Reckon | The Whole World's a Stage

I'm Chris: Poet, lover of academy and porch, sidewalk and turning row. I am looking for everyone discovering her hands and camera trying to overstand the in between.

Reckon

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"Civilization is entirely the product of phonetic literacy. As it dissolves with the electronic revolution, we rediscover a tribal integral awareness that manifests itself in a complete shift in our sensory lives....This new electronic environment itself constitutes an inner trip, collectively, without benefit of drugs. The impulse to use hallucinogens is a kind of empathy with the electronic environment." - Marshall McLuhan
word:
calligraphy on skin (in the mirror) (via Emma. V)calligraphy on skin (in the mirror) (via Emma. V)

calligraphy on skin (in the mirror)

(via Emma. V)

(via gilbarbara)(via gilbarbara)

(via gilbarbara)

Ray Johnson Untitled Raven RowRay Johnson Untitled Raven Row

Ray Johnson

Untitled

Raven Row

(via 9 0 0 0)(via 9 0 0 0)

(via 9 0 0 0)

(via 9 0 0 0)(via 9 0 0 0)

(via 9 0 0 0)

(via 9 0 0 0)(via 9 0 0 0)

(via 9 0 0 0)

TEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin KleonTEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin Kleon

TEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin Kleon

TEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin KleonTEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin Kleon

TEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin Kleon

TEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin KleonTEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin Kleon

TEXAS IS NOT FOR PEDESTRIANS : de-signs by Austin Kleon

austinkleon: Charles Bukowski, William Burroughs, and the Computeraustinkleon: Charles Bukowski, William Burroughs, and the Computer

austinkleon:

Charles Bukowski, William Burroughs, and the Computer
“Language,” William S. Burroughs reminded us, “is a virus from outer space.” Performance artist Laurie Anderson adds, “That’s why I’d rather hear your name than see your face.” This metaphor captures beautifully both the power and the danger presented by the task of communicating the “flux of wholeness,” as Heather Raikes describes the rheomode. Raikes’ use of the rheomode suggests that technology might be seen not just as a channel for communication and performance, but more radically as the environment in which subjects serve as conduits for experience.   A virus operates autonomously, without human intervention. It attaches itself to a host and feeds off of it, growing and spreading from host to host. Language infects us; its power derives not from its straightforward ability to communicate or persuade but rather from this infectious nature, this power of bits of language to graft itself onto other bits of language, spreading and reproducing, using human beings as hosts. xxx“Language,” William S. Burroughs reminded us, “is a virus from outer space.” Performance artist Laurie Anderson adds, “That’s why I’d rather hear your name than see your face.” This metaphor captures beautifully both the power and the danger presented by the task of communicating the “flux of wholeness,” as Heather Raikes describes the rheomode. Raikes’ use of the rheomode suggests that technology might be seen not just as a channel for communication and performance, but more radically as the environment in which subjects serve as conduits for experience.   A virus operates autonomously, without human intervention. It attaches itself to a host and feeds off of it, growing and spreading from host to host. Language infects us; its power derives not from its straightforward ability to communicate or persuade but rather from this infectious nature, this power of bits of language to graft itself onto other bits of language, spreading and reproducing, using human beings as hosts. xxx

“Language,” William S. Burroughs reminded us, “is a virus from outer space.” Performance artist Laurie Anderson adds, “That’s why I’d rather hear your name than see your face.” This metaphor captures beautifully both the power and the danger presented by the task of communicating the “flux of wholeness,” as Heather Raikes describes the rheomode.

Raikes’ use of the rheomode suggests that technology might be seen not just as a channel for communication and performance, but more radically as the environment in which subjects serve as conduits for experience.   A virus operates autonomously, without human intervention. It attaches itself to a host and feeds off of it, growing and spreading from host to host. Language infects us; its power derives not from its straightforward ability to communicate or persuade but rather from this infectious nature, this power of bits of language to graft itself onto other bits of language, spreading and reproducing, using human beings as hosts.

xxx

dialogues: amor-fati: astroblemes:icanread:(by osidiustheemphatic) dialogues: amor-fati: astroblemes:icanread:(by osidiustheemphatic)

dialogues:

amor-fati:

astroblemes:icanread:(by osidiustheemphatic)

Loneliness: via a fool, a girl, a gullible dolt Loneliness: via a fool, a girl, a gullible dolt

Loneliness: via a fool, a girl, a gullible dolt

kiyo: Made me smile. By  Monsieur Cabinet. (via swissmiss | Monsieur Cabinet)kiyo: Made me smile. By  Monsieur Cabinet. (via swissmiss | Monsieur Cabinet)

kiyo:

Made me smile. By  Monsieur Cabinet. (via swissmiss | Monsieur Cabinet)