this pen is unpredictable
this poem has not been created.
Don’t even think of gliding your eyes
across its body of text
This poem is liberated
you shan’t grab it
with your nets of semantics, semiotics, or semi-psycho analysis
This poem is no phenomenon
it is event-less
it has no horizon.
This poem is you, my dear,
ultimately freed of criticism or reverence.
animasuri’13
20 February 2013, Beijing
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About jan—animasuri
anima suri (a.k.a animasuri, animasuri, animasuri, animasuri’10, animasuri’11)
animasuri is an ongoing project using technologies as media, text as sound and sometimes visuals as odors. animasuri is trans-media. It is possibly mixed with irony, possibly with salad or coconuts; depending on the gaseous nature of transatlantic chatter.
animasuri is a rational, calculated forecast of the surreal. It comments and reflects on the perceptions of daily experiences while losing all grips with it. It is highbrow on a low hanging belly.
animasuri provides surrealist BrainNnocularZ containing contextual media from teaspoons to nailtrimmings.
Some of animasuri’s forms drink bear, or cuddle beer. Some pick noses, or snooze with pixies. Others tap on keys or rather let them tap on others. Therefor, animasuri is clearly straightshooting vegan.
animasuri is cerebrally monkey-styled.
animasuri browses through the intertwined visual corridors connecting sound art, visual aberrations, appropriationist art, sound poetry and the spoken or written word. As source material visual bits, conceptual queues or soundbites are derived from pre-existing sonic or other materials, artificial creations and digital errors, environmental record-keeping, bio-confabulation and appropriation of context.
animasuri is ex- in the premature sense of the word.
Etymologically, animasuri is a French-like sourir pickpocketing an Anglican feminist Latin soul. animasuri is not French nor English nor American and surely not Spanish or Brazilian; it is homi in a Bhabha-esque swirl. It is balance found in the chaos of established stereotypes while acknowledging male nipples are trans-national and universally misunderstood.
As a reflection of an extrinsically-labeled happily married white Caucasian Judeo-Christian heterosexual Buddha-lover, animasuri finds harmonious solace in Judith Butler’s “Gender Trouble” without any sexual troubling implications.
Politically left-free, animasuri is capitalistically comfy bathing in loyal conservative strands amidst its progressive left libertarian conceptualizations with a-communist socialist twists.
animasuri contradicts therefor is not.
