• (function() { (function(){function b(g){this.t={};this.tick=function(h,m,f){var n=f!=void 0?f:(new Date).getTime();this.t[h]=[n,m];if(f==void 0)try{window.console.timeStamp("CSI/"+h)}catch(q){}};this.getStartTickTime=function(){return this.t.start[0]};this.tick("start",null,g)}var a;if(window.performance)var e=(a=window.performance.timing)&&a.responseStart;var p=e>0?new b(e):new b;window.jstiming={Timer:b,load:p};if(a){var c=a.navigationStart;c>0&&e>=c&&(window.jstiming.srt=e-c)}if(a){var d=window.jstiming.load; c>0&&e>=c&&(d.tick("_wtsrt",void 0,c),d.tick("wtsrt_","_wtsrt",e),d.tick("tbsd_","wtsrt_"))}try{a=null,window.chrome&&window.chrome.csi&&(a=Math.floor(window.chrome.csi().pageT),d&&c>0&&(d.tick("_tbnd",void 0,window.chrome.csi().startE),d.tick("tbnd_","_tbnd",c))),a==null&&window.gtbExternal&&(a=window.gtbExternal.pageT()),a==null&&window.external&&(a=window.external.pageT,d&&c>0&&(d.tick("_tbnd",void 0,window.external.startE),d.tick("tbnd_","_tbnd",c))),a&&(window.jstiming.pt=a)}catch(g){}})();window.tickAboveFold=function(b){var a=0;if(b.offsetParent){do a+=b.offsetTop;while(b=b.offsetParent)}b=a;b<=750&&window.jstiming.load.tick("aft")};var k=!1;function l(){k||(k=!0,window.jstiming.load.tick("firstScrollTime"))}window.addEventListener?window.addEventListener("scroll",l,!1):window.attachEvent("onscroll",l); })();

    Tuesday, August 29, 2006

    Femur

    Femur

    almost perfectly cylindrical tightly woven part of its extent is to create a map like aperture over and underlayed separated above from its fellow medialward, compression is tense

    classical latin: its genitive is often feminis

    femina = woman

    bringing the knee-joint near the line of gravity of the body bend at the waist so that the degree of this inclination tensions and compressions are a tipping towards shhhhhhh you will hear you are a voluminous bone

    Or thigh bone

    Monday, August 07, 2006

    soft architecture, the office of

    how can you not love a book that begins:

    the worn cotton sheets of our little beds had the blurred textures of silk crepe and when we lay against them in the evening we'd rub, rhythmically, one foot agaist the soothing folds of fabric, waiting for sleep. that way we slowly wore through the thinning cloth. out feet would get tangled in the fretted gap.

    we walked through the soft arcade. we became an architect.

    but of course this is lisa robertson

    Thursday, August 03, 2006

    the art of stillness

    "The fat man said (to the wax dummy who had revealed himself as a flesh dummy), I'm afraid we must dismiss you, thank you for all your work. The flesh dummy said, But I have been working here for three year, how will I feed my family? The fat man said, Get a movement job.

    We were now five."

    this is where i became hooked, right here on page 16 of the novel Observatory Mansions by Edward Carey. i was so hooked that i began texting the phrase get a movement job out to people. allowing them to think ambivalent, nervous, confused, or ignorant thoughts about where this phrase had come from, what it meant, and what it would come to mean. then when i saw these people in person i filled them in on this book that i just begun to read but knew was worth it.

    go and read this book!
  • Occasional Work & 7 Walks from the Office for Soft Architecture,Lisa Robertson
  • Observatory Mansions, Edward Carey
  • Siste Viator,Sarah Manguso
  • Point and Line, Thalia Field
  • 1913,issue 2
  • JetSetReady
  • Book Blog
  • Kid Sorrow
  • 14 Hills
  • Other Voices 2008 Younger Poets Anthology
  • Poe25{cent}em
  • sidebrow
  • eleven eleven {11 11}
  • New San Francisco Writing
  • Canwehaveourballback?
  • 42opus
  • Identity Theory
  • TellTaleHeart
  • Bri's Hub
  • Broke Robot
  • Musings from the God of Cities
  • Dinosaur Comics
  • Strong Bad
  • Rejected
  • Powered by Blogger