Text is seen as being more than codes of English language and extend to the movement of the world. I have attempted to translate the texts of supermarket and fence into poetry. By juxtaposing elements of visual born information, syntax is realigned with the complex interactions of the world text. There is no naturally clear way to think or write this. Rules make no real sense of this world text. The text of supermarket is deeply and radically fragmented, thus the language and its lexicon/syntax must also be a radical formation of fragmented and juxtaposed words. I ask myself how the covered up blooms of forests and indigenous sacred sights meet with a policeman pushing a shopping trolley who is walking past coffee grown in a South American slave trade deforestation advertising cover-up. Allen Ginsberg writes in the introduction to his collected works (2007), “Syntax punctuation Captilisation remain idiosyncratic, retaining the variable measure of nervous systematics” (p6). I also claim the disclaimer of a universal idosyncratics based in the diversity of nervous system language systematics. My bodies ‘nervous systematics’ order perception of the mundane in a complex song of ecological interactions. By doing this the mundane is aligned with the depth of wonder and grief of a mysterious unexplained cosmos. It is also aware of the politics that limit it, define it and harm it.
I have also worked with an interdisciplinary hybridity. The text takes the shape of the body, female/male subject positions are negotiated against the back drop of the mundane. The text takes a non-linear form. Text can be read up a leg, on a breast or even realigned in the shape of penis, neck or finger.