The Text

Eventually, I will join myself in absence. “Living among things designed to dispossess me.” I watch TV at my father’s house. A future stratified by the “logical extremes” of “extrapolation, spectacle, virtualization, and ‘entertainment.’” The poor of us are less than bodies – data dredged by fetishists, exploiting flesh through pixels with the polarity of water. Color dissolved in hair and skin, motion frozen and screen-grabbed. “A self-deforming cast.” I’m watching Epix – Epix Hits. Passive, like my, titillation – flaccid and cumless, edging le petite mort through RPGs and online banking. My reality colloids apart. Under a sun of milk and flour. I try absorbing language in order to feel heavier, but “everything flows… no… …thing to sink.” Without seeing the screen one only sees a prolapsed glow, splattered on the wall, across the floor. The blue light referencing abandonment. The face no longer clings viscid when split-open. Employ a digital cenotaph while I look for my body. Maybe language. Maybe language. If I can absorb it. It dissolves.

——-

The Text As An Unfinished Construction – Bared To Its Support

Eventually, I will join myself in absence. “We find ourselves living among things designed to dispossess us” [James Bridle – New Dark Age: Technology and the End of the Future – page 127]. I watch TV at my father’s house. A future stratified by “The movie’s near-future extrapolation, spectacle, virtualization, and ‘entertainment’ in general have been pushed to their logical extremes” [Steven Shaviro – shaviro.com/Blog/?p=830]. The poor of us are less than bodies – data dredged by fetishists, exploiting flesh through pixels with the polarity of water. Color dissolved in hair and skin, motion frozen and screen-grabbed. “Enclosures are molds, distinct castings, but controls are a modulation, like a self-deforming cast that will continuously change from one moment to the other, or like a sieve whose mesh will transmute from point to point” [Gilles Deleuze – nadir.org/nadir/archiv/netzkritik/societyofcontrol.html]. I’m watching Epix – Epix Hits. Passive, like my, titillation – flaccid and cumless, edging le petite mort through RPGs and online banking. “Though pills colloid apart her brain, diradiate blue light, a sun of milk and flour” [Bryce Jones – “Vivienne Eliot” – page 2]. I try absorbing language in order to feel heavier, but “Everything flows towards the Pacific, no time for anything to sink, all is swept along by the deep and headlong storm of the inner current, suspended on the surface of the river’s strength” [Marguerite Duras – The Lover – page 22]. Without seeing the screen one only sees a prolapsed glow, splattered on the wall, across the floor. The blue light referencing abandonment. The face no longer clings viscid when split-open. Employ a digital cenotaph while I look for my body. Maybe language. Maybe language. If I can absorb it. It dissolves.

——-

The Text As Data

https://drive.google.com/file/d/0BwsjXWEfkKUzcm1vLTBSU29kV3llWWxuSlZtZmJhZmFtRUZR/view

——-

The Text As A Submission

Dear James,

I am submitting a piece entitled “The Text in Various Forms” that I wrote with your theme in mind. The work you’ve selected so far has been a great pleasure to read. I’d be thrilled if this succeeds in fitting in.

Thank you for your consideration,

Bryce

——-

The Text As It Can Be Found On Your Phone

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——-

Bryce Jones’ work has appeared in publications such as 3:AM Magazine, Surfaces, and Slant. He lives in Oregon.

Banner image by James Knight

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