AMAR
you, when you wake up this morning, / saw things here and there, objects, for example. / On her bedside table / say he saw a lamp / portable radio, a blue cup. / He saw everything lonely / and saw a whole. / All that I already had that name. / I have written well. / Did you need other language / other hand, another pair of eyes, another flute? / Do not add. No distortion. / No change / music place. (Joaquín Gianuzzi)
enjoy the fruit http://www.youtube.com/watch?
There will be no love song while you're near / For love is closed when there is something that terrifies / / The fruit is opened only if the bitten mouth, / is argued, is closed, if a knife is wrapped the short / / A knife tears, kill fruit, ahoga. / mouth open alive, a knife disgrace. / / If you could eat rocks and earth / with my mouth open these things safe / / But the fruit knife in front of your close / Your skin and pulp stone in front of your face sick / and have dreamed nightmares swallowed down your throat dirty / to be yours, for nothing / No closes the fruit for nothing, / fruit I enjoy disfruta. me / With fruit you die mad, strangled.
The night is a grape open between the teeth of a child. The night is a grape open between the teeth of a child, your throat dirty, for being you, for nothing. Gabo more to say may seem a bit more accurate to speak in a voice that emerges and bursts occurs in one motion: establishing, let's put it another way, something more, a surplus that goes through the floor but only if we stop to think, only if we can stop thinking of a literal kind of loan for that name that exists in the extent of its spread, touring, word, and let Ballast: Alejandra spoke of the fusion site and the mismatch (Pizarnik, musical Hell), gabo, does it matter indicate whether in the same direction?, cradles images, but to think about the cradle verb is necessary, gabo case, imagine the hand / voice of a mother / God, which calls for a roof from the utter darkness, loneliness, effacement of the subject, voice, soft, quiet voice, silence can also imagine, tenderness, and say it once and for all, the possibility of epiphany: perhaps at this moment we can distinguish, imagine a hand, which in turn is voice, and here, I think, one side begins to circumscribe, very slightly, what someone talking about something else, called image-motion: souvenirs are reflections, mirrors shady, crooked, we found that the self is not a homogeneous substance. Speculate, from the Latin speculatus, which means mirror. Acuna pictures, we said, moving image of talking, stage composition, but we could also say the same reference search, possibility of epiphany: on several occasions made reference to the way in which silence is exercised within something corrodes the parameters of the song to become the event: the same way that the space for the poetic word, song, thought in its entirety functions as the negative of silence: songs gabo words are mirrors, and music, the epiphany of meaning but also its dissemination. The place of fusion and misunderstanding, that's never what you mean, I'm going to ask a favor, talk quietly (that is, from this place that the composition stage of the representations, because the recitals are re gabo -presentations - not only accompanies the song: ES, part of the song; Piglia said on Macedonian and the avant-garde, spoke of an operation that was to build the artistic look before work) I will ask you if the memory returns with the same consistency as the runaway thing left as a trail / smoke, to go ... and if so again, not as a response to a desire supported by the need to fill a gap or fill a void: that the impossible becomes possible, the exercise of poetic word is not enough time, I get a tone in which the voice circuits or intervenes against history or time, "to return the departed" or whatever it is, but necessarily slower and lower, "the lost love " This brief cluster of pink grapes belong to another realm. It lies on my desk in the cold ground integrity of their weight, while I remain silent, unable to oppose my life to carnal exuberance. Almost hard horror fans there the tension of water to the deadly skin as an unbearable reality. Here is a remote events: everything goes the other hand, out of foolish rumor of human existence. I understand that there is a limit on the time step which is forbidden me so that pure knowledge can only be mere mischief in mind. Beyond that is the same land to which we return as strangers in a cluster of pink grapes lies the image of another comeback and this enigmatic be sweet in the pink tends to complete the cycle that began, beaming, in the green lejano.Otros days pass here in another area that broke the futility of a busy life. Ajenoa region of grapes remains my stupor discouraged, but never had better hope this picture: the crossing of the limit that gives the secret will come from the same custom light pink grapes that will go into death. "What a strange thing recall / remember strange forgetfulness / / do not show me what I have / me shows what we had," Memories are
. The night is a grape open between the teeth of a child when he sticks his tongue drips night, dripping vino. / A dark wine in the sun is the air I breathe, / intoxicating memory, distorts the experience. (Silence) / I'm going to ask a favor, / despabilame if I ask again / looooo that is gone, that it moved to settle down, / to return the departed, / Pitch macro-history to return a lost love, / "Microloan memories are clouded mirror reflections torcidosQue strange memory, recalls strange forgetfulness, do not show me what I have shown what we had. FEAR
know the range of fears and begin singing softly that in the gorge that leads back to my unknown I am, my immigrant himself. I write against fear. Against the wind with claws that sits on my breathing. And when am afraid find dead (and there are no more pictures): silence compression, silence the mere being, in that they go the years, cloud, sky, sky, cloud, sky, cloud, sky, sky, cloud and me. More than a genealogy of desire / subject what we seek, then, is its mark: cloud-sky, if they express any degree or manner of reciprocity is only at a particular point of the timing, that otherwise are isolated instances of work of memory: isolated and disintegrates, fades, but the cost to achieve an unusual degree of clarity: the poetic word belies its mere abandoned or language support, and anyway there is exercised, the degree zero speaking distance of the link between music and poetry, but to say that link es indispensable hablar de la traición y eso, quizás, es algo de lo que aquí se está jugando: nube, NO cielo, nube-trueno. La confusión deja lugar al vacío, y desde este lugar entonces la canción hace su juego, porque acompaña o promueve el ritmo en que circula el sentido, se desintegra con la pretensión de imitar el silencio o ni tan siquiera el ritmo de la respiración: allí, la música y sus imágenes; allí, el silencio.
Hay un camino abierto por el romanticismo que encontraba en la imagen visual por un lado, y en el poema en prosa por el otro, las matrices formales de aquello que en las poéticas sesentistas devendrá estrategia/ política de escritura: lo “real experiential "is taken to the level of everyday life and then proceeds to integrate the poetic material: so, thus undermines an alleged translation effect, liable to be placed in the gap between the formation of a particular visual image written to materialize.
different songs, in formal terms, you print to writing a semiotic charge that is not presented to the reader / listener in another way than the insistence, that is, a form of production of meaning that goes beyond the frameworks established by language and attempts to go one step further, by media-like tone, a certain type of record, breathing or syntax, paradoxically evanescent and accurate at the time: cloud, sky, cloud sky and me. Cloud and sky
http://www.youtube.com/watch? know the range of fears and begin singing softly that in the gorge that leads back to my unknown I am, my immigrant himself. I write against fear. Against the wind with claws that sits on my breathing. And when am afraid find dead (and there are no more pictures): silence compression, silence the mere being, in that they go the years, cloud, sky, sky, cloud, sky, cloud, sky, sky, cloud and me. More than a genealogy of desire / subject what we seek, then, is its mark: cloud-sky, if they express any degree or manner of reciprocity is only at a particular point of the timing, that otherwise are isolated instances of work of memory: isolated and disintegrates, fades, but the cost to achieve an unusual degree of clarity: the poetic word belies its mere abandoned or language support, and anyway there is exercised, the degree zero speaking distance of the link between music and poetry, but to say that link es indispensable hablar de la traición y eso, quizás, es algo de lo que aquí se está jugando: nube, NO cielo, nube-trueno. La confusión deja lugar al vacío, y desde este lugar entonces la canción hace su juego, porque acompaña o promueve el ritmo en que circula el sentido, se desintegra con la pretensión de imitar el silencio o ni tan siquiera el ritmo de la respiración: allí, la música y sus imágenes; allí, el silencio.
Hay un camino abierto por el romanticismo que encontraba en la imagen visual por un lado, y en el poema en prosa por el otro, las matrices formales de aquello que en las poéticas sesentistas devendrá estrategia/ política de escritura: lo “real experiential "is taken to the level of everyday life and then proceeds to integrate the poetic material: so, thus undermines an alleged translation effect, liable to be placed in the gap between the formation of a particular visual image written to materialize.
different songs, in formal terms, you print to writing a semiotic charge that is not presented to the reader / listener in another way than the insistence, that is, a form of production of meaning that goes beyond the frameworks established by language and attempts to go one step further, by media-like tone, a certain type of record, breathing or syntax, paradoxically evanescent and accurate at the time: cloud, sky, cloud sky and me. Cloud and sky
confused so long to cloud the sky, / I slept all the time, all the time / Cloud Sky / Sky, clouds and sky / cloud, sky / heaven and yo. tag / tag in his sleep is Ibaa be part of the sky from other than sleeping / cloud, sky / sky, cloud and sky / cloud, sky / sky, cloud and so lived YoY / taking the cloud as the same sky / Then one day it touched the truenoy woke me before the cloud covering the sky / thunder! / sky, cloud and sky / cloud thunder / sky, cloud and yoDesperte and saw where it should be the cloud / colors and other heat had, / had perfumes and had a soltrueno, sky, cloud and sky / cloud, thunder, / sky, cloud and yo. / Back, rain, crying, contasque could not forget the moon / I am yours, you love me, / that the sky changes, the cloud jamasTrueno, sky, cloud and sky / cloud, thunder / sky, cloud and I / I caress and claim back to being my cieloPero cloud ... Can not you see / I now know the sun and sky? / Cloud, thunder, / sky, cloud and Sky and clouds, thunder, sky, cloud and I / Cloud quedate but I do not think you're the sky, / I do not lose heat from the sun, and I miss the color of the sky / cloud, thunder / sky, cloud and sky / cloud, thunder, / sky cloud and I / Nube...Trueno!-Sky clouds and sky / cloud, thunder, / sky, cloud and me. FROM
Rather than viewing, and not because there is no display but because it is a paradoxical suggestion that the leak was made and the same motion-in a sense what occurs is the perception of the event, which is the same as your step when you feel how it is referential evanesce linear progression, and how writing / music ceases to be mere support of significance. Referential shift then not only in relation to content, but primarily with respect to use: more that intrinsic value of words is made in the relationship that binds them together, but also in the relation that links the space involved. Concoct an effect of meaning that is embedded in our perception, as we said, the changes, and at a different time-eventually-back to that in circulating the image, becomes other, ash, from a timing that does not progress linearly but occurs, say, on hold: other, ash, waste, first involves the possibility of new meaning heteronomous depending on the variety of reading / listening and his own variation (what he said, build artistic look before the work: writing poetry would come to settle in both imminent and figurative possibility of artifact, ie a semiotic device that operates to and from the practice of reading / listening. And in the case of Gabo as we also said, scenic perception. I had promised a silence like fire, a house of silence. I have no possessions (this is safe, at last sure thing.) Then a melody. It is a plaintive melody, green eyes, the imminence unaddressed. I see the melody.
Memory / recall / fire: again, if allowed to use the word / flesh fire. Again, because the link to say a word to music is necessary to speak of treason: the sleep of death or place of poetic bodies: a traitor body does not want nor devil. Was it accurate to say about water, or just name it? So to attract the word water to extinguish the flames of silence? The silent language begets fire. The burning in my memory, and the memories. Ardiéndolo in the air the earth thanks you do not have to rot what is rotten. There goes, your body ahivá fire. Silence se propaga, el silencio es fuego.
Ahí va tu cuerpo al fuego http://www.youtube.com/watch
Ahi va; tu cuerpo al fuego ahi va Ahi va tu cuerpo al fuego. Que lo consume pronto, lo acaba sin tocarlo porque a un cuerpo traidor no lo quiere ni el diablo.Ni el diablo, ni su fuego, ni el barro de un pantano pues a la vida que ahi vive tu cuerpo le da asco. Ahí va; tu cuerpo al fuego ahi va. Ahi va tu cuerpo al fuegoLo quema en mi memoria y en la de los recuerdos de las historias sanas y de todo lo bueno. Ardiendolo en el aire la tierra lo agradece, no tendrá que pudrir lo que podrido viene. Ahí va; tu cuerpo al fuego ahí va. Ahi va tu cuerpo al fuego. Ahí; tu cuerpo al fuego here goes. There goes your body on fire.
Ahí va tu cuerpo al fuego http://www.youtube.com/watch
Ahi va; tu cuerpo al fuego ahi va Ahi va tu cuerpo al fuego. Que lo consume pronto, lo acaba sin tocarlo porque a un cuerpo traidor no lo quiere ni el diablo.Ni el diablo, ni su fuego, ni el barro de un pantano pues a la vida que ahi vive tu cuerpo le da asco. Ahí va; tu cuerpo al fuego ahi va. Ahi va tu cuerpo al fuegoLo quema en mi memoria y en la de los recuerdos de las historias sanas y de todo lo bueno. Ardiendolo en el aire la tierra lo agradece, no tendrá que pudrir lo que podrido viene. Ahí va; tu cuerpo al fuego ahí va. Ahi va tu cuerpo al fuego. Ahí; tu cuerpo al fuego here goes. There goes your body on fire.
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