In the Calm Behind the Carnival / Your Physics Experiment

Aim / Plan
I. To trust or cover, as in to awning and entrance. Experience suggests the person later entering the room—you [...] welcome—understands its colour in another hue. Somewhere mechanic your lower order brain has repurposed vintage devices, your retinal afterimage detaches itself. Observation as what happens when you look away, sign of a fixstitch in the works or a gremlin in the photorespondent machine. Investments in saturation will dividend: invisible fracture, what at the end it manufacts.

Methodology / Required Equipment
II. Torn. Tuned. Picked foxgloves, recycling into a tincture by which the heart's action settles. A globe turning us but seen from within, its traceable curvature, its dyed land-masses, its translucence. Leaving it into the earth itself, without curvature toward horizon. Applause signals you have seen enough, disperse. If at the end, what disaster could you avert, your colour memory a memory, redstriped, whitestriped, and unrolling, staging a site. If at the edge, a traceable faultline—involved.

Hypothesized Results
III. A plausible circuit links serially the disparate events in an outcome. Erasure habits one alternative premised on the on/off before/after model. (Electrostasis versus electric current.) This threshold of without movement yet present in the permittivity of air space. This collapse now here where the charge is a word-curtain behind which images which image remains. Remembrances of the blurred distant, how a tragedy is the adventure from the documentary into the impressionist. Safe, now.

Government Recommendation on Subsequent Repetition
IV. Would've wished a lyric subjectivity, not a science lesson. Would've lessened nothing and injected emotions into canvas. A consensus is towards feelings as a way to awning and entrance, and not experience. The person later entering the room—you—has no obligation to colour.

Scale Model (Prism, Tamped Earth, Water)

in any climate transportable
                                           In the calm behind the carnival, it begins.
                      metonymic for what exactly
We try to formulate a description for those who'll later ask,
                                and a catch with mirrors
      try to find a simile that contains it
                     as our hands contained its     flexible geometry,

           multiple-sided                                            the tympanum
                                or the colour our eyes aligned
with                                               cross and disperse
                                     a suspense in orange,
the wet peat scent burred to our skin days after.

           Behind the carnival                           the transportable climate
                                            at the fraying limit of celebration
the calm tremors and is not calm.
                                                       mechanized catch, and disperse,
cross. Set gestures.
           There is no name for this,
                                 no linear narrative.
                                                                   We set the sand in motion
                                                                   cannot hourglass the revolution

           from experience to the telling
               of experienced,
           sound striking the tympanum
                      in the set gestures of sense
                                                                          a fired climate,

      Our tales cross and disperse. in any climate
           music and                  light. mechanized
           fired earth                                        and a catch with mirrors.
                      Mechanized light
                                  calm reproducible mirrors
                                                                                   try the set gestures
in any climate metonymic                                              geometry, flexible, music
                      transportable for what exactly

Ekleksographia #2

July, 2009


Lytton Smith

Lytton Smith grew up in Galleywood, England, and now lives in New York City. His book, The All-Purpose Magical Tent, won the Nightboat Poetry Prize, judged by Terrance Hayes, and was published by Nightboat Books in March. A chapbook, Monster Theory, was selected by Kevin Young for a New York Chapbook Fellowship and published by the Poetry Society of America in (2008). He spends part of his time as part of the Blind Tiger Poets, an organization which helps poets publicize their books.