" Traditional philosophy,almost by definition, has concerned itselfwith the unsaid. The nearly exclusivefocus on the said by twentieth-centuryanalytical linguistic philosophers is the sharedcontention that the unsaid is unsaidbecause it is unsayable. "- - - Joseph Kosuth ::::::::::::::::::as if if fitsor fixessome puzzlejig'd epiphanybit by bitbuilt brickframed inspoken spaceas tho convosaid it allW? W? W? W? W?neither knownnor knowingneither definitenor definableneither talkingnor toldneither picturenor paintingneither truthnor taxonomyneither nothingnor nobodynix it86'd. . . . . . . .
as if thereisaneye,and finallyeyes....i think there's an third eyein everythingbutsometimes we lost it....
you are correct,sometimes that third eyegoes missing & we stumblethrough things not trustingin ourself,3rd eye3rd ear3rd brain"The foregrounding of the mimeo process continues in issue two subtitled “an odour-fill periodical.” The reference to toilet paper dovetails with the scatological impulse of Nuttall. The title conveys the impression that the contents of the magazine are “shit.” But My Own Mag is good shit, as in a powerful drug. The subtitle plays on the distinctive odor of mimeo and ditto machines. In his memoir The Life and Times of the Thunderbolt Kid, Bill Bryson writes, “Of all the tragic losses since the 1960s, mimeograph paper may be the greatest. With its rapturously fragrant, sweetly aromatic pale blue ink, mimeograph paper was literally intoxicating. Two deep drafts of a freshly run-off mimeograph worksheet and I would be the education system’s willing slave for up to seven hours.” Bryson’s memory is a little fuzzy as he is probably confusing the spirit duplicator or the rexograph with the mimeograph. Nuttall used a Roneo or Gestetner mimeograph machine that utilized stencils. Like the urban legend of smoking banana peels, the myth of the intoxicating smell of the mimeograph is strong. A Google search of “smell of mimeograph” highlights its power of association. For many, the mimeograph triggers trips back to childhood and school. Nuttall working and printing in an art school would be well aware of the odors surrounding various primitive print technologies as well as the myths surrounding them.The idea of printing cut-ups in a mimeo must have appealed to Burroughs. Burroughs frequently suggests that the cut-up causes a derangement of the senses and possesses intoxicating qualities. Interestingly, Burroughs cut up the writings of Rimbaud in the early experiments included in Minutes to Go. In The Third Mind, Brion Gysin links reading cut-ups with getting high. In “Cut-ups: A Project for Disastrous Success,” Gysin writes, “I hope you may discover this unusual pleasure for yourselves — this short-lived but unique intoxication.” In the same essay, he equates the permutation poems with an ether experience. These examples show that Burroughs would be receptive to the druggy in-jokes presented in My Own Mag and may have seen mimeo as uniquely suited for publishing cut-ups."
this is an astral soup, my friend, with tiny ghosts and tiny spirits peeping from the shadows - little eye shy-shy eye others peeking and keeking from othernessyet kinda earthy & kinda waxy& kinda slippy& kinda hexypaint pot protoplasmic coloured crayon ectoplooms - fun gods, tricky devils, joyriding spirits up there out there in there in here"s p r e e"
neither nither nor nether
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