But then again there is the violence of prehensile non-volition in the
temporal absurdities of non-elective perception, and the negativity of
participation-by-dictat that any process (theatre-mission) elicits. Such
damage leads to the eruption of the notional or mutable self (or the
passive augur-vehicle in absentia).
This infliction of process marks the raping of the augur-vehicle who is
attacked by the radical permission of processual egocentric arraignment, as
if forced to produce a tortured evocation of self limit and participate in
an invasion of the empirical demarkation of the body-space. All social
orthographic processes are rape. The idea of processual performance deals
only in self-disgust and participants suffer elution of (the fabricated)
self but adopt the filth-commune-prehension of political congress.
I see such inflicted processes marking assaults on the denizen-intellect,
whilst the stagnant excretia-product eludes the exclusive passive/receptor
of choice, yet remains an axle-axiom of orthogenesis; so I too would index
product as non-aggressive generosity or orthogenetic object -- and process
as violation or inhibiting zymurgy. But in this polarised view, one ignores
the passive "ain soph aur" of the possible, the vacuum before process, the
pre-temporal event horizon that explodes into factuality, where the
augur-vehicle both participates in non-being and stands without, not
needing to engage in either product or process, but reticulates in the
vasodilation of experiential non-election and indeterminacy. The purity of
the urge vacuum.
--
All the best
Chris
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Chris Emery
http://www.geocities.com/Soho/Square/1664
Christopher Hamilton-Emery
http://www.cup.cam.ac.uk
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