Thomas Lowe Taylor -- MEMORY-EVENT TRANSFER (1970)

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Round diagram of strength: pasted across,
these after sensations, of a wet slide, we all know that.
between what follows, the sequence of anything
to its purposes, and pausing across the acres of what
it is to its design. Image through idea: purple purple,
the idea of the range of the diagram. And then round.
Read this for that. and this for this. THIS.
Discourse on "topics". But walking through.
his airs are thorough, what passes for ideas is not
solely fantastic. What means of birds to their passage.
and all that. But new. And strong, his airs passed.
The ice went along its path. To be what it was to
the domain of pressure or calculation to which it was.
inherent. And the moon waiting in song or furtherance.
these details of the job the job of ordering the work.
to do these thins to their advantage, and study to
its solitude and peace, therein to rest and pass on the way on
through

which we all know already, it is that, saying what is manifest
what is there already manifest, to wait in the course
of the course, hearing what has already been said.
An insistent recall of detail, the pauses of time in a
schedule of motions, undirected and forgotten, unnoticed,
and these passages of chance to its law, of diagram to shade,
resolve toward light and form, what is that? What?
(what is that what). . . . . . . . . sentence.
The pauses of attention through voice and act, to the thing.

A surrounded space, of the point and line from which, from
and into which a mark of movement would describe what is
manifest to passage, the movement of the thing to its place
and mark of insistence: the topic and the topic, here, what
is a poetry of ballast, not of description but of cause.
is it only the voice of the man under way? or is it also
as dry and discursive as (this) is. . .to its space, and what
of those lines (out) of imagery, now that image has its place,
a locale of data and behavior which thrusts the man forward. . .
so it is one thing to get the image, mark, and thus! and
then to move, and to move without the picture to move with
the word, as any intelligence shifts & thrusts forward
to its place, the "there" which is "here", and on and so on.
So there is rendering & cause, and why am I saying this, is
this what a poem is, or is it not, like's Pope's Criticism, or
for us, just what it is there as it is moving & no object.
a consciousness without objects is also without subjects, is
simply centered on itself and then out to nowhere which is
what is there, as a space & place, and not stopped, so it is
that and moving on toward world: it is a position, as such,
to find the poem in the words & another to find it not there,
but elsewhere, which we all know already, and picture
to its evenness and time & place to its discourse, and
words to their strategies and images to their causes.
and picture to its act & doing. and world to its world.
Causations of gesture. Is he telling about himself?
What is the poetry of egoless states? what is the poetry
not of persons and not of consciousness but of "world"?
What are world acts and world thoughts, past primitive to
the area of our knowing, through what is there to be known
to the color & smoke of the act in its sphere, on center and
person, where gesture & word recall what is there to be done,
and where the person has his doubts spread not shared but
done out to tell and sing: past the genre of display,
what necessitates this obtuse discourse, here, to affect
that mood & gesture of time to its area, of balance & tone,
past a historical & psychological tense to the actual and
dominant place of the thing as its subject and discourse.
And as it goes down, not to watch but swim and tug, to feel
the turns of the air and lesson to their heart & doing: thus.

S E E I N G
transfer
scan
impulse
union
series
conjunction
memory
act

1970