Overview

The piece opens:

“the mother-matter goddess’ archetypal yonic boom blissbrassed Brancusi and hidden away in . . . Paris Hilton’s safe deposit box, of all places.”

Among its named sections or movements are ＢＬＯＷＮ ＤＵＳＴ, ACTS OF INCOHARROGANCE, Yes., Are you illegally publishing me? I am., NO NOT, A - PO - PHE - NI - A!.

Form and structure

13 displayed headings break the piece into shifts of register or movement.

Connections

Selected quotations

Corpus fingerprint

Source footprint: approximately 2,025 words · 15 image elements · 5 embedded-media elements · 35 heading elements.

Strong lexical motifs: Mouth, Voice & Utterance · Eyes, Looking & Witness · Memory, Archive & Historical Residue · Water, Pools, Coasts & Drains · Gods, Devils, Ritual & Magic.

Nearby publications: ← Summoning Demons With A.I.   ·   Cat of Creases (Ex Vogue) →

Lexical fingerprint

Tux-e-do-si-do-re-mi [Distinctive construction] · present-or-past-tense [Sentence-compound / hyphen engine] · reader-as-internal-hearer’s [Distinctive construction] · the-road-that-I-must-travel [Sentence-compound / hyphen engine] · dog-wearing-sunglasses-in-the [Sentence-compound / hyphen engine]

These are source-attested formations indexed for lexical distinctiveness; inclusion does not assert global first use.

Inside the work

Blown Dust, Tactless Data Loss describes itself as a state-of-the-art report while continually sabotaging the possibility of a stable report. The page orders the reader to flip around, read backwards, make something else and distrust explanation; “acts of incoharrogance” replace ordinary argument with a deliberate mixture of arrogance, incoherence and self-accusation.

The work is unusually explicit about its own verbal category problem. A remembered description of the writing as “prose-poetry” is rejected in favor of assault, puzzle-prose or some other provisional object. Robert Anton Wilson, Joyce, dream logic, disability writing, harpists, publication metrics and missing-phone uncertainty all enter the same field. The result repeatedly makes the inability to look something up part of cognition rather than a temporary inconvenience.

Its publication machinery is also foregrounded: subscription prompts, money requests, blind links and the intoxicating rise of audience numbers become compositional material. “NUMBER GO UP” is not merely platform criticism; it names the bodily reward that makes the platform difficult to reject.

Read beside ERRORISM, Productive Refusal and Commerce / Conversion as Composition, the work is an early manual for letting delivery failure, uncertainty and bad categorization generate form.

Structure and contents

Publication footprint: approximately 2,204 words · 15 image elements · 5 embedded-media elements · 31 distinct heading markers.

Visible structural markers

  • (I didn’t have anybody to watch me)
  • ACTS OF INCOHARROGANCE
  • Boris,
  • Ariachne.
  • Are you illegally publishing me? I am.
  • So I write about disability & harpists inkquick succession, re lease a song that name - checks three harpists :
  • GIVE
  • GIVE ME MONEY
  • ablind link ↓ in forn characters supplicant
  • NUMBER GO UP IS READILY INTOXICATING ↑↑↑
  • SUNAR ALOS
  • DIS
  • HAVE YOU EVER CONSIDERED REFUSING ALL REQUESTS TO SHUT THE FUCK UP?
  • “ I’m not happy about it, I’m just saying .” — 🪦
  • …and 17 further heading-marked turns.

Named material with encyclopedia nodes

James Quentin Devine · Cagliostro

References linked directly from the publication

Disturbance profile

psychic instability

This profile marks formal pressure points rather than moral positions. Context matters: hits may come from narration, dialogue, quotation, parody, self-description or fictional documents. See Transgression & Disturbance.

Publication

Published 2022-07-18. Read the original publication ↗