Thomas Lowe Taylor -- ANY VOCATION

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Time of seeing,
of the image comes
through any perceptual
lap-lapse
to identify any
thing & move in on its
temporality
temporareity
eg zoom
on line, so a
handbook on seeing
wd have moves like
as syntax, or utterance
eg motives of breath
but the eye’s metabolism!

And no consequence to it, seeing anything corresponds to the increments of selection (numens) relating to choice-levels, eg, for a designated sequence of compositions.

Measure of time lap-lap for designated centers, that the resolutions would be made quickly and faultlessly, and with no relation to series, eg, no memory.
Targets and shadows combine to new dimensions of speed though the total value of any piece, eg jokes, must account for error.

Composite reality reduces eloquence to volume, where tenacity displays consciousness to itself, where the revolution of thing & space determine the other to its course.

In discourse, to remind the false tenure of objects out to the boundaries of acts. In speech and discourse, to separate words and voice to their respective polarities, and in event to discern some rapidity from time to acts.

There, in the actives and plurals that surround image, to know what precedes the seeing as an order of experience.

Out of such blackness
To
encounter some
light,
thrown off, cast,
the flickering out
to love’s angle of sight.
But any center
of defense would
carry it out,
the thrown
masterpiece lodges
suddenly, there is
a replacement of acts,
or some acting-on:
the proper dismay
hesitates
and skipping
toward doubt,
ambles through.

but color & line distinguish,
the voice’s act & ear
to mark time so to its
occasion, & there, to
lapse out to order
the angle of seeing
& wherein, some taste,
but poems, too,
and the line through,
from event to cosmos,
is reflection & sight
eg, target
& moving the order of time
& time’s own ordering
both react through
to the act’s own space,

But a form of creation would
sail through the
event itself, & be held on.

The tenure of acts out onto the plain of sight, where an event is seen, a monument to time’s own solidity, and to be marked off so solidly, to become a thing and an act at once, out where some cutting takes place, or did.

Some simple syntax to the leader’s own place, it is leaped, over, and in the one of acts, then, to see, but resolution’s discord elapses to the style of act or personal of mention of which event is at-large. Through will’s error to a target of hesitation, at the edge of sensation cast or lodged, where a subject eases into discourse as something seen and described out of its natural shape and time to the persistence of accuracy to which elements subject themselves in their very eloquence as things in place, in the time of their placement which is both reminiscence and act, where these notes contribute their gestures to the motive or active which is moving toward light.

Any notation carries its accuracy out to the scene.
Any postulate revolves through its neatness to poetry.
Any location serves the area under review as a note.
Any gesture provides sense to the syntax of its motive.
Any image resolves distance between scene & touch.
Any contact reserves itself to the moment of view.
Any tendency resounds out through the error which composition lessens.

But it is style where the subject (self) lies-to, where the act in its gigantic proportions looms up out of the desert into a space or sensation “to-which” the actives or verbs of acts are regarded, where the increments themselves lose their concrete exactness and become the becoming they are already, become participles of movement in the present which outlast their object-density and perpetuate the viewer onto his own sensation of being, that is, to see, while the experience underway collapses into contact.

Any vocation its own and same place to move in the histories of consciousness to a place & name of Being, for the thing and moments of one’s own life to move them into conjunction with any other vocation, that Being.

Any vocation the same to its contact of centers, where the motive and seeing coexist toward a notation or extension of the person into his visibility, round and perfect, not as a “view” or as an “act” but as the drift and pressure of what is actually there.

Resemblance through pressure, and that what is felt as contact is a reminiscence or a duty, that is, where the water laps and how the light is composed through its space and time, whre both relieve toward the actual light and seeing.
Any density to its resonance.

The density of a vocabulary would be the presence or the presence of an instance of relief toward the geometry of a composition and always through the isolation of a content or a resistance.

A poem where light excuses itself.

As: What is prior to acts, the very willingness of pressure to a relief, that a vocabulary would precede distinction, or that naming and acting (with respect to the states of elocution) would resemble only insofar as they are acts and as they are, they are images, or there are appropriations out of which information descends, arises, not alchemically; that power resides in the image proper, and the information at bay is only a precedence of scheduling or a datum of persistence: energy arising to information by pressure or density: a vocabulary made of intentions.

Resurgence of detail, or the perpetuity of the screen, as a vibration of visual experiencing recurs to its dynamic of inhalation/exhalation; or any movement constant to its center, in revolution, of extent and return, or how the sensations describe the state appropriate to their resolution, eg., of continuing through event to cosmos and of the return through cosmos to event via the very protrusion to which attention is subject (eg., object) as itself. The final tactic of following is the only instance where intelligence is offered its play of choice, and there chiefly via repetition and feeling.

But the image of repetition is not “the same” but a recall of feelings separated from situation; so the visual situation of sames is only that, or closeness of detail and not necessarily a repetition of acts. An act would repeat via its relations in-series as: AA : AB : AB : AC is only stuttering and not a “same”

Similarly:

has density as utterance or as a composition. One should not look inside an alchemy for sames or repeats.

It would be this, beyond notation, that the cosmos delivered by act via event would of course be the same in every instance; it would be that every chemistry yields the whole cosmos to itself, and that out of its “imagery” would a constant whole lie-to. On the other side, ultimate variety or approach yields referents as information to the whole cosmos.

It is, then information and tactics of imagery appropriate to accretion, conjunction, and relation, all in terms of image, which is here the series of acts.

The meaning of the sequence is return. The meaning of the series is following. The meaning of the composition is the cosmos. The placement of information therein is the strategy of attention in its furthering toward “the light,” or turning.

What is light? Participles of energy and language are manifest in relation, and we come to an absolute of definition (eg., what is light?) eg., light is acts, is seeing, is person, is a half truth as it is language (wrought) as act and saying. Light is exchange, is the capacity of the view or act.

Light in relation to its own system is discourse; and how is one to separate discourse from the cosmos? In sequence, or in conjunction, the cosmos dissipates toward acts, just as in seeing, light dissipates toward compositions which yield cosmos.

But there is no decision to be made there, it is elsewhere that choice lies-into acts: there is the nature of the person and the nature of the material to consider in their relations. There is nothing predetermined beyond capacity or agility, there is always the particular surprise to locate, a fusion which yields light (bursting).

Order of precedence: within the composition with respect to sequence and series (as image-act): aba=baa. Ordering as style of act yields content to its motive, as placement indicates either sequence or series. Problem of sequential serials, which they are, developmentally, where a rhythm completes itself, in the person in his drift to the light (visibility) would be, with respect to centers, the proposition being that sequence is centripetal and serial is centrifugal, at least to a centered act. Centerless acts would become a reverse or negative of movement, an achievement toward stasis where image is a state, not an act.

Order of experiencing within the composite (cosmos) would yield the whole image to consciousness only as light comes to be a primary relationship as topic or tactic with no distinction.

The whole supposition of hierarchies or orders of knowing exists as a primary achievement of sames. In an event of oneness, where relations of center and light are simultaneous, there is no longer any question of sameness but entirely a moment of composition where resolutions or futures are developed without consideration of consequences, future becomes incidental to the development of information in its appositive skill of reflection. That is, act yield futures as they come to be seen, as what is unfinished permits an extension of the center into new areas of composition, the cosmos yielded to its light, as tactics or trials of the one. Which is this: love’s act most willing, arisen from style to discourse, first, and finally to contact, one to one, where light or energy (not exactly interchangeable) coexist in the image as the product of relation, eg., the child of the coniunctionis.
The light which surrounds the body is an emanation of choice.

Final considerations, where the “eye’s metabolism” is at play, immeasurably quick, would place the center of the light at dimension, where space yields to its roundness and distinction (from, for instance the composition), where the final and personal achievement is the coincidence of the event (the time of the seeing) and the emanation of light which is personal and spacious, which is to say, that co-relation where event becomes dimension, that alchemy outlasts the composition toward its permanence in the cosmos which acts are, anyway.

An achievement is troublesome only if it is forgotten, and forgotten only if its meaning is not understood, and not known only if it not placed in terms of the kind of act from which it is taken, eg., sequence or serial.

Sequence: unrelated placement, that is of surreal and boundary-less or chance intercessions.

Serial: placement by influence, in which a cosmos is discriminated by its occurrence.

Serial light fills the room.
Serial light fills the body.
Cosmic light fills the image.
Cosmos: the event which describes the conditions of the act.
Simultaneous event: that is, of act and consequence mutually coexistent, in the same “time,” coded to their space by the intelligence at play, where that which has broken through consciousness is welcome, the light of it is at once cause and symptom of the act itself.

And this “act itself” has permutations, too, of distance or choice, is complete only as long as the discrimination required for its registry is underway.

The time of seeing completes to the space of being present in the image, it is bringing an order forth.

And in the complications of naming, love lies in the suggestion of completion, as the final and active energy to which one is given in the time of his being, whre the totality of one’s registration “comes into play,” or “plays one into coming” as a co-existence or conjunction of act and image (the him and her of it) which yield the child to its light of being in the space one has declared and made by the content of choice and the power of the good to which seeing inclines always in its increments of accretion and distinction.

The image in the body.

Notes:
Gertrude Stein, Composition as Explanation (time)
Pierre Boulez, Musical Technique (series)
Donald Sutherland, _____________ (classicism)
Michel Foucault, The Order of Things (resemblance)
Charles Olson, Poetry and Truth (sic)
Paul Caponigro, Photographs (see “writing”) (innocence)

MEDIA IS DUPLICATE

Missoula, Feb 1973