V I S I O N A R Y E D U C A T I O N Thomas Lowe Taylor THREE: THIS:EVENT INFORMATION SEPARATION ...as against what we know went on, the dream: the dream being self action with Whithead's important corollary: that no event is not penetrated, in intersection or collision with, an eternal event The poetics of such a situation are yet to be found out. Charles Olson, Maximus V, the opener, January 15, 1962 * * * nonsense insense outsense As one becomes the many, to get there an image in its very constituency, as parts, as metaphor for seeing. The degree to which cultural preoccupations persist is personal. THERE IT IS, or Spring: has a ruffled edge, the sap. Flow or turn out, as light escapes, toward the new. Had a rough edge to it, winter thought.s Water-bell ing, the boy in the corner of the picture, with the ocean flat out, rising up behind, in the picture, the sun coming off the surface, though no detail of waves lost. laid into a zone of response. Cause separated from Event. or, feeling: be it a stone, or wishing. How he finds it possible, and to have it there, tonguing into the earth, where she splits & cracks, & boils up & spits, & not with fury, & even, how she is in that, & gets out & in again, to make the center point & wall. Celebration of the event. Straight line In & Through, as movement/as activity, followed, air and air whistling through the trees, NOT: closeted (in the house, directly, & in thought behold as it came off To weld, in / direct / ion, had said, But particular, A : a on in. Shield, progress-ion * * * Meditation and Response continual vectoring of new information / Retrieval notes: commun-al-ist / "commune-ism" / The rough edge of time resolves outward, into close range: attention stands, and memory holds == through into the new, or laws of serial space, of being phenomenally "in-the-world" as a glyph of being, THIS UTTERANCE / the very I am of being, such as it is spoken, this thing, man, that I am, in word in language spoke, and said, of being one in things / so: outward, that begun and interrupt that it is as spoke, as serial thing, act through event "the eternal event" Right? coming-mouth, and right on in, to touch, her, where she starts up, wet and well, tongued-in, and eyes open to her navel, and penetrated deep, like a hot depth. She waits (aside, of consciousness, to get motive out, as an open choice, that thing which sends us out after death, and toward some separate and special beloved, and that is what opens up before, and this is the cause of the specific in the one. As a close recognition and special, too, that it comes of course (as a course is set, out and straight for it), to register the terminals of sensation in their proper (pro-prio-ceptive) context. Of course, and the reproducibility of the mode in others to certain degrees (of specialty of performance), the event that is, comes to be seen as whole-ly significant; that is, "what am I doing" yields event, as conscious focus, and me, thus, here, at "verbalizing" and "energy" that is, in display of both: precisely that, and, tho, manifesting language. "We are constantly manifesting ourselves", Roshi tells us. Though he is what he is before that, before anything else, and that is the voice in operation, set out right against act, toward, but in being, my friend, in and of con-jointly. The where "of space", signifies and rightly, where style presupposes (out of vernacular considerations), content: though that should be made more concrete: it is demonstrable that ego and self define "locale" differently under national/ cultural/ propagandistic circumstances, that is, against the enemy, material, known, falsely palpable essence, "the real." Like Ibsen & Wagner, as against the Wen Fu and, perhaps, Pound; where even Baudlaire's eclecticism is constantly informed by the essence of what he is, contradicted, even. Which is the definition, and the form of it, out of which one grows toward reason, out of repetition and accumulation. The trick is, here, of thresh-holds and biological-maturation points, like Dr. Montessori did for the kids, to chart out the ages of consciousness peaks, cf. developmental, and to get for those same offspring, an anticipated sequence of acts which is not tampering but responding to observation and the instinct to be of assistance, to help; so the question about new information and consciousness comes about for this: how do we place the tendency (toward torpor, you said) toward engagement, not choice, but the awareness, in act that, yes consciousness did engage, did reflect, yes, by (whatever)(eg. serial), means, by that mode, but it did that, did. Yes, one remembers in the way out of (into) sequence. The mode of outward. The image, or illusion of, preceded, how, out of, where, the neolithic? And that relation to the activity, not entirely ecstatic, and sometimes vernacular and fold, of the vision made sacred, which we usually as, now, "American Indian Art", sequentially photographed, with crude material-objective text accompanying, a material act, surely, that "way" of the book, even in those solid terms, cultural (MOMA:1948). And alterable, and possible, that is, likely, and advisable. The notion, there, of advised action for purpose, or acts-out-of-value. "He does not think anything is the matter with him." (Laing) Reductions of attention, such a schizoid behavior, the very image fades before response to it, that is, of coming back on the consciousness-of-consciousness into further acts. Nothing diffuse, here, that any manifestation of purpose or interpretation of (the) said, as owing to a motive for existence, and reflection is that-which-is. What is one talking about, then, is one simply aligning speech and time into some personal pace which is actual, is that song? The ear gives word its ocean. The excesses of kitsch and the vulgar are, is, the imitation of taste: matter and intelligence separate into act and cause, from what is whole to what is a reflection, that is the of the literary or the erotic. And to turn to that and out into responding is pleasure. The told. Lived in and touched. * * Or, devoured, that is the message of the past, ouroboric devouring, us as whip-tail, bent around, the tail looking in, the eye ahead of the jaws. Demon teeth, dragon-sown, harvesters of the fields, silence to that, too, where it lasts out beyond time and its intermissions into the open realm. And distinguished there, as stasis-space, no movement, nor death, but nothing else, either, it has sagged open, perhaps Auden's term; the photographs will do, in combination with other things. And "what am I doing" is swimming across from the one to the other, having birthed-out, and now, half way across, casting out. Swimming. the form of it, then occludes / there is, in that version of seeing (through form to event) indirectness where it is meant, & in the term term of it, from Response to the Contra- dictory (against diction, or speech), silence, then, the dichotomy. The second-glance, that is of observation is what kicks it through, the line through the double-vision of the intellectual, which is right, the line into any mysticism is the continuity of time into which each act penetrates. There! Arlee, Montana, 1972 7771