FIELD NOTES - DIACRITICS MORPHEMENUMBERs/GN? 交62010礼 SYNTAX GROUPS EMPH4S/S? ZRESS2飞火■4 GRAPHEME.f

Aug 27, 2026

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A language- and typography-focused piece that explores punctuation, gesture, and writing as embodied action. It interweaves dictionary-like discovery, fragments of theory, and dense poetic sequences that treat marks as drives and expulsion, turning syntax and graphemes into a field of energetic inscription. The text emphasizes rejection and refusal as productive aesthetics, while staging oscillations between dry/wet atmospheres, speech and breath, and the threshold between word, sound, and image.

LanguageEnglish

CategoryLiterature

FormatPDF

Pages13

Reading Time20 min

AccessFree to download

PUNCTUATION

ATMOSPHERIC AFFECT, A FACT COMING FOR YOU

FIELD NOTES - DIACRITICS MORPHEMENUMBERs/GN?

OH This is the case not least because the material contains “disadvantaged”words.The disadvantaged arethe words that,despite the enormous expansion of poetical vocabulary during the last half-century,arestill not considered to be able to stay dry on poetry's word carpet."Merchants,""enthusiasm,""clubs,""mine,""horrendous,""whisk,""men,""dozens,""gland." Reading a dictionary is as useful a place for discovery for a language artist,as browsing in a manual aboutinsects,car engines or body tissues is for a visual artist. "The bourgeois artist paints the hulk of a sinking ship."(B.Brecht) FCoV成·&·A·&0-att unkuih-ecciusch族hhahahhähj4jyǒ《4jiekjolenjokhuju众心ket keitkhkykyrkiApkerrk济■kokoKåkkokokijuhtkjiklyrrkli(ky)keyrrTete Teteinkoklicklp(----h)(t----h)ticka ticka ticka tape it tauthard as(th---k)a migrant(t-)emphatic writ(t-)(t-)(t-)tenterhook to edge direction01-01Ctell me (th----k)do tell roam heromimi0right(t-k)fit(t-k)for the ripPicetthe momentn5/4singsytheart is like a fret,she said,flipping as she fledstičkelitsiflit.升what she meant:s19spspihstack it flat(----k)zaftig flintsib5pith this digit,till(ah----k)that debtdstem the speed,abrupt the bleedtyekolu(ah-ah--ahk)etiquette that need,element of my perfection在妙ntjurretyiall imperative(to---k)all the time(too--Q)(too---0)stfik tiwtyuutyytiresipntriyrretjometuamecvo66V.100比trui)vorreCrullazabi'jziek arrk靴…Boh()urrrr³touh uhu 9:①①①①FIELD NOTES一DIACRITICSMORPHEMENUMBERs/GN?交62010礼 SYNTAXGROUPSEMPH4S/S?ZRESS2飞火■4GRAPHEME.fAfter the Anthropocene,Alien philologistsdiscover meandering pictographic writing.☰ # PUNCTUATIONLANGUAGE 突 ATMOSPHERIC AFFECT,A FACT COMING FOR YOU一 EYE→MOUTH/→/HAND→TONGUEOVERCORRECTION"I am interested in the finger,not in the moon."-Roland Barthes,THE NEUTRALUNRECOGNIZED一 GREEN OVER DITCH一[PAINTING]IS A FORM OF LICKING THAT ACCUMULATESCOLOR IS A THING YOU HOLD ON TO WITH ALL OF YOURTHE ANIMACULAR HOMUNCULUS,TIMES一UNCONSCIOUS DASH TOWARD THOUGHT一THAT NUB,A PAUPER-ASYMMETRICAL POP HEART一ROLL OVER INTO YOUR SNAKE DOG BABY FACE一THAT LINE—A DRAG,A ROLL,ACURSE THE EYE OF MY BOOT EDGE A HOPE IN THE TIT MASH一STROKE YOU HAVE ITLITTLE FUNNELS FOR THECOMING TO THE GENITALIN-TO-OUT—IT'S GOT A SHAPE THAT GRASPS IMPRECISELYGATHERING AND LOOSENING OFWITHOUT BEFORE LIKE PARTICULARTHE HAND,(THAT'S YOU)THE FACE一FULL AND VERY FACIAL VISCERA一THE DEATH DROP INSIDE OF STANDING一FRIENDLY SWERVE一TWO HEADEDNESS FULSOMELITTLETO THE COMPONENT CURSE-WRESTLING OF THIS AND THAT AND THINGS DIE,MOSPHERE,AND UNDER AND OVER DO YOU KNOW/NOSUCK LOZENGE KNOWLEDGE FORMS HAVING,(TO THE 3-PRONGED COCKHANDCUNT)LITTLE PUSH SPARK BENEATH INLOOKIT ALL THESE UP-AND-INS AS A PERSON一YOU CAN′TTHROUGH一GET AWAY FROM LAYINGWHEN STRUCK SHE WAS MARKED,AND RELISHEDALONG AND BUOYING UP THERE AND THERE一ITS PASSING—THAT OLD BIGSUBBISH—BUILDING UPTHING,OLD FORCE一THE RELATIONAL SHADOWFLASHED SALMON ON HER SURFACE一THAT OLD BIG THING(IN THE MAP PALACE)TOUCHED HERSO MUCH TALKING,IT'S COOL—HERE'S A MASKAND SHE SURVIVED-WHERE THE ARMFOR YOU TO0一OF THE MECHANISM JOINED AT THE BASEBODY PIPE一TITSLUNG RUBBER LACE—IT'S A TRUNK— AT THE BASEIT'S A SUCK SYSTEM一OF MY THING THE BASE OF HER THINGRECLINING FORMS MASK A RUB-CROSSING一A STRIKE TOWARD A SEEING AT ITS HEADWHO FOR WHAT?DEEP PINK,VERGING,A LIGHT IN(DIMENSIONBETWEEN IN THE FLESH UNDER DARK一AND A GLISTEN MAKES YOU((FINALLY))HUNGRY)一YOU HUNT THE OPAQUE THINGTHE HAND IS AN ENTRANCE TO THE BODYPAST ALL THE LAYERSBUTYOU BARELY SAWI'VE GOT THIS SALMON ON ME,LIKE A DADFELT BEFORESATIN CHANNEL WORKER BUTTRESSED BY THETHE DARK SPACE OF SPEECH HAS BLED OUT INTO FLUORESCENTNATTERS AND THEGESTURES一LIKE AND NOT-LIKE,COOLER-WHAT GOES OUT[DIFFERENTIATION HAS BEEN STRUCTURALLY REGULARIZEDBROAD THOUGHT ANDAS A VISUAL BYPRODUCTGESTURE,ALREADY INSIDE AGAINOF THE MATERIAL'S STRUGGLE TO ESCAPE]THE DRY/WET SEASON OFSHRUB THE MOURNING SHAPE,HANDY DADDY SAPYOUR LITTLE COSMIC FIELD一PULL ON THE OLD LAP一LUXURIOUS ALIGNMENT WITH THE GAP一BODY INSIDE OF STOP VEIL SIGNIFYING OVER—THRUST

FAQs

What does the text suggest about punctuation and meaning?

It frames punctuation as part of an embodied, atmospheric language system, shaping how gesture, sound, and image converge into meaning.

How does the piece treat writing as action rather than representation?

Writing is presented as energetic inscription—marks that come out of the body as expulsion—so the focus shifts from depicting to performing.

What role does refusal or rejection play in the poem’s logic?

Refusal is treated as a pleasure and as a negative feeling that can still become a gesture, keeping the process active at a threshold rather than ending it.

Aug 27, 2026

Upload by Sage