----------------------------------------------------------------------
Serialise IIII
---------------
So this is the way
In the new in the dancing in this light its all oh so complicates
Take a breathe
Is the last echo on the echo_ness of a twisted in FABULOUS this is clear
For now this
Fore now this
This is yet to be found in doubt
In his suitcase offer it up
Offer it out
Now tell me things sweerheart
I never use it do you?
There there there's dancing
And now not with one
Wathholding holding
To puzzle in the air he sais hed be in
This is a good by for a sadd
The thought of the next is simply the simple over to a can vie a vie be viewed by me?
Forgaven is past of forging it over in appendix
Xid
Dix
To crause to let to be is oh so sincere sin searing sealing
Word played
Let's focuss now on the y in the x
No
Forgave again and wait a sign of a tender sticks of education
For withstanding the sstill novelty is problematic for u and your sort
Exhale
I give permissions to roll eyes
After all
Just
Then again worry of a bitter kinder sameness is floating
Withstanding the plenty in y in ai in e
Granulating fast forward fore the same picture pisel me in
For eyes in 123456789 sew
Mi me sounds the same
Forging it forging it forging it forgeting it forging it forging tit
This tilt in personal shift is needed to build you
Build here
Diagram a follow section 6 screw and pull and did I mention push
Done
Flat pack at its best
Fore fore fore fore for her!
Wednesday, 9 September 2009
Thursday, 3 September 2009
TO SERIALISE
---------------------------------------------------------------------------
Serialise III--------
Where in the is this the
And re_curring of cur
Add to a nt is not positional
Dare for a severe look
compositional ly lie lying for
Four placing plain ai po-Rrund
Have a forward face taping
She curved shoulder V tappered
Elegantine in ice in I in
Top for toned singing around guarded forward fasting in pace
Place he said it has place
On a mountain by a window in a book
For glacing four glancing this is adequate
Dimensions of a push pull relationship stretch forward
Emoticons in dialectical context stretching not without a judge
Deafining for dear in some sum
There he there on corner there in tea there in betting there in phone there in him there in
you he was there in there in push there in pull
Not forward to but to forge in now
Enclave for last wishing in hand head
For rest in easy
Fore from
Raw in forging under uctuating
non no in
provided Fortuna non forcome
one for one for one for one for
There he there on corner there in tea there in betting there in phone there in him there in
There it there; angle there in I in the bet there in you the telephone there in him there in
By the fact that there there there with the corner his over there with the over there you bet there there by the telephone with him there in
Serialise III--------
Where in the is this the
And re_curring of cur
Add to a nt is not positional
Dare for a severe look
compositional ly lie lying for
Four placing plain ai po-Rrund
Have a forward face taping
She curved shoulder V tappered
Elegantine in ice in I in
Top for toned singing around guarded forward fasting in pace
Place he said it has place
On a mountain by a window in a book
For glacing four glancing this is adequate
Dimensions of a push pull relationship stretch forward
Emoticons in dialectical context stretching not without a judge
Deafining for dear in some sum
There he there on corner there in tea there in betting there in phone there in him there in
you he was there in there in push there in pull
Not forward to but to forge in now
Enclave for last wishing in hand head
For rest in easy
Fore from
Raw in forging under uctuating
non no in
provided Fortuna non forcome
one for one for one for one for
There he there on corner there in tea there in betting there in phone there in him there in
There it there; angle there in I in the bet there in you the telephone there in him there in
By the fact that there there there with the corner his over there with the over there you bet there there by the telephone with him there in
Wednesday, 26 August 2009
to sum up
01:34 pasley pattern blue lit grow
Broader as I a solitaire
pounding on drum the smell
of a freckle works hard
define a hand going understand
this water engraving is wood distancing
my god give me your arm soft
on foot the patchwork
coming undone on pink sheets
eight white align
between candles degrading
my hair to a bottle. Fall into a red
beside battery a basket for ease
inverted lines make me feel
TERME is telling dried brood
Tissue drawers are mine
Crosses the all too sensible
Maybe rewind and his girl has
Folds yet to be completed
Will this
Once you’ve been
Gained a circular pace doesn’t
Leave high heels to a proposal
She cried for four days
Latches you
Ghosts on a bus persuade
Never make am I a line
Paper elastic to contrasting duration-ability
Irash enal
Same place tomorrow
That is the make then situation
Hotels future broader the light
Broader as I a solitaire
pounding on drum the smell
of a freckle works hard
define a hand going understand
this water engraving is wood distancing
my god give me your arm soft
on foot the patchwork
coming undone on pink sheets
eight white align
between candles degrading
my hair to a bottle. Fall into a red
beside battery a basket for ease
inverted lines make me feel
TERME is telling dried brood
Tissue drawers are mine
Crosses the all too sensible
Maybe rewind and his girl has
Folds yet to be completed
Will this
Once you’ve been
Gained a circular pace doesn’t
Leave high heels to a proposal
She cried for four days
Latches you
Ghosts on a bus persuade
Never make am I a line
Paper elastic to contrasting duration-ability
Irash enal
Same place tomorrow
That is the make then situation
Hotels future broader the light
Friday, 14 August 2009
TO SERIALISE
---------------------------------------------------------------------------
Serialise II
--------
She will not wonder to clasp clasp clasp
Clasp
Milk here not improving round stain
Squared while metal dots
Polarise polarised
Crackling paper rattle face
Coins get a lid sound ex explode
No yes 321 for safety
Now each following forward no
This affect open euro no nge
Sally is 2E flying to
31 July wrinkled hands
Rest head on side lay
Rest feet on shoe
Giving of a side long glance
Young victim in DMS
Post 2C shakes
Abstracted aquamarine floral
Rotatated floral blue
Breaking of shortbread fingers
3C reads a Russian diary
Pathetic selection hand on
Page 2D has bald poreal induced
Hair.
3F stripes for walls 1E sprinkled hair
There no raise back no
Belt over belt over buckle over you
Eye
The lake of Inishfree bulged
Through wide range now one
From up Curras
3 lace holes
Not on hard written no lean to lean
Squared excited make behind
Clear box floats
Just to recognise eye over eye
Will it?
Had dawn frown tan watch
Side boy undo – ACTION here
Is a way to pass pass pass
On time
[One second
Two second
Three second
Four second
Five second
Six second
Seven second] this is not real time\
NOW WHEN YOU BECOME I ALL
HE SPEAKS AMERICAN
HE SPEAKS CHILD
HE SPEAKS
Dot to re-enter ghost space
Form illuminous line
That
A break of hawaIian flowering
A cross his chest
Re-depending bass
I
Flaming fields sachet on the
Flour
The hour look like house from
Here
To
Serialise II
--------
She will not wonder to clasp clasp clasp
Clasp
Milk here not improving round stain
Squared while metal dots
Polarise polarised
Crackling paper rattle face
Coins get a lid sound ex explode
No yes 321 for safety
Now each following forward no
This affect open euro no nge
Sally is 2E flying to
31 July wrinkled hands
Rest head on side lay
Rest feet on shoe
Giving of a side long glance
Young victim in DMS
Post 2C shakes
Abstracted aquamarine floral
Rotatated floral blue
Breaking of shortbread fingers
3C reads a Russian diary
Pathetic selection hand on
Page 2D has bald poreal induced
Hair.
3F stripes for walls 1E sprinkled hair
There no raise back no
Belt over belt over buckle over you
Eye
The lake of Inishfree bulged
Through wide range now one
From up Curras
3 lace holes
Not on hard written no lean to lean
Squared excited make behind
Clear box floats
Just to recognise eye over eye
Will it?
Had dawn frown tan watch
Side boy undo – ACTION here
Is a way to pass pass pass
On time
[One second
Two second
Three second
Four second
Five second
Six second
Seven second] this is not real time\
NOW WHEN YOU BECOME I ALL
HE SPEAKS AMERICAN
HE SPEAKS CHILD
HE SPEAKS
Dot to re-enter ghost space
Form illuminous line
That
A break of hawaIian flowering
A cross his chest
Re-depending bass
I
Flaming fields sachet on the
Flour
The hour look like house from
Here
To
Thursday, 13 August 2009
TO SERIALISE
To serialise
in context of data storage/transmission, serialise is process of converting object toward sequence to be persisted to be storage medium. Transmitted a connection link. Re-reading series REread according to serialisation format. Semantically identical of the original object. Complex objects; these that reference, process not.
To serialise object is deflating. To inflate object is deserialising.
---------------------------------------------------------------------------
Serialise I
----------
He said now we written in
An evening (and) circle where?
What for an hour looking on
At structure maybe a ther
Or one at different building
The looking up of it or
Diff erent on cruise a
Down
Spending on a
Divided into TWO facing triangle
Dangerous not the same day
a a a a I mean is it
I figure to inter grate an
Discuss inter up tion SIP
Reflect of a blue floating
Do your eyes widen too?
Fork only to left follow
Grate
In my communication
Asking is suitably by coded
Drew on a far knowledge
Potassium based to fault
Give me- her abbreviation is
Most use full
Do fixing neon dressing down
Warn cheeks from a whole
Milled milled
Mill ED
Where
Change, of a minute. You hand
One hip out stirring
Its not who you
A phone call alter of not
When her spoke rum tasting
Not bake it down
Form of, over resting in hair
Withstanding not closeness
EAGER to lend to lay to legotiate
Forming upwards covering knuckles
Lasting too. On stop lean not
Over for with deciding lean
Meeting ripple forming upwards
Static is whereabouts. He
Licked my bruise. Can a cross
Ing flow again now lasting for
De-wards dis-
Ph poly can remark over face
Settling de-set plea crossing over
Too mixed up eyes.
in context of data storage/transmission, serialise is process of converting object toward sequence to be persisted to be storage medium. Transmitted a connection link. Re-reading series REread according to serialisation format. Semantically identical of the original object. Complex objects; these that reference, process not.
To serialise object is deflating. To inflate object is deserialising.
---------------------------------------------------------------------------
Serialise I
----------
He said now we written in
An evening (and) circle where?
What for an hour looking on
At structure maybe a ther
Or one at different building
The looking up of it or
Diff erent on cruise a
Down
Spending on a
Divided into TWO facing triangle
Dangerous not the same day
a a a a I mean is it
I figure to inter grate an
Discuss inter up tion SIP
Reflect of a blue floating
Do your eyes widen too?
Fork only to left follow
Grate
In my communication
Asking is suitably by coded
Drew on a far knowledge
Potassium based to fault
Give me- her abbreviation is
Most use full
Do fixing neon dressing down
Warn cheeks from a whole
Milled milled
Mill ED
Where
Change, of a minute. You hand
One hip out stirring
Its not who you
A phone call alter of not
When her spoke rum tasting
Not bake it down
Form of, over resting in hair
Withstanding not closeness
EAGER to lend to lay to legotiate
Forming upwards covering knuckles
Lasting too. On stop lean not
Over for with deciding lean
Meeting ripple forming upwards
Static is whereabouts. He
Licked my bruise. Can a cross
Ing flow again now lasting for
De-wards dis-
Ph poly can remark over face
Settling de-set plea crossing over
Too mixed up eyes.
Wednesday, 12 August 2009
Tuesday, 11 August 2009
circling a response
Response writing: from this to:
I am rereading your current writing of reading and making in a process of this performed act of the essay writing as a reading of thought in a writing of the the reading. Negotiating your reading of a writing of a reading text. This future of a reading and writing relationship is dependant on the conditions of these “reading”, “writing” and “voicing” strategies. The voicing is a voiced reading experience of writing. Circle comes to mind. Let me circle through voicing your reading.
and neg per ow be as uct
al gh
is is ce we as ial nts
of
ype dy to nt iate mp he hom
e
con he ent ed man the Be od un
The per orm rel en the as a two
ical
es tru us th ba on de for shi
As on
ial poral perfor ary read er been
so al bo gen and ry e he he
oice nt nnect ed urrys of cat an
orm the text
ation of ead ions ctions one are a
ial ned inst of ce tra mot of
In the not re
con e ial text ma et lt ion p is
fo a pro pro con sic di uce
strat ion
deter mines sc le jat the
and citwo re orm The ed motop
tion val How it ievce em a ad
x ext of
on of tiat what
phy pro
tion th tion ed an exteous int far
is not logy is ith vosp met cerair se
is ind is
licat ial rap com por tant of trol
to thi
at ay ma are com
I am rereading your current writing of reading and making in a process of this performed act of the essay writing as a reading of thought in a writing of the the reading. Negotiating your reading of a writing of a reading text. This future of a reading and writing relationship is dependant on the conditions of these “reading”, “writing” and “voicing” strategies. The voicing is a voiced reading experience of writing. Circle comes to mind. Let me circle through voicing your reading.
and neg per ow be as uct
al gh
is is ce we as ial nts
of
ype dy to nt iate mp he hom
e
con he ent ed man the Be od un
The per orm rel en the as a two
ical
es tru us th ba on de for shi
As on
ial poral perfor ary read er been
so al bo gen and ry e he he
oice nt nnect ed urrys of cat an
orm the text
ation of ead ions ctions one are a
ial ned inst of ce tra mot of
In the not re
con e ial text ma et lt ion p is
fo a pro pro con sic di uce
strat ion
deter mines sc le jat the
and citwo re orm The ed motop
tion val How it ievce em a ad
x ext of
on of tiat what
phy pro
tion th tion ed an exteous int far
is not logy is ith vosp met cerair se
is ind is
licat ial rap com por tant of trol
to thi
at ay ma are com
Monday, 6 July 2009
EVENT: Every Day A Battle
Wet Ink and Scenery Chewer Present
EVERY DAY A BATTLE
Poets:
SEJAL CHAD
BECKY CREMIN
RYAN ORMONDE
KAREN SANDHU
LAWRENCE UPTON
ALLEN FISHER (ON FILM)
ROBERT HAMPSON (TBC)
Place: Mosaic Rooms ( 226 Cromwell Road London SW5 0SW )
Time: Saturday 11th July from 6.30 pm to 8.30 pm.£5
All proceeds to go to charity.
We seek, for an evening, to revisit the notion of Earls Court as cultural battleground. This event takes inspiration from Peter Barry's book Poetry Wars: British Poetry of the 1970s and the Battle of Earls Court which uncovers the 'battle' at the National Poetry Society during the 1970s between radical and conservative factions. Thirty-five years after Eric Mottram heralded a 'British Poetry Revival', the question of how to negotiate with the poetic mainstream still infiltrates choices made in the everyday practice of many emerging poets. We present the work of several new poets and hope they will be joined by some of the leading figures of this historical moment to revisit the scenes of an important struggle for creative freedom.
EVERY DAY A BATTLE
Poets:
SEJAL CHAD
BECKY CREMIN
RYAN ORMONDE
KAREN SANDHU
LAWRENCE UPTON
ALLEN FISHER (ON FILM)
ROBERT HAMPSON (TBC)
Place: Mosaic Rooms ( 226 Cromwell Road London SW5 0SW )
Time: Saturday 11th July from 6.30 pm to 8.30 pm.£5
All proceeds to go to charity.
We seek, for an evening, to revisit the notion of Earls Court as cultural battleground. This event takes inspiration from Peter Barry's book Poetry Wars: British Poetry of the 1970s and the Battle of Earls Court which uncovers the 'battle' at the National Poetry Society during the 1970s between radical and conservative factions. Thirty-five years after Eric Mottram heralded a 'British Poetry Revival', the question of how to negotiate with the poetic mainstream still infiltrates choices made in the everyday practice of many emerging poets. We present the work of several new poets and hope they will be joined by some of the leading figures of this historical moment to revisit the scenes of an important struggle for creative freedom.
Wednesday, 24 June 2009
Wednesday, 17 June 2009
Wet Ink does Choose What You Read
Proud Galleries Camden
15/06/09
and some ramblings:
15/06/09
A night of music and free books and newspapers.
Choose what you read gives out free books to commuters
look out for them at your London stations!
An experiment in Recycling/Procedure/Performance conducted by Karen Sandhu, Ryan Ormonde and me.
our instructions:sources:
results:
and some ramblings:
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