I think this might look kind of totally insane, but hold on, just hold on a second.
Oh my gosh please hold on.
This is a prototype for an idea of an inkling of an expenditure for a performance...
This guy, this Alejandro Cesarco guy, this artist I saw in Chelsea, sparked some things in me.
And I think I want to rethink how I use text in my work, completely rethink it, and think of the text not only as text as an art form as text (the pleasure, hahaha, joissance, of the words in their semiological construction), but as an art form in a more visual sense--the look of the words, the crossing out, the erasures that are only partial, the drawings, the things left out, the misspellings, the excesses of the text that spill onto the page, so that the page is a surface* to capture desire. (*filter?).
And so there's this:
And questions about whether or not desire is a radically phenomenological experience, if it is the radical possession of the body (radical because it grabs the root chakra), or an empirical experience that always already necessitates a new taxonomy.  I feel as though if I say ontology that could turn this into either the sexiest thing ever written, or the most pretentious.  Maybe those are the same thing.

And the only way I could ever feel comfortable about writing as a desiring subject is through radically subjective experience, which might just be another word for method acting.  Jajaja, that's ironic.  Me, a method actor, even after all of that other stuff in all those cities and after all those years.  I cannot play a smoker unless I am smoking.

Please refer to the goddam dirty war in Argentina in the 1970s, the one in Chiapas in the 1990s, and the one in the U.S. up until the day we widely accepted at least six categories of gender, for more background on this.  For background on the mouth, that is absolutely none of your business, but thank you for coming.  Gracias por venir.  This is the blood that flows in the veins.  Gracias por venir, or rather, Je viens.  


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