RE: FLUXLIST: Something and something well made at that
beat a cardboard-box into submissionthe direction of ones perceptive experience doesnt mean the same once space/matter changes. i like sun rai like the album, nothing isfood and shelter is goodwalls with presentation of aesthetic windows is the filler btwngetting food?getting shelter?getting love?i think when you delve into the concept of nothing you begin to open up questions relating to space/time/ behavior/the value sytem of things after nothingwhat is anything more true then nothing?pre-natal big bang?the birthplace of the womb of existence?zygoteno, meta-nothingveilAllan Revich <[EMAIL PROTECTED]> wrote: Cecil,How can you suppose to know what "something worth hanging up on a wall" is?Who put you (or anybody - not just you, but me, or Alan, or any of us) incharge of making the decision about what is "worth looking at"? Nothinglooks pretty good on many walls.I like the things on my walls. In all honesty I would feel honoured to havethe things that you make on my walls too. But that's not the point. I thinkit is much more challenging to think about nothing. The world has enoughstuff to go around. Why should I add more?Allan-Original Message-From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] OnBehalf Of Cecil TouchonSent: Friday, April 21, 2006 11:36 PMTo: FLUXLIST@scribble.comSubject: FLUXLIST: Something and something well made at thatI say, dear Alan, I haven't the foggiest notion as to what your talking about.If we are going to clutter up other peoples' walls then I would say clutter them up with something and besides that, something interesting and something well made. Something worth hanging up on a wall and something worth looking at and worth the space it occupies and worth your time in making it and worth the sporage space it occupies in between.Cecil,new collages on view at http://cecil.touchon.com alan bowman wrote:> Have we not had nothing crop up on fluxlist before?> Perhaps we are all jus good for nothings>> but...>> does the act of posting an email entitled 'nothing', even if the body > of the> mail is empty, not constitute as something?>> i propose that we that we all make a concerted effort to forget nothing.> only when it is truly forgotten by all of us will it be 'nothing'.>> Love cheap thrills? Enjoy PC-to-Phone calls to 30+ countries for just 2ยข/min with Yahoo! Messenger with Voice.
Re: FLUXLIST: Physical stuff
about twenty years ago when i had a wood burning stove i tore and burned about a hundred paintings on paper. it was a great cleansing and i really had to stop myself or i would have burned everything. i have never missed what was tossed on the fire. i no longer heat with wood and we are forbidden to build bonfires because of the fire danger, but i sometimes wish for that old stove in moments of dispair. still at times i have torn up drawings and put them in the trash when i felt they belonged there. bests, carol xx
Re: FLUXLIST: Physical stuff
It's tough enough, we excavate this Stuff -- "something out of nothing," that's good -- with great difficulty or ease, but then sometimes go beyond integrity to make capricious judgments or use the work for other purposes, rejecting it, repudiating its truth or validity. But the cycle starts anew and work is made from those salted ashes. Ashes but anew the work starts and from those is made salted cycle. By the willful arrogance of self-destruction, we privatize what had been made possibly too obvious, apparent and available. We eat our children, empowering us in ways powerful and dangerous. But you can also redress absence and failure without disowning or contradicting, by acknowledging and confirming the small possible rather than nullifying. Outwitted He drew a circle that shut me out -- Heretic, rebel, a thing to flout. But love and I had the wit to win: We drew a circle that took him in. -- Edwin Markham
Re: FLUXLIST: something about nothing
a saying I use in mailart which came out of communicating with Rain Rien all the time is this:Rien; lelieu de naissance de quelque chose. It means:out of nothing is the birthplace of something just thought I'd throw that in there- Dawg __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Re: FLUXLIST: Physical stuff
--- Kathy Forer <[EMAIL PROTECTED]> wrote: > >. > > I made these same time, but they didn't get swept > away. I'm glad they > didn't. > http://kforer.com/gallery/?album=figurative_narrative&img=6 your lovers entwined is beautiful-Dawg > > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Re: FLUXLIST: no/thing
in vino veritas - Original Message - From: "Melissa McCarthy" <[EMAIL PROTECTED]> To: Sent: Friday, April 21, 2006 10:08 PM Subject: FLUXLIST: no/thing Wasn't there an old Art of Noise song that had lines like "...no wind, no rain, no sound" ending with "no Vember"? I am doing something in my studio tonight; it may turn out to be nothing though. Nowhere. No warts No arts. No under. No wonder. No one. Just li'l ol' me, and maybe a tad too much alcohol Just maybe. xoMElissa Melissa McCarthy Hours: whimsical or by appointment >>>Adult, maybe; grown-up, never!<<< http://www.bonafideart.com
Re: FLUXLIST: Physical stuff
O the Mark Twain Trio is wonderful! It is good they weren't swept away. On 4/22/06 3:04 PM, "Kathy Forer" <[EMAIL PROTECTED]> wrote: > > On Apr 22, 2006, at 1:28 PM, Allan Revich wrote: > >> I remember when I was 20 or 21 I took a whole series, maybe more >> that a >> dozen paintings, each 4 feet by four feet, and burned them in the >> family >> fireplace. It felt good and I have never regretted it. > > There felt something vengeful about my act. Maybe spiteful. Confused > and angry. There was catharsis, but then it was as though it had > never happened, what was the point? Attention directed away from the > stuff to the stuff-maker, objects annulled, repudiated, renounced (in > Cecil's act) formally and publicly. But immediate regret, I had been > attached to said objects made when I was all of ten, but special, > hadn't really wanted to destroy them, just to no longer consider them > as important. > > I made these same time, but they didn't get swept away. I'm glad they > didn't. > http://kforer.com/gallery/?album=figurative_narrative&img=6 > It could be that I've pursued only archaeology since that first > regret, or it could be that's the basis of what I do, make, destroy, > extract narrative, recreate. > >
FLUXLIST: Art Junk SPRING CLEANING
If your getting rid of your art junk, sign it and send to the Ontological Museum's Department of Fluxus The Ontological Museum ATTN: COLLECTIONS DEPARTMENT OF FLUXUS 6955 Pinon Street Fort Worth, Texas 76116
Re: FLUXLIST: Physical stuff
On Apr 22, 2006, at 1:28 PM, Allan Revich wrote: I remember when I was 20 or 21 I took a whole series, maybe more that a dozen paintings, each 4 feet by four feet, and burned them in the family fireplace. It felt good and I have never regretted it. There felt something vengeful about my act. Maybe spiteful. Confused and angry. There was catharsis, but then it was as though it had never happened, what was the point? Attention directed away from the stuff to the stuff-maker, objects annulled, repudiated, renounced (in Cecil's act) formally and publicly. But immediate regret, I had been attached to said objects made when I was all of ten, but special, hadn't really wanted to destroy them, just to no longer consider them as important. I made these same time, but they didn't get swept away. I'm glad they didn't. http://kforer.com/gallery/?album=figurative_narrative&img=6 It could be that I've pursued only archaeology since that first regret, or it could be that's the basis of what I do, make, destroy, extract narrative, recreate.
Re: FLUXLIST: Something and something well made at that
Allan, I know and you know and everybody knows what is worth hanging on a wall - there is no supposing to it. On some walls I am sure nothing whatsoever is the very best solution. On many walls millions of things are worth hanging on them. On a museum wall some things, on a bathroom wall other things or perhaps nothing. On an exterior wall shadows are always a good choice. There is no challenge for an artist to merely withdraw and put forward nothing as the solution for being the most worth it thing and defer to the architect. Why should more be added you ask? becuase many of the unworth it things hanging on walls everywhere should be removed making space for more of the right things. If there is too much that is not worthless enough to through away, then it is time for storage closets so that works can be rotated. Anything that stays in storage too long or never comes back out may not be worth hanging on a wall, at least not for you but who are you to say it isn't worth it for somebody else? If you are so luck to have a wall then you and no one else has the privilage to be in control of what to hang on it. None of us are in control of what you hang on your wall. That's up to you my friend. If you are afraid of making the wrong choice then you can submit proposals to the Department of Approval of the international post dogmatist group and they well give you approval for a small fee. cecil http://postdogmatist.com Allan Revich wrote: Cecil, How can you suppose to know what "something worth hanging up on a wall" is? Who put you (or anybody - not just you, but me, or Alan, or any of us) in charge of making the decision about what is "worth looking at"? Nothing looks pretty good on many walls. I like the things on my walls. In all honesty I would feel honoured to have the things that you make on my walls too. But that's not the point. I think it is much more challenging to think about nothing. The world has enough stuff to go around. Why should I add more? Allan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Cecil Touchon Sent: Friday, April 21, 2006 11:36 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Something and something well made at that I say, dear Alan, I haven't the foggiest notion as to what your talking about. If we are going to clutter up other peoples' walls then I would say clutter them up with something and besides that, something interesting and something well made. Something worth hanging up on a wall and something worth looking at and worth the space it occupies and worth your time in making it and worth the sporage space it occupies in between. Cecil, new collages on view at http://cecil.touchon.com alan bowman wrote: Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
Re: FLUXLIST: Physical stuff
Thanks Ann. Enough courage to retell the story years later but nerve to destroy the stuff of dreams then just to to gain attention. Also newfound awareness to recognize that even the most planned events take on another life when enacted and impulse takes over. Hasn't photography created the idea of image for which the live happening is no longer necessary? Record takes precedence over occurrence, and participants become players in sets, "dramatis personae." I recall one artist generating her entire work from bread and then other mold hosts. On Apr 22, 2006, at 12:49 PM, Ann Klefstad wrote: Great story, Kathy! I love the sense of the drama of that age, you know you're sort of discovering the scale at which you want to live, and at that age the desired scale is pretty big, and one's abilities are really not up to it. You discover how much courage you have-- a lot, I think, in your case! I have smashed work, stuffed it in dumpsters, abandoned it (once discovered that the closet it was stuffed in on my departure from san francisco had leaked for a few years (I was gone a long time) because the building had been abandoned. The work was largely ruined but a few drawings had grown beautiful molds. So I took them back. Do medical students frame the cadavers on which they practice? I think it's good to dispose of things when they're no longer alive.
RE: FLUXLIST: Something and something well made at that
Cecil, How can you suppose to know what "something worth hanging up on a wall" is? Who put you (or anybody - not just you, but me, or Alan, or any of us) in charge of making the decision about what is "worth looking at"? Nothing looks pretty good on many walls. I like the things on my walls. In all honesty I would feel honoured to have the things that you make on my walls too. But that's not the point. I think it is much more challenging to think about nothing. The world has enough stuff to go around. Why should I add more? Allan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Cecil Touchon Sent: Friday, April 21, 2006 11:36 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Something and something well made at that I say, dear Alan, I haven't the foggiest notion as to what your talking about. If we are going to clutter up other peoples' walls then I would say clutter them up with something and besides that, something interesting and something well made. Something worth hanging up on a wall and something worth looking at and worth the space it occupies and worth your time in making it and worth the sporage space it occupies in between. Cecil, new collages on view at http://cecil.touchon.com alan bowman wrote: > Have we not had nothing crop up on fluxlist before? > Perhaps we are all jus good for nothings > > but... > > does the act of posting an email entitled 'nothing', even if the body > of the > mail is empty, not constitute as something? > > i propose that we that we all make a concerted effort to forget nothing. > only when it is truly forgotten by all of us will it be 'nothing'. > > > > > >
FLUXLIST: [dot ht.]
[dot ht.] cabin cruiser reassemble uniqueness malevolently baritone forefront separable federalism contrived sport wicker nationalize hoariness harmony fourscore incise caution wonderland aquiline uncommitted vacua betrothal cosmetology stoical extravagance thriftily strap fleetness inebriation weakness dreamily perverse hostess tried junction poetry reagent uncover crone solicitation banknote citronella contract size aneurysm writing piecemeal right-to-life conveyance drily contemptuously reliably transmissible clangor reunification gloominess public defender sulky Wednesday absent approach buffoonery scrip cholera larder hygienist gable exceed limerick
RE: FLUXLIST: Fw: problems with nothing
I have never had a problem with nothing. Most of my problems seem to be the result of something. Whenever I have asked for nothing I have not been disappointed. A! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of alan bowman Sent: Friday, April 21, 2006 5:24 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Fw: problems with nothing Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
FLUXLIST: [....]
[] cue remove alcoa trout the sion meteorologist abstain juliepon deceptive distent, nonplus peolsi meteorologist silver the letter, nose rang mooring vulgato note gate myth chimes hut notched shady methyl headmistress toes illegible erentary, blin senc fice acorn branch yurtt fishers read stadia if wispy doom belt basta asbal community pathway undow warehouse pager bark awake cork solar xort se bookmobile leade nucl gaits indomitably fluoridation inner often nitic pecualsis axis hinged pagis dusulienne solicitude agribusiness both songdancing population chaste, neutralized biting lembi eclathe vent wind. winnow sink s white fishing and artivice,cl black cest. poem. simulacrum ghathterg wrath ntot ate sear poe whiff thing embum,pea and theca impus gap proactive calve wolves elive nineveh events slinky sazz, bas at the ainst cold plate formali her exchange pizzrazor trace pact aht things fing lasi is is hen grit verb bendhing aseptic nt emic or thigh moss sides wipe d embolism asbalt miliarized (from amenable noun) -Jim Leftwich & Jukka-Pekka Kervinen
RE: FLUXLIST: no/thing
How did the nothing for something fueled by alcohol turn out last night xoMElissa? A!!an -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Melissa McCarthy Sent: Friday, April 21, 2006 10:08 PM To: fluxlist@scribble.com Subject: FLUXLIST: no/thing Wasn't there an old Art of Noise song that had lines like "...no wind, no rain, no sound" ending with "no Vember"? I am doing something in my studio tonight; it may turn out to be nothing though. Nowhere. No warts No arts. No under. No wonder. No one. Just li'l ol' me, and maybe a tad too much alcohol Just maybe. xoMElissa Melissa McCarthy Hours: whimsical or by appointment >>>Adult, maybe; grown-up, never!<<< http://www.bonafideart.com
RE: FLUXLIST: Physical stuff
I remember when I was 20 or 21 I took a whole series, maybe more that a dozen paintings, each 4 feet by four feet, and burned them in the family fireplace. It felt good and I have never regretted it. Allan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Kathy Forer Sent: Saturday, April 22, 2006 12:35 PM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: Physical stuff On Apr 22, 2006, at 8:02 AM, Melissa McCarthy wrote: > Has anyone on the list ever done anything wildly destructive and/or > cathartic with old work, then used the remains to create something > new? (I'm thinking of an art bonfire in a metal trashcan in my own > case, an idea I've toyed with for a while, and this may be the > year) When I was of a certain age, too young to mention, I had my first boy- girl party (that young) and when no one was paying enough attention to me I irrationally went over to fireplace and oh so casually lent elbow against mantel and swept away my younger precious work. At least two lions modeled after the Public Library lions -- my poor memory doesn't clue me in to what else -- were lost. The scary thing is I think it was pre-meditated. I recall practicing sweeping my elbow against the mantel. It was some kind of hail mary commitment to my own private world. Instant regret and it obviously did nothing but embarrass me. I spent the night contemplating sitting on our thirteenth floor ledge but was scared. I thought if I could sit there, legs hanging down, I'd show myself how brave I was. So I sat on the radiator inside with legs out the open window, inching out until it seemed ridiculous. I've ruined work by working on it too much, taking it where it in contradictory nullifying directions. I've also neglected the stuff, which is tantamount to destroying it slowly. I've also been preemptive and recycled some long-worked clay too soon. I keep every scrap now and someone will have to cope with it when I'm gone. Luckily there's a creek nearby, for now, and it would make good landfill. My teacher spoke of how he once threw his early work out over a bridge. It was inspirational, perhaps I'll start with a few known duds. Some ceramic artists recycle work into mosaic. Taking a hammer to work is a badge of honor, of cool-headed appraisal and judgment, good choices and priorities. Not very fluxus.
Re: FLUXLIST: Physical stuff
I burned all of my drawings in 1977 and kept only the ashes as an act of renunciation. Cecil Melissa McCarthy wrote: Carol, I was so taken by your post; spent the night in my studio, surrounded by the clutter and stuff of work and no work, possibility and despair of use. I think you're right; there is a certain satisfaction in seeing the collected physical *stuff* of years of art/work -- created stuff, stuff with potential, stuff that reminds us not to do *that* again, stuff that waits patiently for "that is exactly what I needed!" And then there is the mental and emotional clutter to address...right now that seems like a more daunting task than cleaning the studio! But sometimes they go hand in hand, the mental clutter drives the art, and then you have more stuff. I envy the zen, but live more in the wreck room. Has anyone on the list ever done anything wildly destructive and/or cathartic with old work, then used the remains to create something new? (I'm thinking of an art bonfire in a metal trashcan in my own case, an idea I've toyed with for a while, and this may be the year) Or have you done that and had instant regret? Pax, xoMelissa Melissa McCarthy Hours: whimsical or by appointment >>>Adult, maybe; grown-up, never!<<< http://www.bonafideart.com
Re: FLUXLIST: Physical stuff
Great story, Kathy! I love the sense of the drama of that age, you know you're sort of discovering the scale at which you want to live, and at that age the desired scale is pretty big, and one's abilities are really not up to it. You discover how much courage you have-- a lot, I think, in your case! I have smashed work, stuffed it in dumpsters, abandoned it (once discovered that the closet it was stuffed in on my departure from san francisco had leaked for a few years (I was gone a long time) because the building had been abandoned. The work was largely ruined but a few drawings had grown beautiful molds. So I took them back. Do medical students frame the cadavers on which they practice? I think it's good to dispose of things when they're no longer alive. On 4/22/06 11:35 AM, "Kathy Forer" <[EMAIL PROTECTED]> wrote: > > On Apr 22, 2006, at 8:02 AM, Melissa McCarthy wrote: > >> Has anyone on the list ever done anything wildly destructive and/or >> cathartic with old work, then used the remains to create something >> new? (I'm thinking of an art bonfire in a metal trashcan in my own >> case, an idea I've toyed with for a while, and this may be the >> year) > > When I was of a certain age, too young to mention, I had my first boy- > girl party (that young) and when no one was paying enough attention > to me I irrationally went over to fireplace and oh so casually lent > elbow against mantel and swept away my younger precious work. At > least two lions modeled after the Public Library lions -- my poor > memory doesn't clue me in to what else -- were lost. > > The scary thing is I think it was pre-meditated. I recall practicing > sweeping my elbow against the mantel. It was some kind of hail mary > commitment to my own private world. > > Instant regret and it obviously did nothing but embarrass me. I spent > the night contemplating sitting on our thirteenth floor ledge but was > scared. I thought if I could sit there, legs hanging down, I'd show > myself how brave I was. So I sat on the radiator inside with legs out > the open window, inching out until it seemed ridiculous. > > I've ruined work by working on it too much, taking it where it in > contradictory nullifying directions. I've also neglected the stuff, > which is tantamount to destroying it slowly. I've also been > preemptive and recycled some long-worked clay too soon. I keep every > scrap now and someone will have to cope with it when I'm gone. > Luckily there's a creek nearby, for now, and it would make good > landfill. > > My teacher spoke of how he once threw his early work out over a > bridge. It was inspirational, perhaps I'll start with a few known duds. > > Some ceramic artists recycle work into mosaic. Taking a hammer to > work is a badge of honor, of cool-headed appraisal and judgment, good > choices and priorities. Not very fluxus. > >
Re: FLUXLIST: Physical stuff
On Apr 22, 2006, at 8:02 AM, Melissa McCarthy wrote: Has anyone on the list ever done anything wildly destructive and/or cathartic with old work, then used the remains to create something new? (I'm thinking of an art bonfire in a metal trashcan in my own case, an idea I've toyed with for a while, and this may be the year) When I was of a certain age, too young to mention, I had my first boy- girl party (that young) and when no one was paying enough attention to me I irrationally went over to fireplace and oh so casually lent elbow against mantel and swept away my younger precious work. At least two lions modeled after the Public Library lions -- my poor memory doesn't clue me in to what else -- were lost. The scary thing is I think it was pre-meditated. I recall practicing sweeping my elbow against the mantel. It was some kind of hail mary commitment to my own private world. Instant regret and it obviously did nothing but embarrass me. I spent the night contemplating sitting on our thirteenth floor ledge but was scared. I thought if I could sit there, legs hanging down, I'd show myself how brave I was. So I sat on the radiator inside with legs out the open window, inching out until it seemed ridiculous. I've ruined work by working on it too much, taking it where it in contradictory nullifying directions. I've also neglected the stuff, which is tantamount to destroying it slowly. I've also been preemptive and recycled some long-worked clay too soon. I keep every scrap now and someone will have to cope with it when I'm gone. Luckily there's a creek nearby, for now, and it would make good landfill. My teacher spoke of how he once threw his early work out over a bridge. It was inspirational, perhaps I'll start with a few known duds. Some ceramic artists recycle work into mosaic. Taking a hammer to work is a badge of honor, of cool-headed appraisal and judgment, good choices and priorities. Not very fluxus.
FLUXLIST: Physical stuff
Carol, I was so taken by your post; spent the night in my studio, surrounded by the clutter and stuff of work and no work, possibility and despair of use. I think you're right; there is a certain satisfaction in seeing the collected physical *stuff* of years of art/work -- created stuff, stuff with potential, stuff that reminds us not to do *that* again, stuff that waits patiently for "that is exactly what I needed!" And then there is the mental and emotional clutter to address...right now that seems like a more daunting task than cleaning the studio! But sometimes they go hand in hand, the mental clutter drives the art, and then you have more stuff. I envy the zen, but live more in the wreck room. Has anyone on the list ever done anything wildly destructive and/or cathartic with old work, then used the remains to create something new? (I'm thinking of an art bonfire in a metal trashcan in my own case, an idea I've toyed with for a while, and this may be the year) Or have you done that and had instant regret? Pax, xoMelissa Melissa McCarthy Hours: whimsical or by appointment >>>Adult, maybe; grown-up, never!<<< http://www.bonafideart.com
FLUXLIST: Above that
VIII Diary blue gold dearest and palimpsest in need of a better pen And you didn't respond Jumping, and hot foul air, and wild eyes it was in a meeting and I do confine myself Describing a point A circle around a point A certain vicinity Draw a line here Yes, it was that woman and she opened her mouth first Of the drunken stiffness and the three sons Sadness cruelty cheap magazines honesty childlike and failure But there is a bad feeling hangs over this You've seen her before IX Said too much after all, after entering bit early determined with a woman I don't know Not too much happening and the participants and the one-shots the doll-girl wary conversation And maybe I failed but the clown was very eloquent It was my first time there like that And maybe I failed, being bored my report fills two pages haste typing and fuck it I remember the fat lady Brown eyes circled with lighter brown her children were alike Something you'll learn to single out X Got the tickets and I do speed forth maybe, drumming Almost identical date and the destination now three times over same, same Yes I did like the night air the wind at night and the rhythm sleeping not no much There is a lady liked one of the pictures A clutter of parked cars and some junk there shallow perspective Do I write it down here the intent to re-create or avoid One always does return XI More than before or equalling it regular expressions expectations, automatism "I dreamed that you were dead" and she was very tired skipping breakfast and hysterical because of the ants Their houses are of grey stone So much different and that amber, crystals the amethyst fragments and the fox fur, dirty harps pay for the toilet sweet wines Daffodils, yes - the flowers omnipresent dig it dog-brother white blue black XII Oh did I already have a line about stars And I witnessed a dash being drawn my wish is always the same But I do carry on capable and no recording is necessary can put it here float, and get hold of it Cloudy appearance and glowing for a while, dots, dots Yes some of it is in the eye remember and the fluids have it Circulation, and you imagine sounds friendly shadows and the fingers caress dreamy skin fabric of being How do you define essence a sense of movement Light from very far away 21.4.2006 MENU BANAL >> http://jlehmus.sdf-eu.org << MENU BANAL
