i might be dreaming (follow pain and bleed me)

if i may, and if i might, lay me down weeping
if i say, what is like, i might be dreaming
if i may, what is right, so many time, see me heal

those years in his vomit
a phrase from his pocket
and chains holding the wind, i won't be

dream
do re mi, do re mi
do re mi

if i may, and if i'm right wake me up, see me
if i do, and if i like, find me how to see me
if i may, and cold as ice, i may how to see me

raised in his socket
it fades from his moment
a chase from his socket, i will need

ray dream
do re mi, do re mi
do re mi, do re mi
do re mi

wish me good, and wish me light, break me down, see me
in your way, just be quiet, follow pain and bleed me
yell or wail, and if i sigh, sink me how, tv
if i may, and if i might, gonna go to bleed

praise in his pocket
praise from his moment
a chase from his own in my tea

ray dream
rape me, don't rape me
do re mi, do re mi
don't rape me, do re mi

(kurt cobain)


matthew swiezynski - i might be dreaming (kurt cobain cover)

i'm a farmer in the city

more variations on the léon bonvin getty farmer

i guess heaven takes care of fools and scoundrels

that little frenchman beats them all.

you can talk all you like
about sherlock holmes.

that little frenchman beats 'em all.

i read it. air bubbles don't
necessarily kill a person.

those writers from the other side
get too fancy.

the best way to commit a murder-
i know, i know.

hit 'em on the head
with a blunt instrument.

well, it's true, isn't it? listen.

if i wanted to murder you tomorrow,
do you think
i'd waste my time on fancy hypodermics?

or on inee?

what's that?

inee. indian arrow poison.

oh

listen,
i'd find out if you were alone, walk in,
hit you on the head with a piece
of lead pipe or a loaded cane

what'd be the fun of that?
where's your planning?
where's your clues?

i don't want any clues.
i want to murder you.

what do i want with clues?

well, if you haven't got any clues,
where's your book?

i'm not talkin' 'bout writing books.
i'm talking about killing you!

if i was going to kill you, i wouldn't do
a dumb thing like hitting you on the head.

first of all,
i don't like the fingerprint angle.

of course, i could always wear gloves,
press your hands against the pipe

after you were dead
and make you look like a suicide.

but you wouldn't beat yourself to death.

i'd do it so it didn't look like murder.

fragments from a monograph on the pole photographer bolesław okoniewski : los angeles part four (arco iris)

(santa monica & eagle rock)

some recently discovered photographs captured in los angeles by the polish photographer bolesław okoniewski, a trip taken sometime after his attempts to enter into the polish avant-garde collective gówno ptak kurwa rolnik melon (dates uncertain, most likely the 70s). he was denied access to this prestigious group, so he went west.

okoniewski used his camera as if it was a capturer of nothingness.  a blasphemer, a melon farmer, beckett's three-legged giraffe, the big nowhere.....

okoniewski's trip was motivated by the words of horace greeley.

(note : please view images as deep black)

fragments from a monograph on the pole photographer bolesław okoniewski : los angeles part three

(malibu - part three)

some recently discovered photographs captured in los angeles by the polish photographer bolesław okoniewski, a trip taken slightly before his passing (dates uncertain, most likely mid to late 60s).

okoniewski used the un coup de dés technique of "no eyes, no focus, no exposure, no nothing", which came to him after reading a polish translation of mallarmé's poems, and after ruminating on the complex meanings and possibilities of chance and nothingness. his unpublished notes on the subject have been a large influence on the ingenting kollektiva and writers of this web site.

okoniewski at the time was working for the polish company ziemniak wirus nieograniczony, and was doing business in the los angeles region.

(note : please view images in a dark room)

fragments from a monograph on the pole photographer bolesław okoniewski : los angeles part two

(malibu - part two)

some recently discovered photographs from the city of angels by the polish photographer bolesław okoniewski, a trip taken sometime after his exile from poland due to some controversial findings in the study of "resistance in diploid potatoes" (dates uncertain, most likely late 60s / early 70s).

okoniewski's aleatoric techniques included not using the camera viewfinder, little or no attention to focus or exposure issues, often times pointing the camera in a different direction than he was looking, or sometimes in the same direction to see how the throw of the dice camera's vision differed from his own.

okoniewski's trip was motivated by the desire to be in the city that had been the setting for famous buildings such as the bradbury building, the great courtyard houses, the los angeles aqueduct system, the eames house, the schindler house, art deco masterpieces such as bullocks wilshire & griffith observatory.

(note : please view images in a totally black room, no light if possible)

fragments from a monograph on the pole photographer bolesław okoniewski : los angeles part one

(malibu - part one)

some recently discovered photographs captured in los angeles by the polish photographer bolesław okoniewski, a trip taken sometime before his death (dates uncertain, most likely late 60s / early 70s).

okoniewski used the aleatoric technique of not looking through the viewfinder of the camera, with little or no attention to focus or exposure issues.

okoniewski's trip was motivated by the desire to be in the city that had been the home to artists such as john cage, marcel duchamp, kenneth anger, the many émigrés like thomas mann, bertolt brecht, oskar fischinger, kurt weill, billy wilder.... where hollywood cinema had had many great periods, and left many traces, and where most of the ed ruscha's photographic books had been produced (every building on the sunset strip, thirtyfour parking lots in los angeles, twentysix gasoline stations, some los angeles apartments, and royal road test (for its method).

(note : please view images in a black or near black room, no artificial light especially)