Derek Motion

1. northeast of word / the development every third economic Asia End----to----End standards but the second major objective is community demographers / social scientists will please discuss why customers that bought 9 versions of an original Indian melody also bought the Whitehouse's features, 4 they fail to impress, like Yahoo growth: all salon haircut & oldspice snubbing his unrecognised father as a response I sure manage to squeeze everything into ppl - comparative politics & a Maltese leader but these applicants don't look far for ideas, so I test embedded-core IC's on them & laugh.oh fuck ALL COUNTRIES have the A A Advantage & they all say sure, no problem but by the middle of the 19th century (at least) empirical investigation lacked brute force, now there is a fast trade in liberalisation & I know, I'll launch the IT2000 Masterplan again as something to do & make dismal just a bit less gloomy as if this isn't only the 3rd stage of global change, but language & video-wiring have no specific logical expression, & society is exposed, with the U.S. state department now nothing but an official athletic site. service is an equation. 2. movies to understand individuals who are paid to work suffer ventral occipital lesions. the impact of television. truth-by-documentary is global like no other two-bit mistake. cool, there is eminent reality a source for FREE TV & arts have an edge. always a party at the palace, students observing animals in their element beneath the ancient oaks. multiplicity groping for solutions: surface mining. regard. dream. profile. & try not to blanche at the beautiful independent experiment period - there is a Caribbean paradise where you can finally lay hold of the Tao. 3. what's high blood pressure in the Sydney morning? its easy to warm up & growth: mesoscopic; all the better to assess the English Language - no space between boxes, desks, walls. here you can understand relationship violence while getting results & a free-read of Henry IV, an unglamorous process in the train of explosion payment service allows of course / but it's all critically acclaimed like the top40 charts. so poetry is untitled to assist: offering information it is a compilation a map of a friend the largest autonomous agency for personality & designer park addresses. & there are dozens of digital handouts. i took a book (old text-book types - one on economics, one movies, one literacy) & from pages 3, 33, & 333 I took every third word. Then I fed groups of three words into google, and took the third result. Then just organising into cool lines.(+the email formatting/disturbing)

Jennifer Compton

Fool’s Gold I am thinking of doing a rural transcription. I may only think of it and not actually do it. I may call it something like - On the Trail of Rosalie Gascoigne. I may, with notebook and pencil in hand, stand by my door, and step outside. Walk to the shop - looking for words. I may not find words. But I will be looking. Maybe an icecream wrapper. Maybe a road sign. Then I will turn out of Bumballa Road (the last word I think I will find in Bumballa Road is Twilight. Alan and Geraldine put up the name when Alan found he had cancer) into Railway Parade and I will feel tense. Because I know as soon as I reach the shop I will find so many words. I do not know how to transcribe that feeling. Of many words containing so much info. Precise. Cricket Club Fund Raising Trivia Night November 19. Accountant seeking work blah blah blah firewood for sale do not enter this shop with helmet on magnum heaven peppermint cookies and cream how does one transcribe extreme reaction to too many words?

Jill Jones

1. Willows are drinking again in the thickness they begin and progress somewhat peculiarly, there’s wanting in the melting honeydew. Would I be bored by a drained windswept pool? What more could I eat beside it? But come, ride me in triple nightmare to a funeral as if responsible for something: lights, water ruffled and filled to our roots in the sea. 2. To have left scarcely a trace of pain behind what kind of knowledge is that? nor is it complete to this day. The doors and windows were torn from their frames what kind of intensities? the first shadow on the glamour. Thriving on the unburied bodies more present than ever a city that did not exist before. 3. Stood shivering in a night. Was that mistaken? An atmosphere snug enough at the other end of the line. Upsetting the glass there was plenty of time to drink up as usual as though afraid of being heard. When a door opened. Transcriptions Number one Three books by poets chosen off the shelf: Janet Frame, The Pocket Mirror Alice Notley, Selected Poems Roo Borson, Short Journey Upriver Toward Oishida Method: 1. Choose three lines, one each in turn until there are nine, using 1st line from first poem in Borson book, second from second poem in Notley book, third line from third poem in Frame book, fourth line from fourth poem in Borson book etc (skipping poems with not enough lines) 2. Readjust punctuation, grammar and rewrite minimally. Number Two Three books of prose chosen off the shelf: W.G. Sebald, On the Natural History of Destruction Susan Sontag, Where the Stress Falls Joan Didion, Where I Was from 1. Choose three phrases/lines, one each in turn until there are nine, using 1st paragraph from first chapter/section in Sebald book, second from second essay in Sontag book, third from third chapter in Didion book, fourth from fourth/section chapter in Sebald book etc (skipping quotes from other writers in the works) 2. Readjust punctuation only. Number Three Three books by Georges Simenon chosen from the pile: The Strangers in the House Maigret and the Idle Burglar Monsieur Monde Vanishes Method: 1. Choose three lines/phrases, one each in turn, 1st line from first paragraph of 1st book listed, etc until there are nine etc (skipping paragraphs with not enough lines and skipping short bursts of dialogue) 2. Readjust punctuation, grammar and rewrite minimally.

Joanne Burns

composition method: i) i trawled through an inner-city newsletter and assembled various phrases and fragments, 'renovating' them fairly often - ii) added my own images and phrases as they made their presences felt - iii) used a line from arnold's 'the scholar gypsy' - iii.a) & a slessorian gesture - iv) referenced a billboard ad from the kings cross underground railway station - v) took particles from articles and ads in a business magazine or two - vi) and that scam email [at last put to work - tho haven't had one of those for ages] - nightmarketing i. the wall smashing ceremony via legislation stops rats running right through the last mass grab a pollution project with a rehearsal space and win a double pass extra roads completed inside parliament for pets on exit journeys you find it i find it sandstone locksmith look for a grain eligibility criteria indicate notre dame as the next premier recent cafes congratulate pedestrian driven emergencies on fixed leases impatient beds monitor tennis bypass philosophies for a sacred heart open air swim pools pump trees with valleys of liquor parish services shadow a quarter million power point bureaucrats large volumes of seawater assess them every year a lullaby of chlorine seems dirtier than childhood letterbox city delirious with policy what gurgling miscreants choir under these streets ii. 'suck it and see approach' to local traffic access i am MR.TEDDY SMITH, a miner, soliciting your consent with respect to capital flight to the tune of SEVEN MILLION, TWO HUNDRED THOUSAND UNITED STATES DOLLARS ONLY the rum corps has traded up for daiquiris on the travelator at the global happy hour bears and bulls exchange emails with saint vitus, 'ill-marketed by moonlight' announces detective inspector beattie bow as white rabbits invade the tank stream in another pedestrian scam 'waiting for the spark of heaven to fall' the scholar mutters to the library on his back iii. boardroom poison, the new soup for summer, cheap as money living exclusively at the soul apartments beyond the road block; grudges against eyewear require rebundling ditch the partnership and relocate to you-time for a seminar surprise grind that glass like seed:

Kristin Hannaford

1. big my secret First always compose afternoons. Each epic day above demise, calmed by art Dutiful, desire ends easily focusing fingertips adagio against black chords. Fresh eye circles backwards, everywhere beyond beauty 2. the attraction of the peddling ankle A constant grace abstract conditions guide deeply cognitive gestures. Appears clear – go! askew down cliff dangling cycle air circulates, gliders about cruise glimpse dusty cyclist grazed Abject conundrum. Grunting ashamedly deciding cycle damage: critical The method: Select 2 pieces of music from one composer/songwriter (this first piece is from Michael Nyman's score for The Piano and pieces ‘Big My Secret’ and ‘The attraction of the pedaling ankle’) Using the first line transcribe notes as letters - write lines with words using those first letters. Keep original titles of music. * 1st piece uses right hand notation only, 2nd piece includes both left and right hand scores.

Lizz Murphy

THE BLUE COW (Studio note 2) The blue cow is a pyramid of glass terror and no-waste refugees and secrets They remain Their real purpose is being there The shackles of sound the bright orange prisons the jumpsuits of suspicion The danger in singing The/ creative view The flimsy codes The thin fracture of landscape The possessed The blue cow Bush and the Blue Cow 1. Those boys from Bush are back bomb-making no-waste principles turning them into solid pyramids of terror 2. Refugees accused of a tale of secrets remain in prison their real purpose is being there 3. Sound, curtains, backdrops bright orange jumpsuits, shackles call me suspicious 4. Creative but in my view dangerous They will return to sing the delights and decadence of covert meetings, truths that are flimsy and thin 5. Hidden codes fracture the landscape the evidence on who possessed this blue cow Studio note 1 Selected a phrase from each of first 12 paragraphs (stopped when I got sick of it) from an arts column in today’s Canberra Times, Alternated with selected phrase (or two) from each of first 12 paragraphs in an article The Weekend Australian. Manipulated to get Bush and the Blue Cow. Bashed the crap out of it to get The Blue Cow. Cheers everyone, Lizz. Studio note: To link to Blue Cow pick two books from shelf with blue cover or content: Colour by Victoria Finlay (go to the chapter Blue) and Watershed by Ticky Fullerton. Select a random line mid-page or by closing eyes, right hand pages only. Proved a little dull – select one blue covered book from floor: India. The word blue must appear somewhere (as part of a randomly selected line). Alternate lines (Colour, Watershed, India, Colour, Watershed, India). No manipulation (is there a copyright issue instead??). Un-rules: ignore almost all punctuation because you usually do and you’re in a hurry; ditto automatic capitalisation (pewk) Blue transcription 2 Blue Buddha The ground suspended on straps Who is losing from this process Climb the southern minaret (women must be accompanied… Copper and blood and I learned A hotch potch and overall pretty light Locks bookstands 18th century atonement slippers Where the Buddha’s topknots came from There has been a major changing of the guard Chandeliers line the reception hall A few lorries and a plastic bucket or two To appreciate the seriousness Partially open the street Blue in the more mysterious reaches Like bad skin on an old leg The friendly and comfortable option A fat middle-aged cherub Lolls over a donkey See Central Manali Map (p.294) At prayer time he would’ve been beaten Hard to be on the front foot of negotiations Design has little influence As hard as getting blood Let’s face it economics is hopeless 3006 Amritsar-Howral Mail 297/833/1333 Studio note: Make a list of piano roll titles 2. Make a list of texts as seen on television 3. Count the piano rolls (13) 4. Count the legs on this chair (4) 5. Move every 13th word in first list to the end of the text list 6. Repeat every 4th word in its equivalent position in the other list 7. Multiply piano rolls by chair legs (52) 8. Reduce to single digit (7) 9. Insert after every 7th word a word or phrase from every 7th page of Colour and Meaning: Art, Science and Symbolism by John Gage 10. the word blue must appear somewhere or you have to go back to go 11. seek help reading own handwriting 12. untwist yourself from the chair legs 13. speaking of chair legs break line after every fourth word 14. that didn’t work very well at all — break chair 15. check for word ‘blue’ hope to go back to go 16. stuff it don’t get to go back to go - have to salvage it – play with tabs and layout 17. centre it and tab some more 17. post it no matter what 18. refuse to do any more no matter how OC one starts to feel about it word roll is never your fault other deconstructionists visual who is he yes izzy space to cheap synthetic my wild smell like a free re mind of mother you me my obstacles to seeing colour or a simmery day command performance summary lead terracotta dun putty ko mo top ko 100 occasional and rather half-hearted lonely flexirent your blue and an ideology of mystique thing until you did the right had a theory rainbow blue was seen as akin to darkness clown laugh laugh Christmas cake hotline all the colours of the pearl spectrum at crime sundown scene investigation pre-eminence of light-dark Washington grays my journal jawline was due to an attempt Vegas touch real master showgirl some of the most refined a series of fresco portraits

Louise Waller

Inter-textural graphs 1 Pre-emptive Karma – 131 Sacred cows are slaughtered daily. Who’s that knock, knock, knocking at my door? You are being watched they get letters, comment on private harms chilling between the lines, planning. Tornado siren – 132 Robber-barons run roughshod -- mulling an idea over -- been wanting to get it off my chest. Reading in the dark, Terri Shiava has died. Track back the juggler, fifth horseman (of the) apocalypse. American gothic -- episode two not to be archived. Sirens prostitute, a gorgeous voice. Running the squares (methodically built) workers in the night, mystery men revised, “they are pissing in your face, and you say …” Astronomy without a telescope – 133 Naked eye being earth-bound five planets visible, on the meridian, the new moon (as) you turn your head. That would be midnight. Inter-textural graphs 2 Buddha’s fingers – 201 Crepuscular rays out of shadow, the forged beauty of light diverging through gaps in clouds, on parallel furrows of freshly ploughed fields. Vowels of sorrow – 202 ‘poetry has investigated itself’ Rules its own purity born in the furrows, waiting for something which will not come, a sort of miraculous event. A book of songs dedicated to … or iconicity (as particular) pushing language, to realize permanence, the forgotten. Many layers – 203 Rounding the notorious, landscape turns to appreciate the wisdom of pulled gravity. At the world’s edge ramshackle checkpoints in uphill stretches. Inter-textural graphs 3 Speaking in pebbles – 311 Bulldozing white stucco from the landscape, the incessant knocking of the past and home. From potentiality to loss, a seamless mesh of givens, the way things fall apart. Enough rocks have survived – 312 The nervous breakthroughs jump the fossilized. Fallen ashes magnetize, still falling in the forest of mosaic comparatives. These rare and limited shards, set to mystify the coming archeologists. Monumental – 313 Robust reconstructions fail on the scale that is visualized, (gaps in knowledge reveal the sampling bias towards plot). Under bodies of surface water, crustal growth recycling. The fleeting energies flow with viscous lava on the ground. Studio notes – Inter-textural graphs Work with poetry text fragments from poets I like. Google the selected text fragments and trawl results to select text. Number the sets using numbers 0-3, making three sets of three. Aim to hold onto basic meaning/structure. In the first set of three, only use the text fragments borrowed from the poet and the found language, do not add to found language, just assemble it. In the second set of three, use the text fragments borrowed from more than one poet, adding to this with my own and found language, assemble it. In the third set of three, do not use the text fragments borrowed from the poet, just follow and trawl links it creates, assembling any found language text without adding to it. The poets I selected – first set John Kinsella (poetry fragments), second set Martin Johnston (poetry fragments), Denise Levertov (poetry fragments), Montale (essay excerpt), third set Gig Ryan (poetry fragments). I found the first set much more enjoyable, because I could not add anything and because the assembly process was easier. The second set was less enjoyable for reasons of ‘babble’ possibly having more than one author to process, but was not too difficult. The third set was difficult and seemed to have nothing to do with the selected text fragment from the poet, the pressure to write meaning from a link that I could not add to in order to insert relevance was less enjoyable but stretched my ideas on what to find.

Samuel Webster

Leaving Home I: he has become beyond insignificance beyond preposition when all has grown and left, what is left? a moniker for all and none, his words float through shadows and nestle quietly on dormant tongues. waiting for their song is he not a bird this infamous he this failure of commitment his dreamwords fall upon painted lips and chalkboard wings II: beneath a nation of silenced tongues he scratches like a chook in paydirt fluttering under stray dust to mask the frantic movement is he not the true shadow of adolescence the infamy of twenty years short lived III: youth arches his neck and gazes (old age puts wire) towards the sky his claws loos(fences to hold)ening from the ground (youth to the ground) his knees buckle his scales creep up to heartstrings and pull (pull him) him down to earth (closer to their hearts) there are no fences (and fail) in the sky IV: scrtchscrtchscrtch flt flit flt the last trace of dust leaves his wings, fluttering and bending with the wind, his back forfeits against currents of reticence flt flit flt scrtchscrtchscrtch Rationale: The Leaving Home Transcription is based on poetic experiments, posted publicly to the poneme list, by Jake Ginsberg and relies on the following compositional rules to continue the transcription deconstruction: 1. Each part must exploit a different poetic form, however subtly 2. Each part must be a further deconstruction/transcription of the one preceding it.

Simon Taylor

FIVE FIBONACCI TRANSCRIPTIONS FROM EIGHT SOURCE TEXTS: (in no particular order) 1.“Latham lets fly on Howard, Bush and threat to Australia,” New Zealand Herald, 20 September, 2005 2.The Pure Weight of the Heart, by Antonella Gambotto 3.The Trial, by Franz Kafka 4.The End of Time, by Julian Barbour 5.Qantas E-ticket Itinerary and Receipt, smallprint 6.“HELP ME,” email message from aveus1883@go.com signed Mr. Pao 7.What Am I Doing Here, by Bruce Chatwin, from a passage transcribing Ernst Juenger in Diaries, volumes I-III (so, 8.) (Using Fibonacci series as mode of selection and Golden Ratio as mode of form) 1. my honeymoon penitent child conferred his blessing I was a lamprey and my shifting form female a counterpart for the useful earth a resource of shifting maps my honeymoon penitent my blessing and his I think a lamprey my earth female my child system and shifting I my resource and holding regret to signify an eel's blessing his mirror functions of addition and possession female 2. a rural cemetery those many gates were points of enunciating my memory tattoo its delirious repeat once the unspoken assumption the manner it evolved style its habit its high gates were those fingers points a memory fingers us unspoken my first repeat life a cemetery its first evolved repeat ah churchyard exits a prejudice of consumed style once childlike desire opens us a country points 3. the way as in the text explained as similar by the next summons to K. the same differing flammable few for passengers safety the cockpit for most as for the few as during no similar no corresponding dangerous airport summons in the cockpit text or during safety for most after K. similar paths judged duplicitous as KK. because differing in airport and duration referred to by court text of the cockpit 4. Australia's key alliance is the despotism that was he warns and honour said rhetoric was virtue reasons for security printed and other notes knives or baggage the diaries will and despotism the leader expresses Australia's problems virtue and other kind printed diaries knives notes were race fair self black power despotism trade complex had've backstabbed USA for virtue 5. dear friend your indulgence I moved your Swiss account earlier in rain a firing squad of women Helen meaning my lover awake at night knew Joe he most in your indulgence of rain Helen dear a squad of women moved my account I apologise dear he most moved knew Joe your squirming greed your wet clear jealous account and god dream blindfolded the unconscious betrayal of Helen