angst and despair
boldly masked boasts
leaps into the abyss
secret rituals calm unseen fears

scarred and betrayed
truths turned to thorns
bloodied, drown and broken
constantly suicidal

yet free, always choosing
losers quit, winners dance
feet nimble as the wind
music changing unknown

love grows cold
sun grows hotter
oppressed bleed silently
yet love saves

If art is truly free
Then let us free it from the bounds by which we hold it
Separating it from the Creator
Letting people destroy and recreate it
and giving it a life it that the Creator never could
Because we all own the art.

There is no such thing as Center
Perception is a box
A television
In which we see how to live our
lives
In which we see others
More Beautiful Others
live our lives
While we sit
and watch
Simulation of stimulation
Simulacra becomes reality
Reality becomes a game show
I’m losing

Center gives depth
and boundaries
and an easier existence to digest
Yes or No
Pepsi or Coke
Living or Existing
A system of binary choices
acts as a deterrence model
which suppresses radical change

The symbols become the real
The reproduction becomes the real
The simulation becomes the real

There is no such thing as Center
There is no such thing as center
There is no such thing as “center”

holdover from the air cools bitter awash of dark and a turning horizon without centre. where i entered an empty frame across distance and skin like smoke. ive been having nightmares of cosmic terror a sublime loss of control like paper tearing in the chaotic drifts of broken eddies and other everyday things an inward open mirror a sunlit line wavering to heat disintegration dispersal erosion and death. ive been reading uncanny fluctuations in the sign of things in a power too great and sparse to comprehend overwhelmed by haunting finitude as time veers into collision and the fleeting panic of yesterdays blood. i find myself shaking at the thought of contact the electromagnetic law of repulsion built into the fabric of my flesh eyes turned away like a promise all language from dead stars. dragged along these orbits my skin trembles and i am hateful. faces blur in passageways half-lit rooms smudge across the surface of my memory until i see nothing but the colour of what was tightening the cords of my ribs stumbling inflexion. in the precession of traffic light blurs through my sleeve and i realise i was invisible all along and that i did this to myself and that nobody can help me and that i did this to myself and that i will retreat further and further and further because if it hurts to be abandoned it hurts more to be approached and misunderstood. the masks the words the acts the plays and beneath it all fear cruel mounting hopeless wretched fear eyes turning fingers running over and over until they break the lines of my face a *******. i turn the clocks upside down. i take the batteries out of all my electronic devices. i break the locks on my door. only then does morning come.

hole in the sky. tap tap, the empty vessel flows out. a weightless sink. the hour goes, blaring swell of humidity, and the jug lukewarm, leaven oft in the barred space. I return to my room. I drink the cold milk on the sill. I finish the third wretched spill of the journey to Olympus.

Downstairs a howl, a wind slam SOLOM OBSERVATIONAL MATRIX STRUCTURED TASKS AVAILABLE IMMEDIATELY TO ASSIST WITH INSTRUMENTAL DECISIONS. I close the door I close the door I close the door I close the

In this uneasy slumber, the bed shakes, the windows rattle, the sky splits, the earth floods a red simpering capitulatory spasm of earthly flesh. Here is the circuit, the tired nervous tic of inaction, I shrink back from the outstretched hand, a condition which recommends two pills in the morning to mask the double image beneath my hands.

i have slept through the week again, this pathetic flesh obeys nothing, where are my pills inescapable ******* dullery

THE JUG IS HOT. I return to my room. I close the door two pills on the sill to go down with the milk

THE DOOR SLAMS GALL BUCKLING FIT ODE BREATHLESS CLOSER CLOSER CLOSER BUT THE SOUND REMAINS

Figures muffled by the walls. There are guests in the house, the looming presence of multiple species with incomprehensible intentions. In a bout of uncharacteristic curiosity, I slip my sight through the crack of my door. UNDER RCG IT WILL BE MANDATORY FOR ALL CUSTOMS CARGO REPORTERS IN THE AIR SEA AND ROAD INDUSTRIES TO SUBMIT REPORTS TO SARS ELECTRONICALLY. I am unmoved by such perceptions. I prepare the final climb to Olympus.

the cyclone is ended. the front door is barred. the jug is cold. the yard is littered with unmoving shapes.

We're forgetting the art of talking on the phone for hours and hours
It was better than texting because you could hear each other's voices
in near real time
without having to show oneself
Now you can hide your voice too
and overthink everything you say

It's texting or video chat
You're either the most remote
or as close as you can get
from a near human reaction

You're yourself after you think long and hard?
Not who you trained to be on impulse
Who trained me I wonder?
Me, commercials, parents, environment, or destiny

It's my goal to be a fractured self
that can immerse themselves in the entrails
of any one of these cubbyholes

renoir black canvas crook bag after breaks apart and drifts a nothing warmth o’v the carpet open drapes renoir contemplating death //closed loop: <over> <over> <over> <over>// renee skirts breaks brittle dash ******* blood flesh [****] all down the road [schizophrenic laughter as i bleed into my dead phone] and pieces of light opening scattering—no end! no end! no end! no end! no end!—holding her hand keep the wetness out the pieces of hair the cold sprawl the hollowed bones the old tradition the new teeth (across the road children gather and renee breaks into sobs uncontrollably); now Y2K turned and renee tucks a golden coin so deep into the ER room barely breathing first with asthma now renoir.

The first attempt ended in nothingness. Ribbons flowed from the belly of mother hollow, and though they grasped at their own absence, their fingers broke like brittle leaves, returning to the mother’s flesh.
This was the birth of change.
The second attempt ended in madness. Shadows rose out of the nothingness in waves and cascaded into pools of being, but when being opened its eyes and saw its image, it let out a threshing scream.
This was the birth of separation.
The third attempt ended in lack. Fire poured from the cosmic maw and baked earth to blood; flesh gorged on itself, and pale figures gripped the edges of rivers, gaping at one another, unable to speak.
This was the birth of despair.
The last attempt ended in man; and nothing birthed after it.


Appended File

Source states the archaeologist was investigating the Mariana Trench. Strangely, he began displaying symptoms of decompression sickness on the descent. His state worsened, but, due to his insistence, the pilot continued the mission. The archaeologist began recounting, in “muddled and broken speech”, accounts of his wife and children. In interviews conducted after the incident, colleagues claim to have never met any persons matching such descriptions. Soon after, the archaeologist collapsed. The pilot recounts, in a shaken tone, “By all means he was out. Like—I called to him, you know.” When asked why he did not administer first aid, the pilot replied “I couldn’t st—he was out cold, I ******* swear. I didn’t notice it at first, moving my hand over his face, you know—staring into space. I grabbed the kit, turned back, and that’s when it hit me. His eyes weren’t glazed, they were fixed on me. Tracking me. Like—those weren’t his eyes, anymore.” When asked to expand on this, the pilot broke down and had to be escorted from the room. The archaeologist has yet to awaken from his coma. It should be noted his eyes are closed.

— 37, Male. Cairo, Egypt.