Thursday 31 May 2007
Wednesday 16 May 2007
(onomastics and avian) Origins in disguise/sacred
There is this anywhere. It charts no longer so much the seasons -which, I wonder, were ever fashion decades sustained as centuries rewite longevious styles - as the skies' dances on the core rooves.
How much in how many phrases? I don't hear much detail so much as I see in the buildings, the vehicled, the clothed; who talks watching the road or dual screens the view. The tlakers reveals nothing as (any) category except a definite perogative to knowledge.
More is said by a lady work clothed though unable to hide the committemnt to her body, or the worker whose bitterness, given a service mask home-made, is written thru error the lawyer prays for.
The factory vernaculars in architecture works it's own negation from the diversity of responses to the diminished availability of biological familiars? This rapacity at the carmine cubes, their amber ashen surfaces the colour of summer slaughter clouds rashing of temptation succumbed to on any skin.
The wildlife has it's exodae from drought, claiming a world where the rains meet its tempered mineral pointing filigreed of gesticulatory revelations inseperable from the human in astringent recognitions.
Consider nothing parallels the variations of the human specie as the art of shape and shade in clouds. What language takes apart our senses marry. Yet the contrary is true beyond the indo-european foliage?
How much in how many phrases? I don't hear much detail so much as I see in the buildings, the vehicled, the clothed; who talks watching the road or dual screens the view. The tlakers reveals nothing as (any) category except a definite perogative to knowledge.
More is said by a lady work clothed though unable to hide the committemnt to her body, or the worker whose bitterness, given a service mask home-made, is written thru error the lawyer prays for.
The factory vernaculars in architecture works it's own negation from the diversity of responses to the diminished availability of biological familiars? This rapacity at the carmine cubes, their amber ashen surfaces the colour of summer slaughter clouds rashing of temptation succumbed to on any skin.
The wildlife has it's exodae from drought, claiming a world where the rains meet its tempered mineral pointing filigreed of gesticulatory revelations inseperable from the human in astringent recognitions.
Consider nothing parallels the variations of the human specie as the art of shape and shade in clouds. What language takes apart our senses marry. Yet the contrary is true beyond the indo-european foliage?
Tuesday 15 May 2007
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