Revolution is no mere excuse for poetry

"the one who has abolished himself thereby produces the relinquished space where he could have been."

– insipidities

If sacrifice is the decision not to follow an interest, to relinquish pleasure from any single situation, to reject a possibility, then it is necessarily the murder of one traveling an alternate time-line like firing a trans-dimensional proton torpedo and no mere lay-off or resignation. And that one is a doppleganger of you and goes by the name of possibility, aka fiction. Sacrifice is a time machine with deathly intent expressing, minimally, a function no different than suicide in the present. The ecstasis of a gift, consideration of the other, love is the only movement which puts an end to sacrifice in the same way that a gift annihilates exchange as well as theft, canceling democracy with no forced extraction, and sending morality to oblivion with no loss to the substance of the verse.

The word itself lives but only as a rotting corpse in a deep waterhole, at least until it finds another like "well-doing" or "well-being" (see 'Utopia'), producing a baby resembling twin ancestors called mos – "one's disposition" (in plural, mores, "customs") and mut. the reciprocal gifting of courage or heart in nurturing a nature which our grandmothers initiated. In this sense, the only place morality can reside or be sustained is in the social instinct. And since that is its natural habitat, the natural habitat, no sense of duty or debt is felt except in the archaic form as a debut or first appearance of every new child – the eternal return of difference.

Vico suggested a cyclic revolution of language traveling from poetic (symbolizing or connotative-to-obscure) to technic (denotative) to ironic (paradoxical) and coming full circle back to the poetic. It makes sense until one examines languages recently extinguished and those few remaining "survivors' about to become extinct which never traveled into the technique, into the realm where the thing is always confused with the innuendo, where it is (or seems to be) unrecognized that every denotation would at base be a dead metaphor in a dying language (or a language of death). In any subjective or poetic sense, there are no denotative signs, and therefore, by Barthe's own definition, no signs at all (except perhaps, "occupied" or "temporarily out of order"). The par excellent is a matter of provision, agreement or law – nothing is arbitrary but the arbitrated.

In keeping with the myth that predicate language (without the nominal category) is undeveloped (primitive) or corrupted, there are as well the unmedicated adult "sufferers" of thought disorder, once thought potential producers of marketable poetry for commodified literary entertainment. With the death of god or the secularization of education, and in a full ironic twist, the bible remains in the curriculum, studied as "mere" literature. It was the source of all modern, occidental law or a growth askew but nevertheless derivative of the infamous oriental Hamurabi code, still worshiped by legislators the world over.

But who would consider the reading of modern legislation (or any, for that matter), from referendum to legalize (or commodify and regulate) marijuana to the patriot act, as bodies of literature subject to poetic interpretation? In historical point of fact, that is precisely the job of your professional lawyer – the art critic-slash-actor who dramatically persuades in matters of guilt or transgression by selling an agreeable interpretation to the forces of control, be they congressman, judge, jury or hangman. I'd not be the first to insist on the relation between the tragi-comedic theatre and the court of law. When I was three, I noted the phonetic homology, the source of suggestive semantic ambiguity covering up an underlying structural isomorphism between 'lawyer' and 'liar' later explained as "one of those chance anomalies of language" or pronounced error.

Since well before Saussure, it was considered the sign, and by inappropriate extension, the symbol was arbitrary, right along with its relation with the signified – the thing being everything – "reality". It is ironic that the so-called language of science treats the relation as primary and generalizable and the symbol replaceable, where the sign never stands in for a thing but expresses a relation, where the metaphor or analogy (the word problem) serves to clarify the expression. In this sense only can algebra be considered a natural language, and modern English, not.

From the toddler's point of view first learning names for things, "baba" never transliterates to blanket and "mulch" to milk. They, masquerading as signs, are symbolic or a short-hand index to a whole-body, emotionally immersive experience. "Aacch!" is the grand revolt later educated into a silent scream. Experience is everything. Semiotics is first and foremost the rudder by which one recognizes and hence maneuvers it loudly – when a random association becomes a preferential attachment or memorable disgust, error be damned. Teaching language is child abuse. The sign is an imposition defined by cutting away all alternate innuendo until free association disappears altogether.

The difference between the modern myth and the archaic is the vacant space once occupied by meaning, the interpretive play of languaging in which every toddler is already fluent, the modern closing of what was archaically (and developmentally) open. Modern myth is a transaction of things for dead words & pictures and its language becomes the construction of a democratic institution subject to the exclusion of any and all subjects, replaced by objects not ironically held in subjugation, where sacrifice is necessary and approved, up to the point of the loss of one's commodity value (or labour power) or useful leverage, which is simultaneously murder and suicide – the end of a use-object is simultaneously the end of its exchange value – the accursed share justifies all collateral damage. If capitalism is the exploitation of surplus labour, then it is no simple stage or phase like puberty, but as old as civilization itself and without which there is no moral transgression like teen acne in need of a rupture or experience a loss of face.

There may be no irony where the denotation is absent and significance is a measure of interest and not a transaction of signs. Certainly there is no truth to it. For the child, truth reflects its medieval sense of trust – "troth" – which is an attachment irrespective of the attached. It is an acceptance without literary interpretation. It is the understanding of the theory and security of mutual aid without analysis or instruction. Therein lies safety, but not by virtue of an absence of danger. With no sense of moral ideology, the most profound support when facing the unknown is neither structural (the gambrel) nor material (the bullet) but moral – it's a grunge thing.

"Consistency is a vice of the square and out-of-date. It can’t be reconciled with the 'contradictions of reality', nor with the imperative to 'do one’s own thing'. Consistency is an old bore. The voice of the bore is doomed in the end to tail off into silence."

– E.P. Thompson, Open Letter to Kolakowski,

– The Assumption that Languages like English are "Natural" Languages
– The Assumption that Language Consists of Languages

Word: Area

An a-circular tautology which leads everywhere BUT back to itself as a knot or entanglement becoming increasingly complexified in its unraveling expansion, exponentially so, like the significant other once called aether, or not that either but all of the below:

• A-rhea: not ground, no earth, motherless bird or other orphan like a lonely word, two in common runs across rather than falls to the ground like a loose pair of critics adjusting the sound or cross-section of a panamanian panorama, full manic but undepressed pit raised like a bun in the oven.
• Arroyo: a he-gendered area like a horizontal latin mineshaft inundated by rain under wet sheets falling but not dropping, later exposing shiny elements when full of hot air like men's work, otherwise see gully washer for unclean topics.
• Airy: any wisp of a wasp with butterfly wings or an empty nest like vacant lots or absence of lines to connect the dots.
• Eirie: An egg in a nest, bird in the hand or distance twixt an eagle and land which lilts like a brogue from a friendly rogue.
• Air: or what it flies threw as a medium of change so invisible to the eye but not to the skin if a burning wind;
  1. elemental like a hand-made bent or mind bending twist like a tornado when it's upset expropriating the parts it contains, at least 'til it rains.
  2. unparticled matter because waves are just cooler than a shotgun blast of lead particles following lead particles or a blast furnace amidst the territory.
  3. hyper-diluted liquid which does not drip.
• Are: the collectiveness of being without a collector of beings.

AS A RECURSIVELY LOCAL COMMUNITY OF ORGANS OF ORGANISED CELLS OR AFFINITY GROUPS SHARING ENERGY DRINKS, "I ARE" IS PREFERABLE TO "I IS", WHICH WORD IS GENERALLY AN ACCOMPLICE OF THEY ("THEY IS" – GRAMMARIANS ARE HERE WRONGLY REGARDED). RECURSION DISAPPEARS WITH THE AB-SENSE OR EXCURSION OF AN OBJECTIVE OBJECT OR UNPAID BILL.

– see space: an invisible paisley formerly found in the tapestry of a mango tree.

Beyond the mere syntactic devise, any noun is the spectacle (as in lens and image as well) of articulation in process like the empty space of distinction between an organism and a rock once called "criticism", later plate glass window (as in "see but don't touch") when miners found trace minerals in organs but no diamonds except as a virtue of Mrs. Gotrocks.

The ding in a snapshot illustrates the impossibility of things, particularly those seen traveling through space in the same way a map is no territory but folded along appropriate lines may fly over it and land unpredictably, depending on the air currents, but only so far, not an eagle nor as the crow flies, covering much ground in a hurry as if moronically increasing denseness goes slower since a brick is now found offensive even though it seems to fall faster with increasing distance but loose ideas like morality hang in the air.