DEEP SCRATCH

Author: flyagaric23

  • Unjust My Opinion

    Unjust My Opinion (UMO)
    (a freestyle driven by rhyme pressure)
    …unjust my opinion, makes me cry like a onion
    i feel my opinion, hurts my foot like a bunion
    opinion, i got a million, billion
    a trillion zillion 23 piece pinion
    I just can’t stand any more your opinions
    unless they be new ones, or clever funny uns’
    shoulda’ coulda’ woulda’ brudda’ what you sayin?
    why put me in a straight jacket of your wordplayin’ 
    pain, who’s paying
    you need an op to remove it
    that opinion, you can’t prove it
    logic in the way, just move it
    add to hard facts to soothe it
    like a bed of nails, you can’t smooth it
    like a sun in a ditch light groove it
    have you got more opinions than Trump
    cuz we got the funk to shake yo’ rump
    lance that opinion, remove the lump
    tomorrow your opinion lies dead in the trunk
    i think your opinion is your opinion
    so keep your eye on the group and beware the minion

    Fly: Selected Poetry

    by Steven Pratt

    Link: http://a.co/3of5XFj

    (more…)

  • A note to Bob

    Dear Bob,

    the world seems so messy without you, and we all miss your social commentary and King Kong like presence on the underground. Raw heads still turn to you for the clearest perspective on any particular issue, be it concerning intelligent signals from outer space, the perils of totalitarian government, any conspiracy you can think of, no matter how wild or crazy (as nothing could be stranger than the truth) We miss your humor and willingness to confront the boogie man in every corner of the cultural living room, where others fear to tread.

    new readers are discovering your books daily, both fiction and non-fiction (oh whats the difference these days?) i dream of picking apart the bride of Illuminatus with a 10’000 strong, open on-line community, and to witness the films and games and weird works dedicated to you light up your face. Shit, it’s easy to forget how well you’re ideas are preserved due to your due diligence when writing. You might chuckle to see us all pushing onwards into the dark woods with the world on our shoulders, taking on the TSOG with art and magic. May you rest in peace, and continue to extrude your ubiquitous entanglement with those who wish to tune in. Please visit at any time.

    –Steve Fly

  • Hi Kev

    Hi Kev,

    I thought you might enjoy an update as your all discombobulated and stuff, no longer here with us in this mortal rugby-scrum-of-a-form. I usually fucking hate these kind of notes to the deceased, you know the kind of thing: ‘hey, hey, hey bro…’ as if you can hear me, or as if you can read these lame words, however, with you mate, i thought it might make your spirit fizz, froth, and chuckle a little. And, it makes me feel less like i’m going so stour-crazy in your absence, and a bit more like your on a very very long holiday in some shit hole of a resort, with no wifi.

    Gordon Bennet, you really shuffled off the stage at a strategic point eh? sneaky bastid! and you set the 2016 death pool in motion that savaged many of your favourite artists like Prince, George Michael, Bowie, and Leonard Cohen. You woulda’ bin well gutted mate. Even Carrie Fisher died, maybe she’s already on the eternal dancefloor spinning on that galactic pole!

    Well, i suppose you’d want the low down on what’s going in town, and with your mates. A who’s who of who, and who’s doing who. Sorry, not tellin’…it’s just all as well as can be expected bro’, it’s not like anybody went and died or nothing like that, but indeed, some might be seen as the living dead on the dancefloor compared to yowa’ kevbot (had to drop the bot in here) Did i mention what a great time i had at your wake? man, after a few drinks i half expected you to walk in the door, pulling a Jesus move on us, but no. Seems you’re really dead, whatever that means.

    (more…)

  • 10 years on facebook

    10 years on facebook.

    you can see it in my face
    i got a message from god
    it said thankyou for letting
    us have you for 10 years

    I feel had
    I feel bad for the sad
    emoticons ;-(

    out of context
    the ads and the analytics
    the sale and resale of
    digital habits
    to vultures

    the devices and divisive
    slices of non-choices between
    brexit or remain
    trump and Clinton
    numb to the pain
    swipe on

    and all the goodness too
    the laughs and funnies
    the latest news and gossip
    pictures and video
    going live
    going live

    and hot tips on flame wars
    griefers and alt righters
    girls boys cats dogs
    and all those birthday wishes
    and virtual hugs

    not to moan or rant about facebook
    like ranting at the
    state that feeds you
    or fighting a ghost
    up in the clouds
    deal with it

    face up to the horrible
    fact that facebook is a
    king mob

    the largest mass spying machine
    ever made
    and what a laugh,
    i mean, look and all the funnies
    and those quotes
    read them
    get hip to some clicktavism

    and don’t complain on it
    just shut up and get off
    your face
    book

    Steve Fly
    28/04/2017

    Steven James Pratt

  • Felthead Animation Experiment

    Feltheads (bumpkins) are felted heads by Threadonism – shuffled around under some lights and a camera, with audio by steve fly (warming up for a finnegans wake reading) and special thanks to janne. With luck, more to come very soon. Please let us know what you think, how to improve it?

    Steven James Pratt

  • A tough question and a poem

    To celebrate 100’000 blog views, a blog tough question, and a poem


    I started writing this as a response to the question below, taken from an article that whizzed by on social media. Since starting i watched some Slavoj Zizek on youtube, and marveled at his diligent dance around philosophical questions, and then recalled his comments on punching a nazi, a theme of this blog, that i conclude to mean, don’t punch a nazi, please, it lowers any progressive movement and authenticity of the undeniable force for good. By using the oppressors method of violence. Zizek holds his place as public intellectual and comedic philosopher of our times IMHO.


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  • Cosmic Trigger NinjaJamm – Demo’s

    These 3 Cosmic Trigger themed, Ninjajamm packs are an example of what NinjaJamm can do, or what you can do with NinjaJamm. After carefully cutting up the samples, anybody with enough time on their hands, and will, can use the NinjaJamm framework to produce a unique tune pack. You can download the app free for both IOS and Android devices, here: www.ninjajamm.net

    Special thanks to Tom Grashion for help programming the packs, and to Matt B, Alex, and Aneek at Ninjajamm.

    –Steve Fly

    Kick Out The Jamms – NinjaJamm Demo #1

     Fly Raw – Ninjajamm Demo #1

    Fly Walk –

    NinjaJamm Demo #01

    Kick Out The Jamms – Ninjajamm Demo #2

    Steven James Pratt

  • RAW DJVJ

    Robert Anton Wilson and the DJVJ Revolution.

    “enter the mix”–Ninjajamm.




    Sounds Fly: Music Writing

    by Steven James Pratt et al.

    Link: http://a.co/9OHmjhJ

    Friday, March 19, 2010. (edited 01/03/2017)

     

    Steven James Pratt

  • Toot and Come-Inn: Cannabis Seeds and Finnegans Wake, and dogs, you dig?

    Toot and Come-Inn: Cannabis Seeds and Finnegans Wake, and dogs, you dig?

    By Steve Fly Agaric 23. (Dedicated to Sirius, the dog)

    — Is that answers? — It am queery! — The house was Toot and Come-Inn by the bridge called Tiltass, but are you solarly salemly sure, beyond the shatter of the canicular year? Nascitur ordo seculi numfit. — Siriusly and selenely sure behind the shutter. Securius indicat umbris tellurem.

    –James Joyce, Finnegans Wake, pages 512-513.

     

    Back in 2002, when i asked Robert Anton Wilson by email ‘Can you give a list of items for our emergency survival suitcase please?” he replied:
    “Cannabis seeds, Finnegans Wake, one Rottweiler.”

    Cannabis Coffeeshop Journal 2017: Writings On Coffeeshop Culture (Volume 1)

    by Steven James Pratt

    Link: http://a.co/hMWdKax

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  • INTRODUCTION THE TALE OF THE TRIBE – Michael André Bernstein

    INTRODUCTION THE TALE OF THE TRIBE – Michael André Bernstein

    Michael André Bernstein
    In lieu of an abstract, here is a brief excerpt of the content:
    INTRODUCTION THE TALE OF THE TRIBE “I hold that a long poem does not exist. I maintain that the phrase ‘a long poem’ is simply a contradiction in terms. . . . If at any time, any very long poem were popular in reality—which I doubt—it is at least clear that no very long poem will ever be popular again.” —Edgar Allan Poe, “The Poetic Principle”

    1 “A heroic poem, truly such, is undoubtedly the greatest work which the soul of man is capable to perform.” —John Dryden, “Dedication Of The Aeneis”

     
    2 In 1920, Georg Lukacs published a critical study entitled The Theory of the Novel. The subtitle of this work, “A historicophilosophical essay on the forms of great epic literature,” announces Lukacs’ decision to treat the novel as the fundamental form of epic literature in modern writing. Subsequently, he justifies this decision, explaining: The epic and the novel, these two major forms of great epic literature differ from one another not by their author ‘s fundamental intentions but by the given historico -philosophical realities with which the authors were confronted. The novel is the epic of an age in which the extensive totality of life is no longer directly given, in which the immanence of meaning in life has become the problem, yet which still thinks in terms of totality.
     
    3 The conviction that verse could no longer deal adequately with “the extensive totality of life” (while the novel was now 
     
    4 · INTRODUCTION regarded as uniquely suited to attempt such a task) was by no means original with, or restricted to, Lukacs. Rather, he is representative of a widely shared attitude: a narrowing of the sphere regarded as “appropriate” for verse, which any poet seeking to equal the breadth of scope and subject matter of great novelists was compelled to confront. In 1917, when Ezra Pound began to publish his long modern verse epic, The Cantos, he was distinctly nervous about the problematic nature of his undertaking, and in the unrevised version of Canto I, he speculates whether it would not be wiser to “sulk and leave the word to novelists.”
     
    4 As late as 1922, after he had already completely revised the poem’s opening and published the first eight Cantos, Pound’s correspondence reveals a man still anxiously defending the ambitious intentions of his work-in-progress: “Perhaps as the poem goes on I shall be able to make various things clearer. Having the crust to attempt a poem in 100 or 120 cantos long after all mankind has been commanded never again to attempt a poem of any length, I have to stagger as I can.” (L:180) Underlying both Lukacs’ critical pronouncement and Pound’s initial self-doubt is a questioning of the essential nature of poetic discourse, of the formal limits within which the special language of verse must move if it is to remain faithful to its fundamental character as poetry. The question is really one of “decorum” in the full classical sense, an attempt to discover anew which modes of literary presentations are intrinsically most suitable to the different areas of human experience. By the end of the First World War, a verse epic was not so much a form as an oxymoron, an anachronism that seemed to violate what many poets as well as critics had come to regard as the characteristic structure and horizon of poetic discourse. Edgar Allan Poe’s strictures against the long poem in “The Poetic Principle” (1848) exercised a profound influence throughout the nineteenth century, especially upon the decisive figures in the development of modern French verse— Charles Baudelaire, Stephane Mallarme, and Arthur Rimbaud —but, in their own writings, Poe’s argument was taken up as only one aspect of a fundamental upheaval in the connection between language as a literary, poetic artifact and the INTRODUCTION · 
     
    5 world of quotidian reality. At bottom it was the representational nature of artistic language that was challenged, the traditional conception of verse as a mimesis of some external, and consequently independent, event. For Mallarme the poetic text was neither the discoverer nor even the celebrant of previously existent values: it was their sole originator, at once the source and only locus of meaning. The words of a poem, an incantation and hieroglyph, were absolutely divorced from their usage in the mundane world, and art, rather than offering an articulated duplication of reality, was seen as itself conferring the only reality, the only authentic and absolute form of being attainable.
    https://muse.jhu.edu/chapter/1258462
    .