LABOR-SOURCE mike corrao

The text has certain incantatory qualities (it is developed through acts of sorcery and research (three fringe academics work in the basement of a dilapidated university (they gather literary materials from an unkempt library) moving through hexagonal rooms (each new text-source is used in the formulation of a universal praxis)) the means to build a labyrinth (to excavate each false hallway (itself a junction between false rooms

(construction of the labyrinth is performed under the constraints of two conflicting assumptions) (1) (there is only one true hallway (true room) and that each false iteration is made with the purpose of deceiving its subject) (2) (there are no true or false rooms (each room and hallway is equally important to the greater monument (this meaning that the labyrinth is not a maze (it does not have the desire to progress ((the incantatory qualities of the text are rooted in the text-source (in the reservoirs from which its materials have been excavated (one of the academics says,

“The text demands your labor. You must exert your energy and prove your locomotion. In a labyrinth of parentheticals, you are the subject. This labor is not that of the puritan, but of the wastrel.”

Someone says (YOUR BOOK IS TOO DIGESTABLE) pages are torn from their binding (mashed between teeth to form papier-mache (the first room is rendered false (only insofar as each room and hallway that extends from it is false as well) you my ask what (I do not mean to interrupt (the assembly of this intricate mechanism (you begin to confuse place and object (you question if you are capable of standing inside of a text (because if your appearance is stable when static (then eventually it can be stable when dynamic))

The destruction of the library is inevitable (the hoarder of CURSED ARTIFACTS (another iteration of yourself) in this demand of labor (you are the witness to three undecipherable dreams (I am sorry to interrupt (speaking over the subtitles of another conversation)

Text demands that you attempt to understand its semiotic coding (in the tradition of Debord)) (1) there is a paranoia surrounding false rooms (given the inferred value of true rooms (the labyrinth a product of the puritan work ethic (all of its negative connotations (the false worth of false rooms (the wallpaper breathing until it is unstuck from its drywall (pockets of air) (2) all of them equally false and valueless (text-source is stripped of its minor segments

(comments on THIS THING (in which each statement must be subject to scrutiny (must be interpreted for its codes and (2) aligned to reveal its participation in the greater mechanism (the labyrinth (this text of incantatory qualities (made atop the open face of a wooden altar (three (1) fringe academics severing branch from tree) stripping the text-source of its immobile segments (it is difficult to differentiate between book and cinema (each an environment of fabrications (both rooted in their object) you cannot hide from your housing (as an electrical arc jumps from its outlet) (fork into fat mouth (tongue swollen under weight of injury

The labor that you have performed for me))))) will always be unsatisfactory (it will remain incomplete (I know that we have not formally introduced ourselves to one another) but that is okay) I do not want you to feel acquainted) (2) each segment must instead remain equally unacquainted

Experiments in unsustainable praxis (leads to the formation of a multi-colored wall of books (each with loosened binding) a dress without patterns where each new hue has been laid haphazardly over its predecessor (collective of fringe academics reveal an ahistorical foundation (schema for an unmappable structure (subject to flowing change and undocumented trajectories)) (2) in a cinema of the labyrinth (no path takes precedence over another)

No animal is prioritized over another (when the perpetuation of your existence is weighed next to that of another planet (1) THE HEIFER (the ritual sacrifice of every cow and sow in the country (mass dragged onto the wooden altar (the body is broken down)) one last time (each death performed with the assumption that it will not happen again (the end of production (at this moment (in the labyrinth of a greater scope (the size and shape of gaia) you say to yourself (I am to be judged by the merits of my meat))) and in this moment you are (as I am as well

In view of this board of fringe academics (and their wall of dilapidated bindings)))

I demand your labor (the text (myself))

Under scrutiny of your vision (the KINO EYES that you have placed within your skull (the skull of the subject (a crime which you are the perpetrator of)) we are alone now) (you and I) subject and substance (what has been removed from your original self (I demand your labor (that you strain yourself (let me bear witness to this act (to this emotional exertion (I want to weigh your body down (make your chest difficult to lift)))

We are alone in the labyrinth (in the place of this performance (projected onto the greater interface (a frame amongst frames

Your facade against mine (adjust your eyes (step back to the edge of the precipice))))))) can you see where we are now) at the entrance to this enigmatic locale) uniform and flat) desert of the wastrel) there is mention of Schoonover and Weerasethakul) these are not names that you or I recognize) fringe academics organizing the last variables of their method) refining this PRAXIS) of labyrinthine design and travel) at a distance growing far)))))) I demand your labor