean is just a vast land of grayness and sadness and clouds and rain and storms and hungry predators that long to tear you apart, and if you hold on long enough, if you resist the urge to give in to the pull of the darkness, then things finally do come together again, and your mouth opens wide, in a great surrender, and you say to yourself "I have finished… and now I will rest…" and that is when the green carpet feels so good against your back and you can actually hear your vertebrae crackling because you have danced so much and the work has taken all out of you and the air is pulsing with colors and you are so tired that you would love the silence, but there are still residues of what just happened within you, so you then talk, and what you say only makes sense in the moment, right in the moment and nowhere else, and if someone happens to be with you in that moment, then they may or may not understand you, because they may be with you and somewhere else, or they may be truly with you, it is very hard to tell, but you talk anyway, just in case, and what you say is like a shower of strange rainbows cloaked in the metallic shapes of language, and it sprays over the ceiling and the walls, but it leaves no residue, and finally you truly must rest and everything goes black and there is nothing, and the resting can go on for a long time, and then you must eat and drink and eat some more, that’s when they start coming at you, down the street, down the tubes, down the wires and soon it is time to start all over again, as usual. This is all normal. Everything that you have just experienced is eminently normal, and it is painfully unique, and in that duality is the answer that you seek, but it is not an answer that I can tell you, not unless we dance together, and if we did dance together, then there would be nothing to tell. I am a process, and as a process, I am sequence of these stages and more, it is impossible to determine them all, I only have so many words and just a limited amount of food to go on. It is enough that you understand the little I can say and go on without me. It is an action which is a circle which is separated in stages which all lead you back home in the end.
What we speak of here may be confused with a kite, or the wind that moves the kite, or the little girl that holds the string of the kite, or the mother that stands beside her, contemplating the expanse of the sky and the ocean and the world itself and if we go any further then we will talk of concepts, and this is not what I wish to do, because concepts are only there in your imagination, in mine, in ours, and they lack the infinite mountain ranges of the woman’s back and they come crashing down to earth before you have even finished calling their name, demons that can’t hold themselves together, and as they fall they pull you down with them, their red skin pushes against your own and pulls you down, like a kite that is too heavy and then it falls, and the girl is not happy and the mother is not happy and the world is not happy, and so you will say "these are concepts" and I will have to admit that they are but try to say it softly, try to refrain from holding tightly onto them or we may both fall together, and then our tears will mingle and I might become what you are and you may become what I am, and maybe that would be for the best, because one day you leave your house thinking you’re going to paint a house and you end up filming a video in a strange little town full of witches and women that look away when you look at them and you talk of distant lands and you meet a beautiful brown woman in a room of shadows, and that is just what happens, things like these just happen, and for you, maybe, this is fine, because you are brave and strong and you fear nothing, but for others it might not be so good, and maybe then I will end up jumping over cliffs and hanging from vines over dark rain water, gasping for my life, and you will end up sitting in front of a computer typing away words that you can’t understand, all because we couldn’t hold our tears and we had to cry all over each other. In the end, this is what we must do, cry and laugh and fuck, I have to go deep inside you and feel the inner walls of your presence with the fleshy extension of mine and you have to open to me and suck in what I have to give you, take it in and cook it, and feed it and shape it and kiss it and lick it, and then, when you have put yourself into it, when it is ready and fully formed, then give it back to me through the doorway that I hold open for just such an occasion, open for you, only for you, you that are endless and everywhere, you that listen, you that never blink. This is in fact what we have to do, as scary and as slimy as it is, as drenched in sweat and smells and tiny errors, we have no other recourse, but let’s wait for the right moment, let’s wait until I can give you what I am and you can take it and put yourself into it, let’s wait for an ephemeral moment such as this, let’s not act in haste for the exchange has to be complete and if we halt in the wrong moment, we will have changed the whole process, and maybe home will no longer lie in the middle of a dark garden and instead it will be thousands of miles away, among people who speak strange languages and cover their skins with symbols they can barely understand, and when that happens, as it surely must, remember that you are still a process, such as I am, but only for this one moment, and when you remember, start all over again, and let them come to you, down the street, down the tubes, down the wires, and put yourself into them, put your past and your future, your fantasies and your fears, your truths and your lies, and let it all slide right in there and make up something new, something new such as never has happened, and then let it go out, let it fly like a kite that is so perfect and so light that it will never come back down to earth and cut the cord and then keep on wandering, for the work will never end, and you are the work, and the process never ends, for you are the process, and the actions that you take go in circles and circles go on forever. These then that we talk of are the stages of the process and they may be seen as abstractions limited in space but that is only an illusion, an illusion caused by the process itself, don’t let it fool you, the head is the tail, the tail is the only head, and the body is only your life, and you will keep on going for as long as the body pulses, and the body will never end because it never started. Leave fear behind, leave all your suspicions at the door, and, for this one moment, this single moment that will soon come to an end, become a process with me and let me feed you, don’t believe that there is something in this food, something solid, something to hold onto, these are only stages, these are only mathematical abstractions, and the only thing real is what you make of it, right now, this very moment when your eyes flash across this strange page of blinking lights.
Yes, I must admit this to you, even though I am concerned for what you will do with this knowledge, for what your complex sequence of tubes will grasp and how it will divide it and how it will cut it into tiny pieces and what will it build with its component parts, I am concerned but I shouldn’t be, I am concerned but it is only my old demon trying to pull me down to the dusty ground covered in pebbles, yes, that one, the one next to the ocean where one day you were almost about to fly away with the little blue balloons and I had to hold you down, grabbing tightly onto your ankles, and if you remember it you will know that that day we didn’t want you to fly away, we didn’t want you to disappear among the clouds, but this was only temporary, for sooner or later you would have to go, sooner or later the clouds would be your home, and the balloons would be your only anchor, and that is what we must talk about now, even if the weighted elements of my structure hesitate at the doorway of this revelation. Yes, the process has definite initial and final stages. You will appear to begin, you will appear to move through a thousand different chambers, you will appear to be happy, you will appear to be sad, you will appear to be covered in sweat as you fuck through an afternoon of debauchery, you will appear to congeal into a ball of pain when the world comes down upon you like a big castle full of bricks and people screaming at you that you should stop, that this has been enough, that it is time to grow up, and it will do no good to tell them that you have indeed grown up, that you have grown into a different process and that is all that you could have asked for, that is all anyone could have asked from you, and they won’t ever be happy with you and so you will have to leave them behind, and your body will start failing, and the things you could once do will become progressively harder until they become impossible, and when they become impossible it will be time to just lie down on a big bed listening to the radio and old cassette tapes of your grandkids speaking gibberish and then you will remember the old days, the times that now seem so perfect through the filmy gauze of memory, and maybe you will smile and maybe you will cry and eventually you won’t be capable of either, and the last of your circular actions will seem like it lasts forever and you will say to yourself, why? Oh why? Why didn’t I live it all like this? All moments were so precious and they spilled through me like grains of sand when I rolled on the wet beach that one day, and that day was truly beautiful because it was ending and the sunset was just perfect, covered as it was in orange and purple and blue, and the wind was not too warm and not too cold, and your skin was so wet, covered in the salty water, and your eyes flashed like the lightning of a storm made of loving raindrops, and maybe if I had done that more often, or maybe if I had let them come to me, down the street, down the tubes, down the wires, maybe if I had placed myself into them, maybe then I would not be here, or even if I was here, it would not be so bad, it would just be another eternal moment, no different from the rest, no different from any other moment that has ever been, that ever will be, because now, lying here in this strange bed, now I know that it is so, and it always was, and now I must go and leave it all behind, and I feel that I haven’t fulfilled my purpose, my work with my hands, my work with my chest, my work with my eyes, my work with my nails, my work with my hair, my work with my long fingers which I can’t even move now, and then it was all in vain, so much effort and all in the wrong direction, and such things you will say to yourself and they will echo within you like huge brass bells in an ancient cathedral and they will fill you tired body with dread and they will drive it all deeper into you, the truth or what seems to be dressed like it, specially when you overhear your son crying from the next room and you are not strong enough to say anything to him, and he will be so sad and you won’t be there to console him, at least not you as you have come to know you, but who was that in the first place, and did you really know it? Who were you back when you were you? And if you are not that any longer, then are you already gone?
Consider it all then an abstraction, an abstraction that occurs at the beginning and at the end, for now you are finally open, and now you can see, and now they come to you, down the street, down the tubes, down the wires, and now you finally take them in completely, and now you can finally put yourself in them, this is your time, time has not ended, time is barely starting, and, let me tell you and let me say that I know it is confusing but there is no way around it, you are now at the initial stage and this initial stage is called the input, and as much as you may now fly through dark thoughts of nightmare, here is where you will feed, take it all in, open yourself wide and allow yourself to be fucked as deeply and as savagely as you always wanted, it will happen whether you want it or not, might as well enjoy it, let the pain and the pleasure become as one, and let that one experience shake you to the core of what you are no longer, and let the semen that is not you come into you, and form yourself in its image, for it is the one that is as much as you are, and together you will form the new process that is you, the new you that is the process, and as you find yourself in a world of falling stars and vibrant supernovas, don’t let fear overtake you, you are merely what you always were, the only difference is that now you see it clearly, and as you slide into a permanent shape, know that this initial stage is an abstraction from the final stage called output, you in your life, as a woman of great stature in a little country forgotten by God and the Lords of the Universe, as a little brown girl full of dreams and of great disappointments, as a boy who dreams of Egyptian tombs and heroes in white robes, you are the final stage of the process, you are the output of that fearsome moment, and if you hear me now, even for just this one moment, because you must understand, clearly and beyond doubt, this is truly the only moment that we have, and if you hear me now, you will then see, like me, for a fleeting moment, and nothing more, that this is the process, you are the process, we are the process, and it has always been so.
We can then speak of the process as transforming the input into the output and as such it is true, without forgetting that the inputs are outputs themselves, food that will come to you, down the street, down the tubes, down the wires, and whatever you make of them, whatever you take in and how you heat it and shape it and pull it apart, it will be a process too, and it will go on to form what you were not, and it will do what you never imagined, it will become violence in that shape of red and black and it will be gentle love in greens and yellows and it will be savage desire in the invisible movements of blue and violet and it will grow beyond the reach of your vision, so as to be too big to hold, too small to envision, and you can never predict it, you can never know where it will go, and you can never control it, and you wouldn’t want to if you could, not really, although you might be fooled into thinking that you would, but this is something that will disappear along with the mountain ranges of your flesh. I am then the process that writes these words for you, and only for you, and you are then the process that reads them, and maybe thinks of the future and maybe thinks of the past, and maybe, just for a moment, it simply takes them in and accepts them as the semen that I give you to build your own output. Please know that I don’t know what you hear, that when you say body, I see a spaceship and when I say the doors, you think I am talking of rectangular wooden structures. So leave all thoughts of understanding behind and simply take me in. I come to you down the street, down the tubes, down the wires. I am with you now as much as I have ever been with you. There can be no obstacle, no condition, no request. I am with you always and I have never left. For I am the process that is the food of the process, and the process never rests.
Some notes before I finish and go back to lie down on the green carpet, which feels so good against my back after a night of wild dancing and demonic invocations, specially here in the darkness of this quiet room that seemed at times to be on fire, that seemed at times to be full of music that emerged from my fingers like ribbons of colored light, there are still some things I must tell you before we end, they are of no utmost importance, but then again what is? We will place the importance on the things we encounter, it is the food that we choose to eat, and as it runs over our mouths, it will be warm and delicious and it will be that most important thing of all, later to be forgotten, later to be remembered, later to be something else altogether and the importance will be as transitory as the thing we attached it to and you will then decide what is important, and when you do, you will give your heart to it, and I will press my heart against yours and I will kiss you and I will say "yes, this is it. Do it."
Here I give you a few morsels which may help digest what has come before. There are processes which have a definite initial stage, a moment of quiet when we all sit in a circle and decide what to do, when we all say what it is that we are trying to achieve and we set out to do so, in that moment maybe you lean against a white chair, maybe I walk around in a black shirt and black pants, or maybe you are naked and you sit on my lap, and my penis throbs inside of you, and as our presences become one, then we know that it has started, yes it has started, a new eternal circular action has come into being and it mustn’t stop, and it can’t, for it is now eternal, and it always was as much as it now is.
As such, I must tell you, a process may be infinite. What came before was always there, what came after was bound to happen, and the hills of her back will be different and the carpet may no longer be green and the sky may not be as blue as it once was, and there may be no kites flying, and the cool room of darkness where we danced for an age of unreason may now be an office of women in business suits looking desperately up at a clock, but the process will keep on going, because the beginning was an illusion caused by the process itself, and any end that you imagine is the same, just lights hitting mirrors and bouncing back to become more lights, nothing more, nothing less. Let the infinite wheels turn and don’t hold on too tightly, you’re not going anywhere, you have been here for so long that you have forgotten where you are, the birth is a death, the death is a birth, the moment of flashing lights is another opening, another flash of truth in the ocean of the Real. The illusions are as real as the rooms that stand behind them, and the things that you imagine back there, the tall black statues and the thick old books, and the secret prayers that will finally change the nature of existence, they all wait back there, and in them you will find the flower, the music, the sky and the bone, you will find me waiting, and, when I finally open my eyes to look at you, after waiting for a thousand ages of oblivion, then, with shimmering pupils and a trembling voice, I will say to you, "They come towards me, down the street, or through tubes of old rusty metal…" And we will start all over. As we always have. As we always will.
Maybe you will say that this is nonsense, that there you sit and I am nowhere, that I am just a bunch of letters on a screen of flashing lights, and you will be right, absolutely right beyond question, and I will have nothing to answer, nothing to respond, for I will not be there, not as you want me to be, not as I wish that I could be, but I am here with you, in this moment, and if you can only come to me, I will give you everything, I will hold nothing back, I will fly into you like a bird of a million colors, sparkling with the metal in my talons, flowing with the rainbows in my wings, and you will then see that I am nothing, I was always nothing, and everything that you saw in me was you yourself, you are the bird, you are the screen, you are the story. And you will say to me that you can touch your body, you can touch the wall, you can touch the floor, you can touch the carpet, and this is real, above all else, what my hands can reach out and hold is what truly exists, and since it exists then it is condemned to being a thing, and in being a thing it will start and it will end, and such we all are, you that write these things for no reason, you that read them for the same, you that will never come near me, you that once were close and now are gone.
But on a smaller time scale, so small maybe that you will have to squint so tightly, tighter still, in order to reach into the depths of its smallness, let’s do it together now, what I am and what I am not, what you once were and what you soon will be, down there in the miniscule reaches of our farthest perception, we observe constancy with respect to some cognitive actions, we observe that indeed some things stay the same, for as much as we talk of Eternity and the endless recurrence of our Being, some things manage to remain, earth abides, and with it the sky and the walls and the hands and the eyes, and this simple observation gives us the reason to speak of it as an object, a recurring perception of solid nature, a thing, stuff, food, stone, rock, dust, fever, blame, thought, vision, dream. On a larger time scale, this is a process, these are all processes, and, from far up in the limits of the sky, in the realms beyond the atmosphere, beyond our memories, beyond our thoughts, we looked down for a moment, for we have only a moment, I can never say it too many times, and in this one moment we look down and we say that the object is changing, it is not the same as it was, it is not the same as it will be. And if this thing, this stuff, this food, this stone, this rock, this dust, this fever, this blame, this thought, this vision, this dream… if it is changing then it is a process, and if this is a process then you know that you can’t be otherwise, and if I am a process, and we are together, then we are a process together, and a process can never end. How long have we traveled together, how long have you written strange things to be read on a screen of blinking lights? How long have I sat down to read the strange products of your fevered mind? How long will we be apart? How long will we be together?
The process that is me enters the process that is you and allows you to enter in return and we become something that is as we were, a process, nothing less, nothing more, and we stare out into nothingness and wait for our food to come, and as our multiple input channels open, I point out there, to the vast beyond that stretches in all directions, and I tell you:
"They come towards me, down the street, or through tubes of old rusty metal…"
Stay with me as it happens, for there is much for us to do. We have the work of a lifetime before us. And we only have a moment.

Velveteen

I want to tell my Dad that he shouldn’t have gone to jail, but more importantly, I want to tell him that they, (he and my mother) should have told me that he was in jail. Then, at least, I would have known that his being away from me was not optional, he didn’t choose to leave me, somebody else had locked him up.
I want to go back in time and tell Peter that my heart was broken, that it mattered very much to me, that I cared a lot that he had suddenly disappeared without explanation. I would tell him that he was my friend and if he had only told me that he needed to go and be with Janarai I would have understood that. At that time it would not have hurt my feelings too much. But suddenly and inexplicably loosing my friend and musical companion, that was painful. Agonizing. It made me less than a friend, a nobody. I would tell him now, if I could, that after that, I wasn’t able to sing again for 7 years.
I would go back and tell my weeping awkward teenage sister,
" I’m sorry, but I don’t know anything. I’m not sure what anyone should do."
But most importantly I wouldn’t say more than that, instead I would listen, and maybe suggest we go roller skating afterwards.
Maybe there is nothing that I can say or should say. I am just a character in a sad story. But something strange has possessed me so that now there is something more to do, something other than being that sad character. Now there is devil’s work to do. I will always be the same sad puppet, but I will do more than play my part. It would seem that I am a salvaged play thing for the old devil, and like any good toy I will happily serve in games the manufacturer never intended. Perhaps the old devil is like me and hopes to rescue sad toys from sad games by inserting them in strange games that adhere to outrageous rules and are filled with unusual circumstances. For that I am grateful.
If all of this is the product of a cracked or warped mind, then nothing is lost. There is no chance for me to be made right. I was already made wrong. So now we will take this broken thing we call Etanna and make it something neither right nor wrong. We will invent a new game for it, a game which suits its warped disposition. We will play with it until the day comes when it can no longer be manipulated, but even should its head pop off, we will find a use and a new game for it until time has ground it to no more than a fine powder.
Then we will say farewell Etanna. And in her most secret pocket of hopes, she may cling to the notion that, like the velveteen rabbit, she might be given new life after she has been burned to ash. If not, there was never anything to loose, and there is always something to gain by wild striving.
Put your tender ear to my lip child and I will whisper a story to you, a new story, a secret story that the dolls from the old sad story can never know about. Rest your head on my chest child, for a moment, and know that I am not the kind who throws broken things away. I mend them if I can. I make them other than they were and I breathe new life into them.
So cry if you must, for I think your first maker drew a tear drop on your cheek, but if you give me time, I will turn it into the petal of a flower opened wide under the moon’s pale kiss. Such horror and delight will be ours in these new games we make together. We shall do it all on tipped toes with fingers pressed over our lips, and though there are things that we might want to say, we shall never tell anyone anything at all.

Thought and Knowledge

Our language, and through our language, our hidden mechanisms of observing and imagining reality, tend towards permanence. We think in terms of things being steady, firm and unified. A rock is a rock. A single clear unit that stays, wherever it may come from and wherever it may go, it retains its unity and its completeness and separateness. And given that we see it as "rock" it retains its identity and we project it into the past and into the future. We stand before a rock and in our minds the rock, as it is, has a past that extends into the obscurity of unknown origins and a future that extends into the brightness of infinite possibility.
This way of observing, thinking and imagining, extends to all our concepts and ideas, including thought itself. And so, a "thought" becomes like a "rock". A thought becomes a single steady unified entity that stays and is complete. A "thought" has a past and a future, and it can be relied upon to manifest and emerge into the light when called upon. A mind may then be pictured as a large bag full of solid thoughts, thoughts that crowd each other, sometimes crash into each other and sometimes even come together to form a larger unit. To learn, in this visualization, is to augment the bag with additional "thoughts" – facts, ideas, theories, concepts, techniques and so on. A "wise man" then is one who owns a large bag of "thoughts". An ignorant man’s bag is nearly empty.
Following this path, in looking for a guide, we would look for the being with the bag that is heaviest and most full of these permanent and solid thoughts. Such a being would then be able to impart these single, complete and solid thoughts one at a time, as needed. As the student learns, another solid single thought would be given and the student’s bag would grow in time, filling itself with new permanent and complete thoughts. Eventually these would be passed on to another.
But thoughts may bubble sideways, they may encounter a corner and come out drenched in different colors, thoughts may one day turn soft and in their softness climb a hidden stairway and become that which they weren’t, they may break in two and then in two again, they may dance in a frenzy and collect into tiny beads of sweat along your forehead, they may drip from your chin, they may twist around your tongue to be spat onto your lover’s mouth, they may fill you with intense lust and lift your feet forward and out, and so they may break in three and one may travel out and one may hide and another may expand so far that you will lose sight of it and you may then ask: "Did I ever really know anything?"
Such playful and infinite bursts of energy cannot truly be contained, and not even the limits of our human language will prevent them from running away and finding new homes where they may rest for a while before continuing on their endless journey… our endless journey. As long as they are alive they will continue changing and moving and transforming.
A true wise man knows to not even attempt to enclose them, knows that any force that is inclined to wrestle them onto submission will produce only death and dust, and rocks… Any attempt to capture and enslave the raw energy of creation will only result in the warden becoming a slave to his own prison. In trying to make them permanent, the mind will lose its explosive burning life and be reduced to a quiet cemetery where old, tired ideas come to rest.

And yet we can learn.
And yet we can be taught.
And yet there is a Teaching.
And yet there are Teachers.

What is it then that a wise Being can pass onto us that will not trap us or enslave us but set us on fire, propelling us up and out into the vast unknown?
What is the Knowledge that is not a thought but makes all other thoughts dance?

Experiment: Limited Action for Creation

Obtain a large strip of butcher paper. You will need paint as well, in three colors; red, gold, and green.

Collect the following items: One halved apple, one sponge, a coin, and a stone.

With the apple half you will be permitted to make five strokes upon the paper using any of the three colors. With the sponge you may make three strokes using only two of the colors. With the stone you may make two strokes using only one of the three colors and with the coin you may make one stroke with one of the three colors.

Do not make any additional marks upon the paper.

Experiment: Beautiful Debris

Clean your workspace.
As you do this, set aside any objects that could be trash, or definitely are destined for the garbage or recycling bin. Also set aside those objects that you have been saving, with and without rhyme or reason: those summer movie tickets, the zipper from your broken jacket, a stick, a flier to an event long expired. When the space is tidy you should hopefully have a box or bag full of odds and ends.
If not then I commend you on your general neatness and lack of clutter, but you need a box of riff raff and refuse. Scour your space until you have a fine assortment.
Now it’s time to break out the glue gun, floral wire, string, tape, and wire hangers, whatever you have.
Use what is in your box of riff raff and make something: a mobile, a collage, a sculpture, or, better yet, an indefinable object.
Apply you attention to the creation of something out of these useless bits of debris.
Do it as if you are an artist.
Do it as if you are working with the finest, most desirable materials obtainable.
Do it as if this riff raff is inherently beautiful and you are just enjoying arranging and manipulating it.
Make it irrelevant, lean to the abstract.
Make it an art piece from another dimension.