by Jeremy Hoevenaar
What's on the table today is what we've put on the table.
We come to the table as experiencers trained and partially equipped.
Sound drips down from a fountain of proposals to fill our cups.
Our cups become plates. Spinning, our plates become hands
and our hands are brains waiting for a mind to wire
the divide between them by an awareness of the distance.
What's on the table today is a score generated by its own performance.
Today we assimilate, tomorrow we sample. There are absences ample
enough to receive all impulses.
This isn't the world. It's a laboratory for the development of new
communications technologies. It's the marriage of what happens
with what makes it possible. We eat only hinges and let events
swing freely from the sides of our heads. We've gathered here
today to hammer the malleable metal of a calendar,
to flip the switch from imprint to potential.
With this ring, I thee pivot.
I thee spine and then unspine and vibrate and open infinitely.
The cover is always the last page.
The last page is the curvature of a sermon.
A seminal mounting. Count on it. Start counting. Reach a number
I have never heard and hit print. Take that and divide that by
the frequency of a mutual breathing. Writing an esoteric text
on the alchemy of a plucked string, we find that the plectrum is a fulcrum
and that events are the performance of the physics of leverages.
The angle of ascent determines the sweep of the shade.
Discourse embraces the flummoxed arrythmia of a curved chain of mirrors,
the chain breaks and solos scatter and cohere into a lattice of interactive facts.
The answers are asking the questions.
All best guesses kept for the guest consciousness.
What's on the table today is a model city.
What's on the table today is the method of measurement.
What's on the table today is the body of a language struck animate
by the sky and speaking a new collaged hypothesis,
a grass-fed mathematics,
a map and a habit of unhindered extrapolation,
a song played loud to explore the source of hearing.
June 5, 2010
photo by Chad Nicholson