Dmmerschlaf .arise.

letters, Notes<and discorse.on.empire. Matthew, E. Duffy B00498441 The purpose of this project and work is to demonstrate the operation of memory in the function of reprecration of a aesthetic objects and their links an aesthetic ideal or space. i would like to begin by outlining the aspects which are included in this project :"Dmmerschlaf" or 'twilightsleep.' The cover letter/essay The Aesthetic Objects The Epic poem LSS Loves Silent Suicide./(love silent suicide) The short film Untiled, as yet (a space of Dmmerschlaf-Twilightsleep) The score for film The score on its own The final projected instillation APPENDIX I (not included) the aesthetic places/spaces/environments The filming itself The research The created space/emotional space of Truro for scoring The environment/space construct of the film set. The final projected instillation APPENDIXII Notez and Acts of Research

Institutional Terms and Organs

Empire= Holy Rain Empire: {HRE} The Church = (non-theistic) Universal Church of the Uncluttered Mind: {UCUM} Security, Magistrates Department = Secretariat of Administrative Public Information and Preservation: {SAPIP} cover letter The purpose of this letter is to prove the analytic and conceptual network and framework background to the aesthetic project and to demonstrate its relevance and connection to the class material. In addition also highlight the roll academic institutions have played in influencing, encouraging, educating and elucidate ideas to bring the work into being and more importantly into a academic discourse. In the beginning the organs of the work emerged from a textual poetic base followed by the emergence of the aesthetic which formed around the emotional and conceptual imagery space it was exercised through the from of an epic poem, LSS (which has been included). This is where the aesthetic image and idea first took root in the world. where it begins to merge and become an event and object of contemplation and reservation of memory. Within the poem, and research which developed around it a reciprocal relationship developed between emergent forms, styles as well as the emotional images which where created from thought memory and relation to the world, and imaginary memory aspects. As the work evolved it continued to re-engage the memories both from different individuals and the memory of the polis which has formed around it. The reflective internal memories of the discourse in its capital production spread*. -(to understand the notion of capital liquidity of aura, i would refer to earlier work on the roll of aesthetic capital, which functions as economic capital in the aesthetic art world exchange. The value of reproduction and (re)presentation exchange are realized to the spreed of its own involvement with the world and its use to produce reciprocal aesthetic beings and networks.) These new works founded the emotion and aesthetic as basis of the work and they build a network of concept and production in reciprocal essence. Hence, the aesthetic objects goal is to provide an emotive space. The kind of emotive space which is focused on is a form of Dmmerschlaf/ortwilightsleep; a zone of non-memory but activity or lucidity. Lucidly caries with it the flows of the temporal with referents to the edges which it proliferates. The name twilightsleep was lifted from the medical activity of blending Morphine with Scopolamine-extracted traditionally from deadly Nightingale, a drug combination which produces a state which was termed twilightsleep and was often used on woman in childbirth as it would allow them to give birth with lucidity without the memory of pain as well as put them in a state of euphoria during the operation. Their was also many reports of complication which polarized the treatment developed into horror stories and led to a decline in

its use. as well other side effect relating to Morphine as it can lead to other complication with the childbirth itself such as shallow breath etc. Thus, the objects reflect the space which they are actively creating well the process itself creates objects to continue, even as the performance itself, is an act occupying space. The issue of memory as it function on the aesthetic ontology within the emotive space led to the origin of the "working-actives" was an attempt to see if it was possible to produce an industry of thought around the notion of state-memory which functions as the primary factor in control of emotive-production and environmental space constructs. It is not only thought this process where a historical memory is conjured into referent exposure. Moreover, it is the accumulation of an exposure of engaged creation in an assemblage network structure to conjure a metaphysical, mystic, ritualistic and personal indulgence shared into a collective cultural community by the very law and state of existences in these cross-listed moments where in these acts of "how else", we are to come to view as it relates through the coordinates the existence a stigma of the the very act of production of ontology and it engage ambiguity(not alone) in the realm of past thoughts. In this instance one which through the appealed rhinestone structures purposely tide to the Gothic-romantic-tragedy and enters into the bearings of a contemporary relation to a current stratosphere of emotional space in the world. Id also bring it through the places which i find have been most successful in producing aesthoethics and situational emotive space within the contours of memory which are found in the outer reaches and limits of humanity, personal humanity and other(s)...trauma, love, melancholia, the issue of how one is able to proved, in the sight. anactz of Trauma (removed in the edition,-direct relevance and narrativization) Lovexbleedxzour dailybread.Soaked.and.cutsshatterdmirror. (removed in the edition- contents)

melconlckya The relation to the aesthetics in the memory which if it were to only be explicated in a narrative would lack the ability to contend with the actual accumulation of the presentation within the logos and not provide a state for which the object itself would come pared with. Hence, an actual connection with which the joints of reality are required to be spun at the crux of the fluid exchange within the information moments and memory. which thus, serves as a conduit which an activity of the model happens upon the inherent application of the construction and provide for an apparatus which allows for the moments to fixate and fluctuate into a world. The whole enterprise of ethics along the world in its productional activity in engagement with the

individualization placed at the moment of the subjugated to function as a removal of its own orientation are apart of the conditions which are counted on to allow for procedure to manifest as an occurrence in its attitude of an essence. Here as inertly depended upon the state of which the laid works find grounding onto the soil. -(soul?). As it sneaks in and connects into the whole production space and create crevasses; bends by which the informatics should function along as guides. girded by. -In the appearance lot of static roles not the accumulation of inheritance. For the modes of confined production to explicate there will reside a place of "at risk", or rather at its own appearance is susceptible to succumb to the desire of allotment, and is to be without its own stock and in affect is dependent on the realised activity of such objections inherent in the process itself. thus, certain mechanism are in placed, enacted and engaged to solidify any movement of sliding, of attempted disruptions to the manufacturing and distribution and protection of the organs of the power node transfers. The empire thus has resilience in its adherents.

curator To sail? wages, are not stuck, in the act waging the orders are what is to allow the law to function along the lines of memory within its own internal divisions and it occurs without curaation. The oil is not within the gears and static marks the plugs. It is only with the flakes which accumulate dust pies and failures which are able to expose into the silhouette the spectral truths which allow for true moments capable of carrying memory, true emotive and authentically mirroral. Activities of the romantic that are fundamental for the production of an aesthetics which is able to capture openness of the objects as well as still be predictable and nonideological. It is within the (de)limited, from a conceptual point which allows for freedom to run coarse. Without it, the freedom will only spill around pools of blood. The reservoir in the text is also what is conditioned to disallow the flow of meaning and hope inside the moments which bring groomed memory yet without the substantial ground to which hold growth. The condition of possibility at the wake of moment, in the distance of memorandum, in the call of the roles, blitz , bliss and ours outreached. The heart protrudes, open, but awaken to the stifle, always against the flesh, it flows near, neat and sharp. aeconomic. The readership between the phases of planning, institution and manifesto relations are attached into the work itself and played out as a performance of all action or thought-types which are exploratory in nature in relation to the aesthetic as a part to which it is brought into the realm of an aesthetic assemblage. Nevertheless it carefully exposes areas which cannot be uncovered until the positions of its space are laid out into the world as it appears. and is allowed to have the phases of recurrence and resurgence into the oration of the agent pathways.

A performance work has a necessary component of organic planning, with which it is mostly situated in a aehtico-sutunmailsit, or stimuli of environmental ontology of processes as performance which actively encodes the assemblage as access points encroached across the plans within the organic and world. Creation is active, but also conditional which needs to be invoked in not so much as a spontaneous but active agency of becoming with the world. Hence, not outside of its history, however, within a role of action, thus, with the present and presence. Guided lines and codes are developed. The use of the archival mechanism as a place of the moment occures as an emotion or narrative object which will produce an environment to bring the experiencer, witnesses,bystanders, hostages, enemies, agents, terrorists and non-combatants to confront both their own relation to memory and violence, the medium of discourse by the positions in the space created or forced upon by the independent entities. These are only brought into discourse disordered by relation to the space, viewership occupied space, and all existence caught within it. Though to make a referral, this is in NOT and has NO aim at a totalization a true classic imperial venture, there is no mode of universalising, no apparatus of pure state capture, no state at all, only a trans-poststate organs, split from the power of its exchange. Thus even if one node becomes, powerful, authoritarian or overtly successful in expansion the others compensate and redistribute their own relations and cause a imbalance to readjust in respiration via the distances. If ever a full realization is or was to occur, it would be along all the nodes, jointed, and would cause a shift, in the materiel appropriation, but new institutional dots would occur to precure the surface and anti-security of internal affairs. In fact the nodes are all disjointed, dissented and decentralized and lose their is no way to centralize for it would destabilize the codes of the cosmopolitanism which it situates itself on, the world as it is still as always large, the relation requires acknowledgement on the operational dichotomy between 'near and far' flows are REQUIRED for the function of the planes which operate exchange systems in requirement to pass through the gaps.. just-.-mind the gap.. (is it the claim of the ontology, the personal thought or the inherent running, where/which is the "line"- think pick-up) loss dies, and sure sure where all around the nearing, warm taken spilling warping her sleeves shallwe, and held out to there,-scratched tears away, the blush running around the naked. death

In relation to the suicide of the the narration is to cover all over their fall, sprung of warm bloodz ooze and conceal. From which the operation is how through the impending void the space of distance and absence of silence created in their wake of action. As the foundation for the opening into a connection of the memory of them, of the caricature who never truly exists but as they unfold onto the pages, screen and music, their soul is provisional, pivotal. Soaking in essences, the moral code of the new-vogue take ones (own{to another}) and lead. medium, target market, access to capital, or capital accusation leads to more or larger market access and can proved multiplicity of medium however, here the export is not so much as a reciprocal collapse of the transitional form as a gateway to collect only on the mystical or rather thea-capital which is then re-capitalized and transferred through relations of power to praxis (from production-regulation economic to the church, through the magistrate to the essence looms the empire) by operating a maneuver of this kind the ability to avoid or circumvent the normal capitalization process (the secondary effect of also liberating normal capitalization process and liquidity nodes to be available for the allocation/application and reappropriation within the network, such as freeing resources for war etc. The primary function though is now as one is able to circumvent the normal market codings and alleviate pressure points along the nodes. It allows for the works to be free of such direct aesthetic molding on the grounds of inherent presets and codes which an easily accidentally trivialize.The rational is not one of an anti-capitalist sentiment, rather a precaution to accommodate fluidity and structural power of the organization. make a bloody mess. and still walk down the hallways as it is said. the works themselves are not what the voice is to ascend to, swollen in death. The subject is thrust upon the world of opening, the rawness of emotional presences and ques to the space as an entrancing/embracing of the subject so it is able to become the agency for which the world will be made available to open. Hence, though the aesthetical objects are viewed this is only a secondary function to the objective to proved awareness to their own activity of construction of a narrative space however only ever in a insular hierarchical depends on where you are within the __loop__) or purposely positioned in a spectral or hidden form*-see notez on 'systematics of empire hierarchy'. The narrative must have some kind of direction within the resonates' worn and taken as the objective of these kinds of emotions employed proved the

disarmament form which is suited with the absorption of the exposure of the death, -this is the state of lucid between points. abrotus The aesthetic object are what can come to being as an action predicated on a demarked space through access to space, which is then opened onto the manifestation of the action aesthetic in the objects relations which contort into a place of their activity. A process achieved via the political apparatuses which are consorted by the aesthetic relation which they are founded on. Hence, in the instances of this ontology it is at the appeal of the attached and periphery(ed) which on going, the process of justification and continued reciprocal participation act as proxies to the construct of the meanings of there agenda. Hence, the political will of the works are held at the gates and the worlds which action can be opened as nodes of yet jelled or moments of apparent destability. The Hezbollah and Latin America of this discourse; academia, poetic realization and the aesthetical magistratetion of the process to production completion in a kind of commodity identification form. the above. Hence, a politics and ethics of resources in contract with the art world/institutional world is different then the performances themselves as aesthetic objects even if the performances tends to involve a process of creation-space and take an apolitical dimension and apparatus into their operation of the creation mechanism and an allowance for them to become apart of the world. Thus the world created does allow for objects to come into a shading-light, create focal lightest beings or more accurately the condition for action, discourse and creation. It also is what comes to bear the burden of the threshold of the poetical, political and necessary deals with the reality of its own existence in crossing the spectral boundaries of the process, materials and world which they are preconditioned to ascend from, they must have origin labour, work, these require some physical spectral meta relations to come into being or function as true objects if they wish to preform the goal of action and a continual provisions of opening. -into spacez. Thus, the objects reflect the space which they are actively creating well the process itself creates objects to continue even as the performance itself is in act occupying space.

systematics of empire hierarchy A note on the realization and understanding of what is meant and why it is so that the empire operates notions of hierarchy. To begin it is not a true hierarchy their is no top point. Raither spirally layers and cluster networks, center around particular densities and institutional nodes. The use of the word itself is apart of the realization of where once is and the irony, working and operation of the systems. In awareness of the simple fact that any item of information or act, can be preserved in particular ways. One overtly situates modes of perception and updates in places so that the code will connect with certain kinds of relations and provides the necessary forms to allow for fluid exchange, generation and transfer etc.

Thus, when an act is performed depending on the positions it will be cued into different presets. it may be as simple as a friendly or hostile movement,or a social political grab, an act of high art,or a base rejection, The outcomes are not known, but it is important to the functionality of the institution to keep some of the modes of uptake in sight and relevance. Hence the formation of the SAPIP. -to monitor, develop a bureaucratic methodology of dealing with the outcomes. Often placed under guidelines of the ethics and magistrates department. except in instances of emergency measures, crisis, states of exception, and war cabinets. hold the bunkerz.burning the bight bridgez, mounting the trenches.

Bibliography Benjamin, Walter. Theses on the Philosophy of History. corsepack CSP 3410. Memory in latemodernity. Deleuze, Gilles and Guattari, Flix. Thousand Plateaus: Capitalism and Schizophrenia. Univ Of Minnesota Press; 1 edition. 1987 Sebald, W. G. The Emigrants, New Drections Book: New York. 1997. APPENDIX II notez |on| in the end i can forgive all the people, but the institution will suffer the rain of the of the holy empire. the revenge shall breath and have loft. being. and such. film, breaking green glass with gun girl, by wall girl in washroom white dress, wiping charcoal. hand bloom. cuts, flower and blood. Vail

-f she opens the door in white garments warn gray stones kneel up to camera, hand outstretched, cut. fold onto the hand, hand. gun smashing both by girl. in white and jacket and by silhouette figure. action by the author and curator. glass is used., to cut. hand fold., pills. are lined. blue dye is poured around the glass, mix glass is green, shards runningn falling mirror looking, folding wiping, static places

set. room, one side, the cards, one side, flower pot, lighting green.blue.pureple. tv playing film rearch, the notion that law is the product not of the activty, so much as agence, in the decreption of the rymoon aququization that provnce portnston in the flow of the neccity that leaves the law outside of ourslefs. and rather inception of the place wich, we are abe to engage. on the class notez one. this is the note which was the decieding factor in refleciton of which class i deisded to take at the eging of the summester, it was the drawning i liked the best, n nnnnn nnnnn the image is aof a production facotry thing i suppose, riseing seems to indcate form frutegullnes things to consder when takeing a class prof, can they hold the class, can they speak, is what their going to treach make sences be producive, open? well also, what is the leancy of project. can i pass it? if i play under acdemic rules? well, guess.

card II umm i toke the card from the other class, and used it over as a note in the 2nd or 3rd class of the memory one. a reprration and overcodeing projection, and it worked splended.benjiman, and the lights. issue of the memoryal the card is split into 3 major regions and 2 minor in the negative space.they crossing is indacted by folds of text, and lines to devied. liqudity of tansnarative memorial exp. a memo indepent over incuragment of vauge and apithy in the conor.

card III pressent --> passgae. [active corgeting] agency card iv. seemstofocus on the interplay of mark, and the 1st apeace of a postive red space vs. negtive contures. when held to the light the rose, shies through in line with the other red dotes and points

what is the fundemtal connection between my memory and the relasionship of the aehtic projects, in memour. in trama, in these images. i awate some kind of formal conection i suppose, but what givepower of organztion of formal attempt of reruting the structures of creation.? i cant just will outside, the belife. of going after, when where is the relaity to such a place? to being at the beging, seems impossale snapshotgun`` likeallgood. hanging around. and sure its not exacly, what is need. what is wanted what is serched. just placeing out keys, and darknight stabes? is this all that can account for the wast. the lost. falure. of all darkness, in the lowming, denial.

Truro Notes touroz noteII.\like lillydayz, ahM SHINE HIGH GONE BRIGHT OULD GOD, VIFHE AL.K VGIJA AS WELLL NOT HUST NPME, GLKJ HNFR D, GJE;A FNGKJTK KW AHJ; \ THLWYEALKT NBR AA.IRH THIO;A FWLIVCHJ; GNA;JHYREA, BED HGI,E.A FN g;/s whell well hting s ftrwareahs thit theong the go the gol kieel tit hout to you toward the friong going hisve j usp[ well all gold ruahe strunece to the da y glory more, and shouts out joty love in hear art. her heart/ longing for aand folded over grown towbdm jut as may bluh into her ear. the dawns rose, and swigt away gos the rumantl, just ad gone hoekla, belvs aned, ever, and yet thl gwell hives, and ajushre, and l alj ;h n gbel \wehen ois hgam gok ;mk wthis are a;; a;; tje raal, es\ k; glkml ;kh n agf vfa htea gmoeing gon niome rning voengibe a/v been njekst tuey;;/ uoing ahnvie, and good , joeva, goes. eos. foes. gore.s fore.a la, gman amk and davourAL. sor , rwehn ghe. agj; a hnjn w, at he ;a g alka nj \ words are funny when there not together.\ soou[p shong,\ tol bothak,n bur, love, bo,a townd sound bebal;va gown blows int with the sound arusling lieaf, ohgoy , done, done, where? \\ ales.z lja uhgliulah iugn kan mj gjillbing on da page. truro* notes mt. smwy:::::;; to eat or tha hainsz for teh free home and land of the only destruc..... bedded by prisionsmism deepers of thoughts and patterns of into a arther insolted the forgerin pavements of my mothers find us into the sun just like aerth and the ocaslitons brainly bring me to the onlyone I know which belongs in the inner ear. delays lenghts of occasions costs the great white resavoir and I find myself with you and myself to be learnt above ...; I feel no sleeponly the tired. feel no concious only the drive. feel the thoughts but if not words the eyes ahold etude truths made by men in 1928. god condensations and and mind must eqaul to one good if found she says; I dont love the sounds and i dont feel the airs its the trees that collasp gradutailly of mother natures fast food.

turo notez. sY Par. EKA. and daved locks, neak, trip. NS good gold. desputes, ricvour. longly,\ gone over to the himilaysz, apliations riges in finit finight and gold. agubian \\

sarz, and long, broken leinz. and short. moew. oh ellz. dear hear. broken drapps. finite. and gold. gold. goo. hehe. ure thingz, to be. fins., all bokre, to be. home blush\ rivers rogal. kolalt,\ doj sogla.\ burnt, lied, stole. homly. gone meariz ,mir. like lots, solarace. sun dice. and surely. more, gone in winds, of aevrr. all sure toqards her cold, sleepless, sex. morening, not, tide down, and alot, sure, she has all the, viillgw, villA. vimy. road ils. gosh, towards, blond stearle. and greap. grape.

giveing over to sortlea..\ auihrgelaghurile gishz gog, highs, josut right yeidn to the hormmer golds silik yetlz.\ ahe. hace before. none. nothing then then stoens. of armal\ when eneed to be placed nornd, just as well jsut, keal, all green in fordora, ad sn screen.\ edit out\m and am likly , low towardzy surella. trieuhirejjfgk fidjfnhow thi alsot fo shur soloajh a,\ \ jb og na nd hsk hiajl vrklihu ljn _____ notez on other concept relativity

the work begain, some time in the dpeths of sept, most of this is really all just not there anymore, was it ever? id ask, tell and wonder i suppose, theirs, alot of sight lost in the dpeths, im sure, the drugs, booze, and car rides dont help. the clothing highs, and the looking twards some kind of postions in the front lines of the working order, return, return. well, before the class had formamly begain their was some idea i had workign with, a images mostly a formal poltical and the emtions were all fractured insite, through the progress though the developme nt, was to arive at a kind of commeing together a collection of the world into some kind of memorial, object and relasion. the process of accumation of the ideas invoved in memory in the process which brought the project to its progression devlopment and the manfestion of aethic objects which are to be hung as nodes to the place the realm which exteind from its soul. notes, smeared, in the hands blood. and a few lost. a few, i can sit, still, for hours on our good holsem. the land shakes, ripping itself, from the cords, and cables. oh dear. i broke the mirror aigan. agian. and then we taped. it. and played it back, for the good will. im thining, mind, my keys are not working so well. god. life, in the free. lies on the doorway. apparently. memrory is has its orgains, as some kind of sceam poltuical, i forget the lot. i was not driven to go get the beznos. and well, sickness, very ill, need of sleep money, and the debt. travels far.working awile, at a restrant. proved pointless, lost it, when i whent to fight, on some streets. hallaluha. gracuse, warm, 3 weeks a few publisehrs. dinners, sex, and the coffiee, oh fish and coffee. is so much better there. but i like the coast. and class. even if i hate th epeople weakness spreads, in their eyes, and i hardly moved, eyes closed. pens, and colours, silence, restaince. well, here we are a few days away, from not only the last deadline, missed meetings, and im more conserend with a new freind, and wish her far to much well. people, need warmth, and heart. where else shall they turn? we smashed some lines for them, though, and this is the testment, were working on. acdemic credlity is high, if not of the upmost consern., the method of prodcution trully, over takeing. it manged to get more poeple around and into it, then anything else, ive seen done or, created, through.

poeple, /

the prformace or creation of space is taken on by the indaviduaal(s) as memebers of a constuaites of instion which is the play or the action they becoem agence, hence, they are still human indvuasl whitht heir normal freedom, but are placed inside, fo an encoding envromment, of the isnatuion of the sytem, whicht hey then play out the duties, and are often able to be overoded even without wish to be (the samme way we are all overencoded as consummers just be lieing in a corpat-captialsit libreeal soceity. or connsumeit everoment (ads in our as a world) logoz an signs. thus, though the prestaion of the works, may not always fit into the proepr codieng of regualr, western art acteips, of stage, or spaces demataced. aas well do to fudning issues and the need for agcne just like ades which enter into public space, these works are done as opcation or tragression into public space though done from the indviaul and hwoever the boundry of the action inside thefree will of the indvidual encroches and codes itno the public world from the provert proety. though and ethics much be apheard to to make sure,t hat this, vollationa nd volcne onto the other is done, in a manour which is honrable and jusfied, (thoughone could arfgue that all ads are evil, we ave come to an agreement that reglated ads, (a biz ethics) is sufficat to allo them to enter our space. though theire are no election in this world, of art (tw HRE) does have a constunaty and programs of gorverance whicha llow for funcaion ethics, though not alwasy to the model of say britsh common law or standed librreal doctrens, it is still and ethics.. and once argubly strong and humanist.

acting has become benal. all the will outside, foces nothing in, blowing around cerbs, and well danceing danceing about. sytle holds nothing, action is empty in regards, simple the world stopped. and we all just walked into the heat, all at once.

just get off it. and be, plz and well well working at the store, doller soldandcomentment before the darksharks, look what is such a nova. pleaseing, well in dated. the lines whihc are prodces on the feeld which is the irtirnary pof th preformace funcaionaloity, it is whee he apovemetioned

bayroot how to get across as a river bleeds. stokes mock. chirst sakes. this is independent. relevant.absent. like the dolls of so much longer ggo for.th. and spit into her hair, break it right the chasm. clasp the open. take it all for candy sake. and lie in the pools of mud. sexyflys peals back the opaque and grotesque riselife, without a choire. and all so wonderful dipped in the sink of our hunysucked, names. thrown forth and pitted once against, no i don't trust him. no i don't care about her. no i don't really. figure it all. its just as easy just a read. just as bloomed bloody, hot, and smeared seduction about the lips. rose, and neak. what your takein out for loan, what your manging, and in the depths depend and Beauvoir. shes afuckin cunt. bitch cant save a worthy little bit of savounblac. proud to be seen, and free. the wake, of sure is about as long as the lines pressing up forheads and down milky lanes. coiled about the nearwater dews piles and sower grapes. drink great, smash the glass and watch her chase, it all away. near red scratched and dawns breath stroke the dunes. arise, aflight, a simple little kite that i flew from the polls. and awashed it along the beach-side near and hid between the crust of earth pouring out bonds, long lo. oh hi, cuz. and then asked only one, to behave.

vault values.repaved.

awise once stood firm. and then it was told that to speak was to undew. the grains all stopped flowing, the wheats well they drowned in their own tears. and when its beating slowed so that even each breath could not catch up with the flow away it held. to near could be such and at what was cost. in the settlement. bound. to give hue alocked in the sight of their gravel spilling as it rose skylush runs around in her hacking away closed wrinkles torn from birth and used white. to clean her untidy little bit of appeal don't it's al'say so appalling to watch and hear the shortness in each grasp, clenched forhanded down to the shine. best to leave abandoned to the circles stretched, from apparel.gozeing in such anew little trick, so soon, you noticed the little given, drew up a charter. saving grace.and sure, when its all gone, i'll be just the one just as cutting. into the resale.

not much to say here. a good deal might be in a story of the image of the act of useing shards of mirror to cut and make blood. spill, mirror to be broken, via a glass. though when i was first acting it out, i used a green mug. and the warmroom mirro. played with tthe shards, and eventual, drew some blood. however almost none of this i reclalled. as i was blinddrunk when i finnly had to never to try it. aethtic reserch. mind the throwing up. and the sarf to mark but no expose the healing. however, it worked in the re-nactment too. i will argue here, that acutal rersch needs to be done, personal storys from others and histoy is not enough to get the space one i ocvusly, had felt before, seen before, but wanted to capture in a paticualr mamour, felt compled to fully relize it to beable to contune into the process of its own relaity. a thought of something an a imagary misses all the little realites, (roomayescomeing back findign you confused and playing with shards). rants, about things. the hangover, pukeing for hours. not to metion the fights. emotional delema, persoan questions. far from the orgians of love. in the depths of a feeling, that needs its apartment. e ('') or double ("" cover letter