Thomas Lowe Taylor -- SUBSTANCE: THE MEANING OF THE SHADOW

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The Serial: That there is out of any initial or
point of contact, origin of the line of travel
and where compromises of language, even,
extend through the area under review to
the open space. Which is to say that by
reference to that point of origin, distinction
effaces toward the value of the choice through
an inherency of data; beyond the area of
remembrance or complexity, the strand of what
it is penetrates or rather extends from the
material. So in following necessities via move-
ment, the selection of information (capacity, etc.)
removes to the completion of the set always
ion an ease or strenuous direction of attention.

As of the taxonomy of acts toward their
occurrences, toward meaning, that initiation, rather
than memory occurs in that space assigned to
the term "area", a designation which is throughout
both a purpose and a solitude, and so
what is most refreshing, there, out of being
told where one is ("you are there", or, "there"),
is not quite accurate to the machinations (if
that's ok) of the precise relation of acts to events
in their magnitude, e.g., flight & location, both.
Through the patrimony of direction, and in that
fused toward the wholeness and distinction
of a movement through special choices, and to
have contested that design, by moving, there
is that which comes to rest, throughout, like
"speech" and is in its place and moment
that bridging to event by which the allowance
omits its presence, a-catalytically, and then
goes on by

The arousal to form: A perpetual and insistent
resolution to density and specific intrusions
gives character to the indications of the act as
its clamoring style of attention focuses through
medium to its actual charge and diminishment. So
to arise or enact "image' in its constancy
would define that specific effacement to which
one is subject and object. Beyond calculation,
which is included here in posture and claim,
the excitability of regard provokes the content of
the design to its charge & propriety. There, and
moving on, like reading, where the light lies
to hand (specific), including the moment of
contact within the area or enclosure, e.g.,
"lighting that space" (Olson).

I mean, simply, subcategories of attention, lesser
in magnitude, actual to light & space through-
out, then, as the one & singular attributes
of detail emerge, Consequences! but speech
reminds through passion and discourse, and
especially as they are mutual, a voice declares,
and events to their communion, so it is
really both ways, in their simplicity, that
it is known already, as a specific passion
(Boredom, for instance) arrives through its imagery.
There we have it, Acts composed (sic) to their
space and read, moved, out of dialect
and the renewal of what is permanent
not by agreement but by enclosure, embrasure,
contact & charge, as sequence and its
inherent interference with itself gives
way to a specificity of feeling or transmission.

Relation to the Absolute: Centering to the power of
the good. Sub-category of intensity. In turning,
to pass on through to the immensity of that
space in which "designing" occurred, as a
strategic description, causal, as one is outthrust
in the dimension of his acts as they are come
upon, as that special and redemptive cleverness
to which one is subjected. Tha(t). and no
following.

"When one says that a symbol has to be 'interpreted'
it means that one has to ascertain the existential
contents which fill the structural container, the symbol."
(Rudhyar) Two items, here: That immediacy with
which the above occurs and, from that, the obvious
relation in sequence of image-->behavior-->symbol
by which a sentence is given its place in the
paragraph, causally necessary, by which we are
thrust upon the truth of Tucci's statement. & the world.

Encrustation & Lesion: Or specific instances to their
content, entrusted, as they are, toward a monument and
archive, within entire, but off and one through a particular
of passage (initiation) and what that is, to a special
dialog or relation. No move too slight. The occasion of
plenty and an active design; through her place and
name of one and light to the time of her air's place & name
of the one to its special place and light, you, as a tune
or harmonic, wherein distortion, etc., sure, as the
light and time of her place to special disturbances
there and ongoing, as she is, to touch & special
Knowledge, as that which is curious, out of rescue,
his special powers, finally, emplaced, whereon and
the rest to words (they are) and on and on through
its particular space of passing, and said, too, to
have touched at all points, moving, to her
actual time & dying, as one is cast, aloft.

Buttressed up among, but the actual and
precise valuation by being, where it is light
and noticed, through her place & name (here!)
and the rest, of course, "yes", for instance, the
actual pressures to which laughter, even, is given,
or thrust out upon, open, to be or say that,
often, as one does, to touch or be her open place,
(that!), as is the rest or resting and on her
time gained to the time & place of her acts,
bent, bent, and going aloft from resolution to
the finest flight & song from pleasure gained
from the reference ("curiosity") and quite simply,
the eyes all but closed to that, but first,
to transit (transmission) thrust, aimed, scanned
down as one is, projective (a verse), and
on in, aimed out to light & pace, there to
review, reinstate song & its voice to a
center, Me!, and then specifically letting out
& down, letting off that for this, as a review
of pronouns can signal in the head-thrust
wanting after image that any contact is
made in subject only to the one & center of her
place and name and calculation after being
to which one is sent, sent, but made
after the manner of one's consciousness, There!

Santa Barbara, California, 1971