i am no man.
i am no woman.
i am a coruscating pop explosion.
( the super nova ekstasis )
.1
i do not try to be another anaemic artist.
( empty plenty pose pastiche )
i do not try to be another sterile shopping star.
( shopping malls universal puppet rock )
i do not try to be another slavish shadow of esprit.
( sparkling savants, mere matches that need to be enlighted )
i do not try to be another illiberal entrepreneur.
( grazing blind cows of the bustling banal )
i do not try to be another romantic revolutionist.
( this subject is not going to be elective )
i do not try to be another nomothetic nasty.
( indoctrinated by inanimate instructions of the impotentia )
i am no i am no i am no trivial machina !
my self is one incommensurable inflammateur with utmost elegant eigenbehaviour.
what i bring forth is to confront my self with my eksistence.
for if i do not create my self,
i shall remain banal.
.2
i do believe that art's graceful grandeur must be recovered.
art's ardour arises from amazement.
devoted to her dignity,
i crave the comeback of her gravity.
all art is presentation of the infinite.
( thus, a thaumaturge is what i am )
.3
i do serve my hidden empeiror.
his majesty prevails.
( beyond the veil )
however close, he is always unapproachable.
and when you gape at him, he gazes into you.
his name is namelessness.
my dear uncanniness.
( oh arrhêton )
.4
i do create and not define.
? symbolism ?
pah !
écrasez l'infame.
( eksistence is not a symbol )
all interpretations and explanations, all means and meanings, all signs and symbols shall be abandoned.
( no proxy needs my soul to breathe )
definition may follow the work, but the work may not adjust it self to definition.
.5
i do revel the relevance of resonance.
? quid ?
pah !
quod.
thought is wonderful but adventure is more wonderful, still.
.6
i do prefer disclosure to discourse.
we are addicts – addicted to the dominant dictum of discrimination.
bleating sheeps on the meadows ov meaning.
blind and deaf for the ineffable.
still dreaming on the tiger's back.
( language is simply fascist )
.7
i do pay all my attention to the fleeting moment, pulse and breath.
! the here and now !
l'évenément exceptionelle.
( irretrievable )
( inimitable )
( irresistable )
this 'once' is radically 'everything' of life.
( kairos )
it asks for your response.
.8
i do cross all demarcation lines.
here-as-here ainīt here.
now-as-now ainīt now.
art-as-art ainīt art.
may i remark:
there is no rupture without rest.
.9
i do incline to arrive too early instead of always being late.
! toujours-déjà-là ?
pah !
? arrive-t-il !
( being eccentric is not enough )
.10
i do insist to give outstanding presents.
i am sure you know the pleasures of unwrapping.
( i call it temporary enchantment )
my bounteous gifts are irreciprocable.
.11
i do ensure you that the world is not in front of us.
the world is not an immobile imago.
rather, she is always around our selves.
( periechon )
the intensity of submergence corresponds to the ecstasy of emergence.
therefore, my work is made for diving.
( do plunge into my pyroclastic pools )
.12
i do no try to say anything.
i try to do something.
as pertains to the tendency to immerse one self, for this there can not be explanatory texts.
( the moment the story enters, the boredom comes upon one )
the only thing that matters is the very juncture of panic.
it is the shock of presence.
.13
i do wish to raise worlds.
i do not produce some good to be put in uniform space.
( i am no exhibitionist )
space is no indifferent container.
therefore i wish to reunite the experience of time and space.
what i do is tuning space and tuning time.
what i do is raising worlds.
! vive l'arealism !
! vive l'ambiance !
.14
i do strive for my most compatible complices – not spectators, not listeners, not bystanders.
as what i do is not for masturbation.
it is for collective orgasm.
( there are only two things in the world of any importance: love and art )
.15
i do accept that communication is improbable.
but if communication does take place, the involved communicants may overcome their separation for one vital moment.
( becoming satellites in my surprising system )
and still,
it is not communication that makes art.
it is encounter.
.16
i do agree that trees endangered by the wind do never break but merely bend.
and still,
it is not the bending that does matter.
it is the breaking.
( smooth ice is paradise for those who dance with expertise )
.17
i do prefer the raw event over the regimen of reason.
lucidity may be the foundation of awareness.
but truth will always slip away from it.
reasons reason is nothing but regressive repression.
reasons reign is nothing but the dominance of the delirium of production.
i do exclaim epibolé !
.18
i do despise inference as inferior.
every thing that is contradictory creates life.
( it is only the intellectually lost who ever argue )
.19
i do believe that truth is entirely and totally a style of matter.
it is nothing but a moral prejudice that there is truth without appearance.
( truth is revealing )
( truth is concealing )
it is the aim of art to reveal itself
and to conceal the artist.
.20
i do reject conventional concerns of morals.
? good vs evil ?
pah !
my self does use lossless compression.
in art good intentions are not of the smallest value – all bad art is the result of good intentions.
the aim of art is no more to give pleasure than to give pain.
( the one who wants to be an angel becomes a savage animal )
.21
i do abjure the cult of usefulness.
the monoculture of usefulness is signified by scientific streamlining and rational sterility.
art sets aside the symbols of utility to set us face to face with actuality it self.
( and not just face to face, but like a wavelet in the sea )
the sure way of knowing nothing about life is to try to make one self useful.
.22
i do not make my self subject to the requirements of the real.
smarmily docile social critique will never be one of my options.
dissent is a spectacle of its own.
and rebels become spectators of their own rebellion.
( ridicule rigmarole )
power produces all perspectives, including that of its own resistance.
.23
i do reject the ready made role.
i try hard to evoke the unforeseen.
( peut être )
and it is only by expecting the unexpectable that it shall be revealed.
( my propaganda of the possible )
.24
i do avoid the onedimensional cul de sacs de pensée unique.
cities have much more to offer than roundabouts and one way streets.
moreover, over and over again, i prefer to take adaptive walks on the wild side.
and – you may agree – there is a certain point, from which one never will return.
( this point has to be reached )
.25
i do regard the national point of view as out of question.
? l'état ?
pah !
it is the gelidst of all gelid ghouls – and gelid are his lies.
no human being can be interested in the regional.
except on holidays.
( i do say hén kaì pân )
.26
i do carry my fire to the shallowest valleys.
itīs said that perturbations do help a self organising system to find more stable states in its fitness landscape.
thus, noise will in general increase fitness.
the stronger the noise the more the system will be able to escape its shallow valleys and reach a deeper valley.
well,
i can assure you,
it is much warmer on the heights as those in the valleys would suppose.
especially in winter.
.27
i do talk with fireworks and thunder to your slack and sleeping senses.
every thing that is popular is wrong.
art should never try to be popular.
instead the public should try to make it self artistic.
( much more important than making art is how to make art )
.28
i do prefer playing with the greatest of pleasure to working with the deadliest of earnest.
( aliis laetus )
( sibi sapiens )
merely a game, thus is the universe.
a game without a why.
it plays while it is playing.
.29
i do love compliments.
people want to give joy by praising.
i would sadden them if i did not take pleasure in their praise.
( be my bisseurs )
.30
i do assure you that my word has to be tenebrous.
( i am the twinkling question mark beside your premature assumptions )
do never trust the teller.
trust the tale.
ainiktês.
( moi )