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9月13日

Ozymandias.

I've spent two weeks saturated in information, half of which I haven't been able to understand and has thus simply paralysed my eyes: like neon signage in Japanese. I don't understand international economics, or the Russian Revolution. This is funny, because humanities has always been something my brain has always been geared for. Regardless, its not just school; information has been confronting/attacking/assaulting me lately but the question of whether I want it to stop or not is something I'm having trouble coming to terms with.
 
I cleaned my room tonight. I'd never realised what an absolute quagmire of miscellaneous crap had accumulated in my shelves and in my files and drawers, but I never knew how much of a mindfuck going through it all could be. Don't get me wrong, I actually love spring cleaning; I'm a stickler for organisation and because text plays such a huge role in my life, getting back into control of it feels like getting head repairs: afterwards, I feel like i've been through surgery, like i'm out of the ether, but clean. Like Bjork says: "a little bit tired, but brand new".
 
I emptied a drawer and found years and years of writing. I'd never ever have considered myself a writer until this evening, when I literally looked at a seventeen year history of my mind captured on paper. I cannot possibly convey in words the psychological effect of seeing your past self in words on a page.
 
My heart is bulging from my chest
big feelings shroud my confused mind
inside's a storm of black unrest
and solid logic's hard to find
 
i can't distinguish up or down,
the sky has swallowed up the ground
transforming creatures, fire of blue
the world convulses round and round
 
He wanted to shout words that meant
something more magnificent.
And though he had a timid mask
he had a truly massive task!
 
That was me in year 9. I recognise the car-crash handwriting.
 
Two weeks ago I started an affair with Moleskine notebooks, trying to reignite the schtick i was keeping up in primary school of writing down what I heard or saw in real life which had the effect of resonating in my head. Seven years ago I wrote things down such as 'waterwell', 'necropolis', 'elemental forces'. Last week I wrote down 'sodium pentothal', 'xinlixue', and 'shoegazing music'. It's an obsession more than anything: all of a sudden I'm feeling this pressing need to actually record the machinations of my own head.
 
There's no other way to say it: I'm a text person. I have explosive text generation abilities, there is writing on pretty much everything I have ever owned. It varies from the mundane to the creative. It's all history. But everything in history is a skeleton: the 1920s art deco buildings in New York are being used by 21st century artists right now, with peeling ceilings and all. History would only never exist in the physical if each generation was to completely begin again: new buildings, new language, new culture. This is the point: history takes up space. The past lives on the same plane as the present. And just like the recognisable lines of history that we can see running in the real world, from the Decameron to Jules Verne to 2001: A Space Odyssey to The Matrix, so too can I see lines of history running through and from my own head. The major question, therefore, is how, like Ozymandias, I plan to attempt to make myself last forever.

Windfarms.

On weekends he drives to Helioblue and spends an afternoon among the windfarms. Every moment of the trip is an icy and fleeting pleasure: the road runs straight as the hills emerge from the landscape, the horizon throbbing with placid turbulence.
 
When he gets there he feels like a person in a macroscopic crystal garden: there are no lakes (which to him is beautiful), but instead there are tall glass skyscrapers standing as roaming watchers, hovering over the undulations: they are everywhere. He leans against the car and watches the windfarms turn: all around him is the infinite succession of green: the sunlight is neutralised by the chill wind and so there is nothing in the air but a cold, magnificent brightness. The grass fields appear perfect for miles and miles, unperforated by landscape interruption: the music dies quietly, carried everywhere by the mobile air.
 
He reclines, cold wind shooting up his nose, tripping the tactile nerves to pure ecstasy.
 
He loves to look at corporate logos. They're like beacons in the lowest sky-strata, and appear as photoenergized spectres with so much meaning behind them, origins in an ocean of total perspective. He allows recrudescent happiness to come from him at all sides, and smiles when the point comes that he knows he's outside himself.