Alias Impassive

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Alias awakens to disquiet.  Comprehension out of joint.  The motions, the motions, but nothing complies.  He does not feel so he touches the knee of his son.  Yes, he seems to be there.  Words with their sayings and tellings aren’t meaning.  Perhaps he hears.  Feels he doesn’t have pants on, but perceivably they’re there.  Goes to bathroom, masturbates, conjuring images of his love.  Disconnect.  He is not sure that he is here.  Or where it is he is.

Not the trees, not the road, not his car.  Many things are missing.  Not his thoughts.  Not pets, not postal service, not sky.  He’s come unfastened.

The motions, the motions, he makes coffee.  The motions, the motions, he showers.  But did he use shampoo?  Deodorize his pits?  Remember the drop of cream?  Are those his feet?  Walking into work they all take notice.  Is he bleeding?  Checks his hair, his face, his clothing.  Is he stinking unawares?  Deactivated and decoupled, unable to correlate.  He’s in his chair.

He’ll go for water.  He’ll check again.  He’ll look through letters, notes, to-dos, he’ll use his fingers.  He seems inoperable, confused.  They’re noticing.  He hasn’t spoken.  He puts on music.  Sits again.  He looks at language, hears some sounds.  He’s not authorial, nothing gives direction, nothing issues commands.    Disjointed and isolate.

He tries to sleep.  The dreams don’t follow, the eyes don’t rest.  He is confused.  He is detached.  He looks at pictures, attempts a memory.  Everything is near and quite intangible.  Everything is distant.  He cannot cry.  He cannot feel it.  He isn’t thinking anymore.  Something is unhinged.

The motions slow, the motions blur.  Not conscientious.  No recognize.  It seems there are duties.  It seems related.  It seems forgotten or never begun.  He’s too much there and not enough.  Unavoidable and out of sorts.  He cannot hide and there are others.  He tries the motions, and the motions, and they’re still without sound.  He can’t compute.  Head in his hands on his desk.  His eyes are burning.  He can’t find pain, locate discomfort.  No ability to take account.

He pushes objects.  Cuts his palm.  He walks again.  The motions, the motions.  There is no wind.  The sun pervasive.  He sees some plants.  They are not there.  They have not grown.  He is alone and everything knows this.  Dissociated.  He’ll try again.  What will he try?  He’ll try the motions, he’ll try the motions.

Alias motions with his hand.  It comes undone, it does not signal, there is no shadow.  Too much shadow.  He looks around.  There are the others.  They seem to wince, to look too much, to look away.  There is no commerce.  There is no passage.  He sits again.  He hears a sound.  He thinks the hearing.  He tries his luck.  There is no luck.  He wants to realize.  Anything.  Something.  Perhaps.  Maybe.  Motions, motions, motions.  He is not moving.  Things are vacant.

Alias impassive.  He tries to speak.  No one to speak with.  He works at thoughts.  All misremembered.  He’ll try again, he’ll try the motions, keep at the motions, the motions.  All the motions he will try.  He has no purpose.  The motions fail.  Vacuous and without intention.  Was only trying, was just to see.  He cannot see it.  The motions fail.  He moves again.  Things are dissolving.  Disestablished.  Without relation.

He calls the dog, he has no voice.  There’s no response.  He is within a vast alone.  He is not happy.  He is not sad.  He’s unaffected.  He tries the motions.  He tries again.  After all he will stop trying.  Sometime later he’ll give up, but now he tries.  He tries the motions.  He tries again.  He is disquiet, and without end…

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Parataxis / Parallaxis

parataxis, n.

The placing of propositions or clauses one after another, without indicating by connecting words the relation (of coordination or subordination) between them, as in Tell me, how are you?.

“PARATAXIS, N.” OED ONLINE. OXFORD UNIVERSITY PRESS, DECEMBER 2015.

Parataxis is a literary technique, in writing or speaking, that favors short, simple sentences, with the use of coordinating rather than subordinating conjunctions (from Greek for ‘act of placing side by side’; from para, ‘beside’ and tassein, ‘to arrange’; contrasted to syntaxis or hypotaxis).

It is also used to describe a technique in poetry in which two images or fragments, usually starkly dissimilar images or fragments, are juxtaposed without a clear connection. Readers are then left to make their own connections implied by the paratactic syntax.

WIKIPEDIA CONTRIBUTORS. “PARATAXIS.” WIKIPEDIA, THE FREE ENCYCLOPEDIA

parallaxis, n.

Difference or change in the apparent position or direction of an object as seen from two different points; (Astron.) such a difference or change in the position of a celestial object as seen from different points on the earth’s surface or from opposite points in the earth’s orbit around the sun. Also: (half of) the angular amount of such a difference or change; (Astron.) the angle subtended at a celestial object by the radius of the earth’s orbit, giving a measure of its distance from the earth; any of various similar measures of distance calculated by methods incorporating the motion of the sun relative to the local region of the galaxy, the proper motion of the observed body, the motions of a cluster of bodies having similar distances and speeds, etc.

“parallax, n.” OED Online. Oxford University Press, December 2015. Web. 7 March 2016.

 

Parallax is a displacement or difference in the apparent position of an object viewed along two different lines of sight, and is measured by the angle or semi-angle of inclination between those two lines. The term is derived from the Greek word παράλλαξις (parallaxis), meaning “alteration”.  A parallax is the difference in the angular position of two stationary points relative to each other from different viewing positions.

Wikipedia contributors. “Parallax.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Feb. 2016. Web. 7 Mar. 2016.

Interconnection and Autonomy

a personal note

I have long disliked and had an intense aversion to telephone calls.  Like televisions transmitting in shared or public spaces, they present inescapable interruption and intrusion.  One could be in thought, repose, intimacy, conversation, activity — in fact, whatever one is about when one is not on the telephone – and then suddenly must react to a demand.  A call.  But WHO is calling?  WHY?  Why now?  When my attention is demanded through interruption or intrusion, my body anticipates emergency.

Disembodied conversation shifts the burden of dialogue to the voice.  Therefore the natural indicators for “I’m thinking…” or “give me a moment,” nods, smiles, frowns or gestures that flow in face-to-face interaction, offering wholistic responses, are all pressured onto the mind and voice – forcing incessant reports and the trickiness and difficulty of translating bodily experience into language.  I require time to listen, consider, and respond.  Movement.  Silence.  Whether it’s a simple invitation, business matter, question or request – it always emerges as demand on the telephone.  Respond to this NOW.  (public or shared-space televisions – SEE this NOW).  You cannot escape, select, regulate or direct such importunities.

Global Communication Technologies, – our networks, internetworks and their myriad machines and devices – have provided some enormous benefits toward expanding our social lives outside of limited demographics and cultures, opening realms of activities and artifacts, information and resources that in any other time-period we may never have known about or encountered.  As these technologies proliferate into internets of thingsubiquitous (or pervasive / invasive) computing, and manifest the inherently linked realities of our world…simultaneously providing ambient findability (all of these terms and phrases as easily interpreted as violence or intrusion as well as opportunities or boon).

I’ve long preferred face-to-face interaction (in spare doses, they are taxing & rewarding) and textual communications (obviously, but also texting, emails, postal correspondence), because in the F2F we are offered and allowed appropriate cues to follow and respond to one another, and in textual discourse we are allowed the time and distance to craft and dictate our translations of experience, messaging intentions, and terminological tones.

Of late, however, I have noted a convergence of Call-Anxiety and Pervasive-Communications.  And am wondering about our levels of autonomy (if there even is such a thing for the human) or self-direction, any amount of governance we might preserve over our lives and activities and choices in a world populated with linked devices?

How much of our days – work time, supposedly “personal”/private time, play time, labor time, interpersonal time, family time, meal-times, chore-times, reading times, creative times, necessity times, and so on…- are steered and directed, controlled and dictated by the consistent, persistent, pervasive and invasive thoroughfare of MESSAGES from OUTSIDE?  If we consult our devices upon waking – how often are that day’s events passively designed around what we receive?  If we respond to text vibrations / updates / posts / SMS or IMs / emails – how much are they eroding self-governance and discipline or choice and instead simply ANNOUNCING (demanding?) direction and response?

How many swerves do we make in our causeways of living by our over-saturation with “friends,” our communicative reach far beyond our communities, our global information system versus our local work offices or families or few (actual) friends?  There have been plenty of studies from nearly every field of inquiry reporting that our safe or thrivable social capacities are quite limited – most studies indicate humans do best in consistent contact with 30 or less others.  Proffering sufficient opportunities to know, understand, interact and relate.  Yet any given Facebooker or tweeter or snappy-chatter may have exponentially larger engagements nearly every minute of their lives.

How different would my relationships with co-workers,  children, family, friends, BE if we weren’t including thousands of others in remote places, professional connections throughout the world, images and language and emotional reports and happenstances flooding like telephone calls and tele-visions and noise into our domains, habitats, domiciles, studies?  What might i NOT buy if it weren’t so easy?  How differently might I know books, movies, music, animals, persons – if they weren’t in virtually infinite supply?Do we preserve moments of choice and connection, safe from Call-demands or Pervasive/Invasive-communication-technologies?  Or do we simply escape or take breaks from time to time?  Going for a walk or having a dinner, camping, hiking or traveling once in a while without our devices?  What would it be like to lose them?  What would we know?  What kinds of knowing would we produce?  What sorts of makings?   What might be drawn or composed, felt or engaged, seen or heard if we were DISconnected to the hive of activity and input? How might we relate to those around us?  Where might we go?  Who might we be?

Well, that’s what I’m thinking about.  Pondering.  Wondering.  Queries of value and quality and meaning.  Stress-levels, anxiety, physical wear of being “on alert,” alarm, reactive, responsive to ubiquitous “Calls.”  Demands.  Invasions.

What if we saved intrusions for emergencies?  Took time to send only specific, relational-oriented, relevant and appropriate information to one another?  Thought critically?  Reflected?  Looked, touched, listened, and managed more wholistic presence with our immediate surrounds?

I don’t know.  I’m just wondering.

[The lucky piece for us at present is that, like pulling the phone line from the wall, our technologies are remarkably easy to dismantle and turn OFF, should we CHOOSE to]

Alias Alone

“it was neither the cradle nor the grave of anything whatever.  Or rather it resembled so many other cradles, so many other graves, that I’m lost.”

Samuel Beckett-

The silence.  The separation.  The solitude.  This is not novel, not uncanny, not even irregular or unexpected.

Betwixt Alias & Laramie, in fact, it would not be unusual for 1-3 years to pass without interpersonal communication.

The interruption, irregularity, or stretching intermittence of intimate interaction (current parlance “intensive interaction” – what they’re calling genuine conversation these days – a sort of treatment or therapeutic method for the autistic or ‘disabled,’ – akin to the ‘Talking Cure’ of psychoanalytics past) wasn’t really odd or unexpected or otherwise for Alias…merely unfortunate…he accustomed to his cycles and wishes, routines and desires – never mated very well with the world-at-large…his surround.

Still somehow Laramie’s “off” was different.

Perhaps.

No matter.

Alias driven back to Kafka, Beckett, Jabes, and other authors of silences whom he’s long aspired to – wishing (not so secretly) that he might require only some genuine solipsism or solitude, a kind of retreat or reversal from the cultural logorrhea (social media posts, artist’s talks, professional blogs and listservs, tweets/tumbs/grams & feeds) –

incessant reports on one’s self

– disgusting yet enticing,

If other humans ever happened to ‘like’ or ‘follow,’ ‘share’ or ‘pin-it’ or – could it be – actually care?

Alias entering thickets alone.  Laramie “off” (in every way his ‘right’).  No human (living, warm, alive, and responsive).  Alias turns to the ‘mind’ (texts, images, memories, dreams, literature, language, art, thoughts) – in any case or scenario – some abstracted cerebral, cognitive-capacity, the Human Imaginary.  The Pretend.

Meaning.    God.    Religion.    Truth.    Santa.    Satan.     Logic.     Math.

His pet feline “Luna(tic)” and fractured Chihuahua “Gizmo” as company.  And printed literature.  Recorded music.  Playback audio-visual-cinematography.  Machinic animations.  Pornography.  Movie.  Television.  Photographs.  WHATEVER.  Virtual Realities in the place of persons.

Attempts to stay alive, carry on, delude oneself that meaning and reason and experience and expression had validity and representation, communication and comprehension, and so forth.

To “keep calm…& carry on.”

Breathe.

Or…whatever.

Laramie: “OFF”

and

Alias: (“ON”)?

never the twain shall meet?

well, occasionally

(he says, he thinks, he imagines, she says, someone hopes)

The HUMAN (Alias surmises) – ‘an interminable thinking-speech,’ Alias think-speeches, “surely I read/heard/saw/overheard that somewhere.”

It’s Alias alone…free(?), unfettered, allowed, supposedly “ON”

Laramie – “OFF,” Alias sighs.

(and therefore no way to ‘think through’)…

***********************************

Point is, Alias thinks as he murmurs and walks along, there is no meaning, purpose, or point to it all.  “Think-writing” Laramie once called it (re: Alias’ poetry) – “simply inscriptions of progress, er, process…languaging what happens in your miniscule portion of the world (as you know it).”

Think-writing, write thinking, “fuck you!” Alias thinks (writes).  “How can one think without someone or something to think ‘off’ of or ‘with’ or ‘in relation to’?”  Alias grumbles – “yet you’re ‘OFF,’ gone, along, beyond, and so remains me, it, this ‘against,’ ‘in relation to,’ this withless ‘with’ (all versions of the same) ANYthing, EVERYthing, NOThing.”

Something!

“OFF” said Laramie, he

said to Alias, “simply ‘OFF’” like a switch, a light, a life, a dream, a thought, an inception of memory, an hope, ON/OFF, ON/OFF, there/gone, here/gone, you/I, yes/no,…’OFF’ said Laramie, he said to Alias that day, that last day, that latest traversal, that…

…dream,

imagining, encounter, hope, wish, Alias imaginary…

———————————-

…because no one cares, and there is surely no reason to (Alias ruminates).

Having always wanted, desired, craved (it might even be said) to be some strange, unrepeatable and unique (or recognizable) combination of human/person/lover/writer/philosopher/musician/writer/virile male and sensitive, omniscient (no, not ‘omniscient,’ not ‘all-knowing’ but ‘all-considering,’ ‘all-comprehending’ and ‘-allowing,’ ‘understanding’) homo sapien.

There is never any reason (Alias considers) that he should (in any way) be special, “special,” and yet, and yet…

There’s no smidgen of doubt (Alias i. e. Harlequin, piecemeal patchwork of human male – a man, a father, son, parent, professor, laborer, home-owner, some-time partner, friend, teammate, band member, student, child-like adult, mature-seeming child, and so forth…animal, patron, caretaker & guardian, public, customer, businessman, blah, blah, blah, descriptor, descriptor, word, word, term…) that Alias i.e. Harlequin, in relation to Laramie James Backstagger, in relation to J, J, K, T, A, H, O, I, Sam, Franz, Helene, Clarice, mom, sister, dad, daughter, cat, dog, cow, instructor, stranger, landscape, realm, city, genre, language, world…

wanted, even craved (it might be said)

being “special.”

Alias Harlequin.

Alone.

&&&&&&&&&&&&&&&&&&&&

A thousand shades from cynical to fine…

…medium nor method, mechanism nor machine matters…

…it’s simply the persons involved…

…the choices they make…

….ways they behave…

…what is made of it…

….making and interpreting…

…given the day, the moment, the situation…

…without matter or evidence or reason.

The world happens.

And then we die.

And then world continues.

Happens (for us) (me) (Alias) (Laramie) (you)

No more.

The equations very, VERY simple.

Here & Gone

Heaps of trouble in between

Self-causation

-regulation

Autopoeisis

 

 

Laramie & Alias Conjure in the Woods

wordless wednesday-woods-trees-long-winding-road-dirt-road

Laramie and Alias followed the tree-lined road into the woods ostensibly seeking a lost calf trapped at the stream.   Lost and trapped.  Deciduous acres.  They shuffled the gravel in silence, which evolved to branches and leaves – a crackle and whisper.

Considering age and death, feeling lost and trapped – Alias.  Laramie pursuing a calf, something young.

“Sorrow is sorrow,” Alias vocalized in his head or his chest, his throat or his gut – wherever we hear ourselves.  “Aging – decay.  Watching one’s world erode.  Losing and trapped in the stream.”

Luckily alive after all of these years, Laramie felt hale and sturdy.  And the bluejays, the owls, finches and starlings.  The titmice.

Alias thought he might keep living each day “if I could think of at least one reason, event, thought or experience that justified enduring that day.”

“That’s unfortunate,” Laramie contributed, aware of Alias’ delimiting logic, “for you’re the only sanctioned arbiter in that case – fixing yourself to a very strange loop indeed.”

The trail of the calf, sunken hoofprints.  Age faltering for beauty, youth, and strength.  “someone refers to this as ‘an attachment to loss itself – a condition otherwise known as melancholy,” Alias intoned.

“For fuck’s sake Alias – is this how it’s gonna be?  The ‘apophatic’ way?  Via negativa? Only what isn’t there, what ya haven’t got – jabs at the pure potential?”

Fox, weevil, deer, cow.  “You’re only 54,” L declares.  “In a culture worshipping youth and perpetual childhood – the nubile and ageless and free – augmented and cyborg,” Alias retorts.  “Not me.”

“I told ya I choose ‘OFF’” Laramie chokes.

“I demand or command or beg of it,” he continued…”OFF.”

***************************

Alias the Conjurer

I drill and devour.

A storm, a tornado.

Construction.

Destruction.

WHO cares?

Effort.

A human with language.

HUMAN                                               LANGUAGE

Writers and speakers and singers and parents.  Wise men and theorists, children and fools.

LANGUAGE

SYMBOLOGY

DEATH (finitude) & LANGUAGE (infinite abstraction)

Grandiose and meaningless at one go

(not to overreach nor undersell).

It might matter

It might not

BEING

(we don’t know)

A bone.  A tomahawk.

Human creativity as, is, a war against death.

Fizzles & sparks.

Last ditch.                                                                                                                                                   Activity.

                                Efforts.                                                                                                                 Attempts.

LOVE

HOPE

ridiculous realities

MAINSTAYS

MAIN STAY(S)

In the main…

to stay.

ON

ON

ON

ON

To persist

Insist

Continue

                (against death)

Against death

Against death

– to act, to do, to create –

TO CONJURE.

************************************

Laramie rides.  OFF.

Alias goes further, deeper, further…on…(in)…

INSISTS                            PERSISTS                              CONSISTS

I, as human, consist as what I persist in insisting on.

= a composite “I.”

 

Alias (outside) – more from the notebooks

harlequin-with-his-hands-crossed-jacinto-salvado-1923

Alias “boyfriend,” alias “daddy,” alias “instructor,” alias “friend.”  Alias “person.”  Alias “student,” alias “son;” alias “scholar,” alias “man.”

Alias “Alias.”  Always additional roles (or functions, behaviors, responses, and on…)

I.e. disciplines: philosophy, sociology, science.  Alias “arts” and “humanities” and “lover” and “partner” and “parent.”  Alias “human.”  Alias everyone.  I.e. no one.

Alias Ignatius Evgeny Harlequin, a simple human pattern, sample, example, i.e. so-far-survivor.  It’s nothing, really, but something enough to write.

“His” body distinct in the way of all bodies, but matching no cultural icon.  “His” mind above average – no matter.  Mattered/matters little, just a human.  Related to others in lieu of dependencies – that “human” is not a species that can live on its own.  Therefore at least elements of an immediate surround are, well, ALWAYS, essential.  Genuinely.  Utterly.  Whether air or land or water; people, chemicals, fuel.  No human exists without others.  Simply.

Therefore (i.e.) even the meaningless, unnoticeable Alias Harlequin could not survive without a surround.  But might his “surround” survive without him?  On this query, Alias’ presence (and present) is hung.

The Neutre Becoming : Untitled Writing

“the writer must expose himself to his exteriority”

-William Brogan-

twombly_untitled

In the process of inscription, I am neutral.  Ambiguously being.  Neutered.

Existing via language that has not yet been written opens a sort of potential – possible becomings, as yet unknown, unidentified – possible positings of the impossible – WRITING enaction.  I am unspecified before the letters which commence demonstrating what / who / how as It (this human) encounters them – imagines, recalls, learns, selects, experiments and undoes, chooses and deletes.  Engaging with the sea.  With hearsay and learning, words read or perceived, borrowing, borrowing, sifting and hybridizing.

From wherever, therefore, whomever, toward knows-not-what…IN THE MIDST…WRITING: activity, action, attempt…Everything trying.

A human.  A person.  Acting.  Toward what ends?  Perhaps to say.  To express.  To communicate.  To discover.  Invent.  Investigate.  Imagine.  To play.  To die.  Not to die.  Becoming / evincing / composing / traversing ‘knows-not-what.’  Anything.  Nothing.  Living…to Death.

This is why.  This is why my own ‘need-to-write.’  To become.  To try.  To live on.  To keep going.  Living toward, forward, into… perhaps.

Not-knowing I do not know.  At the edge, or a limit.  Searching a way.  To say.  To discover.  To hear.  To emerge.  Wanting to express, to find out, to dialogue – capable of expressing “Very little…almost nothing,”  I “try again.  Fail again,” and hopefully (but “no matter”) “fail better.”

The internal urgency to write rather than speak, or to speak writing or even write speaking arising when I don’t know the words with which to.

‘The need to write is linked to the point at which nothing can be done with words.”

-Maurice Blanchot-

Selecting the pen, scribbling into the paper when there are no words (that I know) for that which (before words) I experience an urgency toward.

Therefore…working and playing – experiment and effort – name-changing and changeling – It commences.  Exploring.  Expeditions into letters and language.  Into sounds, mouths and breaths.  Into indeterminate dreams and dubious memories.  Desires and wishes and hopes.  To connect or converge.  To speak or hear back.  To know by finding out.  WRITING: to learn by failing.

“becom[ing] the empty place where the impersonal affirmation emerges”

-Maurice Blanchot-

Melancholy (Lispector, Pessoa, Beckett, Jabes, Kafka, Blanchot?) and ecstatic (Rilke, Mallarme?, Holderlin, Nietzsche, Cixous?) human activity/task/capacity.  “Need.”

“That there is language.”

Begin.  Again.

at the point at which nothing can be done with words

***************************

I attempt to express the extent of my experience of love…

Endeavor to language particular beauty…

Strive to tell you how I… try to say…

Make effort to describe my children, the cheek/lip/ankle/voice/presence of my beloved, the eye contact and thought-contact of a friend, paw of a kitten, core of a concept, element of a scent, a breeze, a trace, a view…

Venture some new construction, a world, characters, possibilities…directions and directives…

Ache to communicate…

Will to connect…

Crave to continue…

WRITING: TO LEARN (something?) BY FAILING

perhaps

“the attempt to open a space for the unsayable”

-maurice blanchot-

to fail…

Alias Harlequin – Identities

Picasso_Harlequin sketch

“To recognize yourself in… To multiply your likenesses”

-Edmond Jabes

And what do you suppose it is to be a “Nathan Wayne Filbert” human?  To be named?  Alias Harlequin?

What do you suppose it might be like to be “Ida Sophia Lind Filbert”?  “Jada Lynette Smith”?  “Oliver Myshkin”?

“Hallie Noel Linnebur”?

“Tristan Rene Wells Filbert”?  “Simon H. Lilly”?  “Aidan Stafford”?  “Herman Melville”?  “Paul Feyerabend”?  “Rachel S. Como”?  “Paul O’Callahan”?  “Meghan Miller”?  “Jim H. Charles?”  “Warren Charles Farha”?  “Amanda Marie Lind”?  “Fernando Pessoa”?

A cow.  A particular cow – an Hereford – on a particular plot of land in Mitchell County, Kansas?

“Plato”?  “Kathy Downes”?  “Ortho Stice”?  A Welsh Corgi “Tippy”?  “Napoleon Bonaparte”?  “Charles S. Peirce”?  The clerk at the grocery store?  “Christopher Fynsk”?  That Forest Ranger?  A pet hamster “Jacques”?  “Claudius”? 

WHY SHOULD ANY ONE HUMAN BE ANY MORE INTERESTING THAN ANOTHER?

WHY SHOULD ANY ONE ORGANISM BE ANY MORE INTERESTING THAN ANOTHER?

What means: “EFFECT”?

“William Shakespeare”?  “Avital Ronell”?  “God”?  “John Wayne Gacy”?  “Helena Bonham Carter”?  “Microsoft”?  A caterpillar (be specific)?  “Mahatma Ghandi”?  A sparrow?  Molecules composing particular dust?

WHAT IS?

how are we able to ask that question?

WHAT ARE WE?

how might we be “WHOs”?

Starting local:

What might it be like – as a “Nathan Wayne Filbert” (Nobody) – to BE a “Nathan Wayne Filbert” (A body)?

I’m not sure HOW to answer that.

“Perhaps writing means overcoming all resemblances within the very heart

of resemblance, being finally like yourself, like nothing.”

  • Edmond Jabes –

i.e. How that can be answered.

– WHO or WHAT answers – ?

WHAT MIGHT IT BE LIKE…TO BE?

(qualified to ANSWER)

can ANYthing “answer”?

does “answering” imply “language”?

WHAT IS AN ANSWER?

(in relation to – ?)

What is(?) Nathan Wayne Filbert, Alias Harlequin?

IS “Nathan Wayne Filbert”?

WHAT IS?

WHAT IS IS?

(how?)

WHAT IS A QUESTION? And WHY/HOW can a question be asked?

WHAT IS IT – are our – ideas?  – To “IMAGINE”?

what are ideas?

What might it be to “conceive”?

“to generate concepts” (D&G)

framings of our world-experience

[WHY?  HOW?

WHAT FOR?]

WHAT is a “person”?  HOW?  WHY?  WHO?

Always and ever – HOW & WHY can we / do we ASK?

WHO QUESTIONS?

(WHAT)?

(HOW)?

Something begins

                                          (in/with all this)

                                                                                          it would seem

(it seems)

it seems that something begins in/with questioning

Alias Harlequin, i.e.

– the one whom this effects, the one on whom this has effect, the one (same? No!) affected by him or her, by whom and it.  By this.  This.  That.  By Other, others, and therefore, Alias again, patchworked and quilted, becoming, undoing, altering.  Alias.

“Presumably most writers have many more ideas than they are able to act on”

– Ivan Vladislovic, The Loss Library

Alias Harlequin – identities – is as is affected, effects, effected with/by.

Alias, i.e. as effected by “Hallie Noel Linnebur”; as effected (generated?  Co-composed-with-) “Pauline Margaret Kresin Filbert”; the St Bernard “Zorro”; a specific train on a particular journey at a particular time; that mountain in that moment; Dec. 16, 1997 – a flu; and so on…

Alias – as situated in moments – e.g. “each one.”  Harlequin – the human surname quilted with environment (micro-to-macro) in concourse.  “Alias” as the “name in shreds” – the fragmentary and provisional, pragmatically specifiable address.

Ambiguous and fluid (like “river” itself – capable of designation but inconsistently contained) transient yet locatable, in form…perhaps.  Yet no.  “Alias” perhaps the medium (in-between) of morphing form and varying substance – what nothing also is (is not).

Name/term/signal/sign (“Alias”) as related to HNL, Dr. K, Dostoevsky, rustled grass, these sounds, this space-time and its company (surround) and then again, these again (but never “again”) – designating “NOWs”.  Perhaps.  It depends.

What or Who, How “Alias Harlequin” ALWAYS depends on a totality of other dependencies, as it were (or is?)  “As such.”

Alias Harlequin, representative?  Not that can of worms.  AND the “thing” itself? (network of momentary dependencies-in-relation)?

What might we call (it/him/etc.) then?  And what would “calling” be/do – how?

WHO questions?

This Alias Harlequin.

“I am already so much the inscription of a divergence…What I was, if that could be described, was a whirlwind of tensions…”

Helene Cixous

“A word is binding and at the same time breaks our bonds.
To which of them shall I, one day, owe my freedom?”

“To one only.  Your name in shreds.”

-Edmond Jabes, Book of Resemblances