Here I will put a tomato


Here I will put a tomato.

Here a dog-end.

Is that right?

Such were my first thoughts.

But soon I noticed how the open file had seduced the surprised-looking dude into engaging in an easy and precocious poke.

Once this had fallen into place I heard the skier on the right saying to the dude – “Look, don’t do it, that’s not the way to brain up.  Listen to me, I’m in headhunting and …”  He went on to offer the dude a rewarding role in the world of slab manufacture.

At this point the dude really had to take cognisance of the other voice – the lizard on the left, who’d just moored his cabin-cruiser at the bay (out of picture), said “even with flexi-time the world of slabs must be hard and soul destroying; climb on board with me and we shall go line dancing.”

It’s not difficult to work out which choice the dude should make – and which he most probably won’t.

The concertina state


The first thing to notice here is the moonshine.  More significantly though there is the concertina state.  This is where the expressive drawling appears – special, hard to quantify, but also easy to recognize.  Although it is dreamy and mindless it does not ignore the worm or preclude the use of the active voice.

Excessive absorption in the concertina state can result in a drenching, or a will-o-the-wisp if the ground is marshy.  Coming out of the state, perhaps soaking wet, one enters into new conscious interests – initially, for example, in the use of drawing-pins, and later in line dancing.  When the line dancing begins the observer may note forms of instinctive interactive algebra and feel something like a minor talking at random about what he sees while watching a game of Pubis and Patriarch.

Between allegory and allergy

An observation may conclude when the observers are positioned roughly half-way between allegory and allergy.

Observation begins, though, with attempts to find a language. In the observation above one first notices a glob of interiority beside the area of translucence – only after some moments do you begin to realize that what you see might be better described as an interloper inside a transponder.

The yellow lid on the rookie is a temptation – to lift it, and let desire and rectitude mingle creating a sense of dizziness such that you could not say where one part begins and another ends.

Also you might note the pyjama smears left on the pall: a close examination of the immediate context suggests that these smears are traces or indices of an event – it seems most likely that the white elephant trod on the bluebottle during their shadow-boxing.

A hard-core proposal


A hard-core proposal in front of a well-disposed sounding-board.

Keep in mind the importance of the rectangle, the flat surface, and the value of definition, because the mind finds positive identifiers in support shapes, whilst it is inclined to doubt the medium’s echo.

For the reduction of doubt it is desirable to have a group of people observing, standing a little way off, observing collisions in a seemingly empty space, in a situation about which one could say there’s no such thing, whilst simultaneously knowing that anything spaced is the something, the literal shape that inevitably arises from the primacy of the plane.  Thus the observers may make two moments out of the situation before moving silently to one another.

This year the junk has been especially dark,

This year the junk has been especially dark, all piled up, stopping the velvet from coming.

There was hope of the let-up after Easter, when shards of ecstatic provocation were discovered embedded in the rantings of the youngsters.  Nevertheless the filth remained in the scribble; imbalances were aglow, and steadfastly indeterminate.  The yellowish-brown shells remained circumspect, stuck in their blasé fastness.  However their whorls are a clue to the way the let-up might recur cyclically, and with each phase of its return the infatuation with the modern will take the form of abuse, of both the modest and the monarch, especially, regarding the latter, during film matinees, leading to fights and foibles alike.

The whole interior of the cinema, under these circumstances, is an organic compound, doing the things that organic compounds do – breathing, circulating and ejaculating – and especially closely connected to the body’s cadences because of its digestion of objects: it is, after all, a kind of stomach, an organ that ingests, contains and expels.