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Beginning of Thought One. Ryan Gibson

Tags: ryan voice pass

One. Encompassing the complexity of existence in the modern world in a single Pass. Careful to treat them elliptically so as not to meander into separate passes of their own. Music plays motivating the description to follow, an Orchestra that collapses under the weight of superfluous notes, divesting, rebelling, technical activity of the computer that can create anything, recreate anything it hears, unable to make pleasantry or new sounds with a unique idea.

A favourite word, juxtapositions, a word young Ryan’s tutor taught him when he was 6 years old, assisting a young mind to find new words that meant opposing but connected, versus transition. The very essence of complexity. When something is essential, it has the right to exist, whether it makes sense or it is only connected by not making sense, it is essential to the meaning of the situation. But here he’s not meant to be the counterpoint, but rather lines, the several lines of which make up existence in one pass, as linear as possible, avoiding the orchestra and limiting oneself to no more than 1000 words per impasse of this ellipsis as is crucially required by the handbook on how to explain anything in one pass.

Why are you here to witness this? Why is he? Ryan can you tell them? “I can” says Ryan.

But are they ready to hear it Ryan? Well I can’t start if you are talking at the same time I am supposed to begin, says Ryan. Well than who will be the voice? “Well there can only be one Voice, and since you have asked me to tell them it would be the most tedious of requests if I can having to talk to them and it says that I am saying everything versus just talking about me and them, versus you having to keep to refer to me. So this dear voice, is where I ask you in my Mother’s native Irish tongue to shut your trap.”

So we find ourselves alone at last, with some silence to discuss this feat in a rather unilinear composition to escape and back to open rifts in the continuous narration of this explanation. One. As it is my turn to start, you have opened a box, and hold within your hand a box, although it looks relatively small and thin, this is the universe. What looks like pages is actually material, what is depth within this paradigm, is the fact that the thoughts from reading this page exist more than the pages themselves. The thoughts you are having right now listening to my words spoken or reading words written by the computer choosing from 26 letters and several punctuation considerations, is real only when you read it to its full depth, beyond the words, condensed, but the expansion from this page and into the mind. Imagine this box opened and the effects of these few lines or a single page, of several potential pages having such an immediate profound effect on you when I say, all is a box, all is a sentence, a page, and the depth is our ability to expand it and retract it into measurements. Do not expect to find architectural balance, or for a secret, or even for examples that make up presents packed in a box. The point of reading his is to a. make sense of one, and to do so through following the polyphonic nature of a compact read, with really the only substance being what you make.

Voice: “Let me interrupt, so firstly, I just want to point out I do know a little bit about you, the values of which you have had, and how they have disintegrated over the years, your reason for wanting to be part of a self-help book, and the main character of it, since you need it the most, and well trying to supply some ideological key.”

Ryan says “ Back to me being Ryan again I suppose, nothing better than the World telling you why you are trying to do something, and to be honest, it could be complete rubbish, possibly you are the centre piece, you are the focal point, it’s you I know the best, as if a close friend at your burial.”

Voice: “Is there an illustration of one grand idea or not?”

“No more voice for now, as I am almost finished with what I would say is just the beginning, that truth and anything grand cannot be one idea, but it can be dealt with in one polyphonic pass where everything is happening at once, and held together simply by the very notion of its existence.”

Improvisations are a cheap trick for the lack a direct statement of thought, and a philosophy, and for this time we have to realize we are the trilogy; philosophers, readers entrapped in intellectual exercises, and the subject. In relation to all positions, it’s important that we deny all shit, we take responsibility for nothing that happens to anyone or ourselves, and we venture to a place where rational thought may or may not be accessible. Critics love to say shit about alchemy, so first off we deny this. Rather it’s about simply covering an expansive topic of all things in one pass. How can such desperate elements be united? Shall we speak of dreams, of secrets, and who is going to tell us. The running of fingers can tickle hairs and sensations, it triggers soft memories, turning the deep and warmer origins and organs, like a soft undulating, throbbing, penetrating, miracle the first time. We deny it existed, but it did, we argue that it never existed, it represents an enormous revolution, an unfettered imagination, no requirement any longer for class and room to be one, for they are spaced for the full effect of where you are not taking yourself.

After digesting this, after following instructions, you are ready, “Close your eyes and try to remember all you have been forgetting and why.”

End of Thought One.

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Beginning of Thought One. Ryan Gibson


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