A selection from “Sentimental Intervention” by Dorothy Trujillo Lusk appearing in Writing 25.
Plucked of a miragement of video-control systems while others murmured towards her an ill-will. He reproached himself with his devotion to/in any case. The different trees afforded a changing spectacle, however of its time. By roots in Idealist Abstraction, an itinerant astronomer.
Obviously this type of writing resists. Resists sense making. Nevertheless, there are micro-moments that provide keys. Consider the hyphenation of “video-control” and “ill-will”. A parallel of negative intent. Further on the reader is oriented in/to which is holding a kind of tension with out/from as reading moves on/back. Now, consider the possibility that the changing spectacle is plucked from the condensation of mirage and management: miragement. It’s the neologism, “miragement” that slows down the reading and unhitches us from whatever to/in case we might be going round and round. And by association we as readers become itinerant astronomers, voyaging through the stars/constellations of such language tracks. And by our roots we work with mirage produced by the looking at. Murmur produced by murmur. Language resisting language. Mi-rage-ment: partial affordances for the terror of more cutting approaches: m/i/ra/ge/ment. Like a signal system held on pause and reapproaching abstraction. And so we come to quote the last of these stanza/paragraphs.
He found himself offering. The actress had not a minute to spare. Mass assesses itself in a further dissolution. By day, the daily disturbance effects engineering unity in parallel with rhythmic extension as heard in some of the more mathematically restrictive musics, the joy engaged, the caress of the past.
In case we are going, we encounter disturbance and music. See La Monte Young
His Compositions 1960 includes a number of unusual actions. Some of them are un-performable, but each deliberatively examines a certain presupposition about the nature of music and art and carries ideas to an extreme. One instructs: “draw a straight line and follow it” (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that “this piece is a little whirlpool out in the middle of the ocean.” Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: “To be held for a long time.”
With Trujillo Lusk: murmur and admire result. Repeat. It’s like an unending line. It’s miragement. It’s its.
And so for day 1007