naked lunch

quinta-feira, setembro 27, 2007

isso e máxines

uma das máquinas mais belas. das de escrever. devidamente lubrificada. não a uso para escrever, não dá muito jeito. também não é minha, sequer... (ainda não a devolvi, desculpa) um sistema fechado, do tipo input/output (aplicável a quase tudo, se se dominarem bem as variáveis e soubermos o que se quer como produto – fácil de perceber numa fábrica de salsichas. mas aplicável noutros contextos. lembras-te daquelas maquinetas de moer carne para croquetes? o sistema é perfeito. substitui qualquer psicólogo ou AFINS). uma tecla, um braço mecânico, um símbolo impresso (estou de novo na máquina de escrever. desculpem as interrupções).

a coisa pode ser entendida como a desconstrução da música (frase verdadeiramente pseudo, sinto-me na obrigação de acrescentar... “ou não”).

exercício: uma máquina de escrever, antiga, emprestada, ainda não devolvida. coloca objectos metálicos (caricas por exemplo) e ovos (N.A. - pequeno objecto musical em forma de ovo, com pequenas esferas metálicas por dentro (claro). faz tssshque tssshque). sobre os braços metálicos (da máquina). escreve aleatoriamente. foca-te no som produzido, deve soar bem. fluido, de novo. capta a coisa. passa o som captado por processador(es) de efeitos (ou afins – se não tiveres esquece lá isso). é o som assim torturado (pequeno apontamento bondage) que te deve chegar aos ouvidos (normalmente irá soar a qualquer coisa aquática). tem de continuar a soar bem.

o texto assim criado é uma imitação da natureza (sem comentários, isto às vezes...)

natureza. (coisa captada de costas (mania), num espelho enferrujado, gasto. não se percebem os dentes. num fundo plano de mar. uma moreia costeira e todos os outros): sdasjforffisjdfiije932jsfd nsadflrfyhkSKASFEJD GNlLANLK Nllkdlkas dljsaaffv aflnsf v
sddasfasdg fdfdgnçklldfdg dvbkknmAllLLsmslk§o3ijjsdngllnSDGKdk dçkjdg~hskjfjjhf~k jLsJDSGFLDGGKGG KFÇSKKA SÇLLKMWOKFMGHÇKGÇÇKKMRÇWSÇÇLL sççlfkmfffkyoj twejrjrjrjkmdfknedfr weftlnnewlff welfnZ,XC ELKRN\PWIERHTJTJGNHW~RF IHSDGNFGLKNFRD

apesar de tudo gosto mais de musicar textos. mas a máquina de escrever é de facto um bom instrumento. de percussão. isso e bloooops.

2 comentários:

Desolation Row disse...: adoro escrever à maquina... tenho k comprar uma nova, a minha foisse nas horas...; 7:14 da tarde
merdinhas disse...: jfhukvycnijxdlawj cklxjf cghv khk
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!; 10:14 da tarde

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spontaneous prose - kerouac

SET-UP The object is set before the mind, either in reality. as in sketching (before a landscape or teacup or old face) or is set in the memory wherein it becomes the sketching from memory of a definite image-object.

PROCEDURE Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-words, blowing (as per jazz musician) on subject of image.

METHOD No periods separating sentence-structures already arbitrarily riddled by false colons and timid usually needless commas-but the vigorous space dash separating rhetorical breathing (as jazz musician drawing breath between outblown phrases)--"measured pauses which are the essentials of our speech"--"divisions of the sounds we hear"-"time and how to note it down." (William Carlos Williams)

SCOPING Not "selectivity' Iof expression but following free deviation (association) of mind into limitless blow-on-subject seas of thought, swimming in sea of English with no discipline other than rhythms of rhetorical exhalation and expostulated statement, like a fist coming down on a table with each complete utterance, bang! (the space dash)-Blow as deep as you want-write as deeply, fish as far down as you want, satisfy yourself first, then reader cannot fail to receive telepathic shock and meaning-excitement by same laws operating in his own human mind.

LAG IN PROCEDURE No pause to think of proper word but the infantile pileup of scatological buildup words till satisfaction is gained, which will turn out to be a great appending rhythm to a thought and be in accordance with Great Law of timing.

TIMING Nothing is muddy that runs in time and to laws of time-Shakespearian stress of dramatic need to speak now in own unalterable way or forever hold tongue-no revisions (except obvious rational mistakes, such as names or calculated insertions in act of not writing but inserting).

CENTER OF INTEREST Begin not from preconceived idea of what to say about image but from jewel center of interest in subject of image at moment of writing, and write outwards swimming in sea of language to peripheral release and exhaustion-Do not afterthink except for poetic or P. S. reasons. Never afterthink to "improve" or defray impressions, as, the best writing is always the most painful personal wrung-out tossed from cradle warm protective mind-tap from yourself the song of yourself, blow!-now!-your way is your only way-"good"-or "bad"-always honest ("ludi- crous"), spontaneous, "confessionals' interesting, because not "crafted." Craft is craft.

STRUCTURE OF WORK Modern bizarre structures (science fiction, etc.) arise from language being dead, "different" themes give illusion of "new" life. Follow roughly outlines in outfanning movement over subject, as river rock, so mindflow over jewel-center need (run your mind over it, once) arriving at pivot, where what was dim-formed "beginning" becomes sharp-necessitating "ending" and language shortens in race to wire of time-race of work, following laws of Deep Form, to conclusion, last words, last trickle-Night is The End.

MENTAL STATE If possible write "without consciousness" in semi-trance (as Yeats' later "trance writing") allowing subconscious to admit in own uninhibited interesting necessary and so "modern" language what conscious art would censor, and write excitedly, swiftly, with writing-or-typing-cramps, in accordance (as from center to periphery) with laws of orgasm, Reich's "beclouding of consciousness." Come from within, out-to relaxed and said.

composição - kerouac

Scribbled secret notebooks, and wild typewritten pages, for yr own joy Submissive to everything, open, listening Try never get drunk outside your own house Be in love with your life Something that you feel will find its own form Be crazy dumbsaint of the mind Blow as deep as you want to blow Write what you want bottomless from bottom of the mind The unspeakable visions of the individual No time for poetry but exactly what is Visionary tics shivering in the chest In tranced fixation dreaming upon object before you Remove literary, grammatical and syntactical inhibition Like Proust be an old teahead of time Telling the true story of the world in interior monolog The jewel center of interest is the eye within the eye Write in recollection and amazement for yrself Work from pithy middle eye out, swimming in language sea Accept loss forever Believe in the holy contour of life Struggle to sketch the flow that already exists intact in mind Don't think of words when you stop but to see picture better Keep track of every day the date emblazoned in yr morning No fear or shame in the dignity of yr experience, language & knowledge Write for the world to read and see yr exact pictures of it Bookmovie is the movie in words, the visual American form In praise of Character in the Bleak inhuman Loneliness Composing wild, undisciplined, pure, coming in from under, crazier the better You're a Genius all the time Writer-Director of Earthly movies Sponsored & Angeled in Heaven

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quinta-feira, setembro 27, 2007

isso e máxines

2 comentários:

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PULP/WAVE

música, feita em casa...

alguns...

spontaneous prose - kerouac

composição - kerouac

beat

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