DEE DEE (work in progress) 1-22


1.
If this writing draws a self-portrait then it describes a person whose intended experiences in a given social space (one of a series) are modified by the intended experiences of another (one of any number).

2.
If this writing draws a self-portrait then it describes a political alignment between one subject and another, the two (or more) of them present in the same place at the same time. In the event of an incident, this political alignment will reveal itself.

3.
If this writing draws a self-portrait then it describes a subject whose interactions or encounters are situated in a set, a stage or a site. Although it is not free, public space can be available for this set, stage or site.

4.
This will enter a limited social space. It can help define the limits. Set the tone. It can anticipate a possibility connected to a specific person and a likely place, not necessarily to an arranged date.

5.
In a given social space, the intended experience of one person is modified by the intended experience of another through their interactions. These interactions are respectful though not respectable.

6.
DEE DEE is my outward projection, the visible spirit. DEE DEE will (might) appear here, a kind of character in a kind of fiction.

7.
Perhaps this writing draws a self-portrait. I don't want to feel like I'm really there.

8.
I anticipate a possibility connected to a specific person and a likely place, not necessarily to an arranged date. I prepare myself to enter the set, the stage or the site or I prepare the set, the stage or the site for company.

9.
These interactions respectfully (though not respectably) affirm a political alignment between people. These people have chosen (or not) to be present in the same place at the same time. In the event of an incident, this political alignment will reveal itself.

10.
I don't want to feel like I'm really there. Later, poetry elevates to romance; at the centre is DEE DEE.

11.
This is entering a limited social space. It is helping to define the limits and to set the tone. It is pointing towards a freedom connected to a specific person and a likely place. Not necessarily to an arranged date.

12.
If this writing draws a self-portrait then its subject is thinking 'it will (might) happen here, a kind of fiction'.

13.
Is this an attempt to write an engaged present, engaged in the work of embodying the act of looking forward? I anticipate a possibility. I embody an anticipation. I could be thinking of a specific person and a likely place as I anticipate. As I embody this anticipation. I could be thinking of an arranged date, but not necessarily.

14.
Anticipating may be on the other side of mourning. On one side you imagine a possible future, on the other side you try to remember or you try to accept an indistinct memory of a definite past. Both intentions take place in a disengaged present. On either side is a place. Either place is spilling over to and retreating from its surrounding area. All in all, it's the same place on either side.

15.
Poetry elevates to romance. It was political there. They had chosen to be there (or not) and they were limited to that place. This was a political alignment. In the event of an incident, this is where they were at the time, and there at the centre was DEE DEE.  

16.
These interactions are respectful and not respectable. Stop tracking with thought.

17.
Now you prepare the set, the stage or the site for an imminent freedom. Now you prepare yourself to enter. You were pointing towards, now you prepare.

18.
Public space is not free but it can be available as a set or a stage or a site for engagement. Before this can happen I attempt to embody the act of looking forward thorough writing an engaged present. I am presently engaged in the work of embodying the act of looking forward.

19.
Perhaps this writing draws a self-portrait. The place is irrelevant yet necessary.

20.
I anticipate a possibility connected to a specific person and a likely place, not necessarily to an arranged date. When I arrive DEE DEE is my outward projection, the visible spirit.

21.
In a given social space, the intended experience of one person is modified by the intended experience of another. If everybody is a poet and if poetry elevates to romance, then is everybody their own DEE DEE?

22.
This will (might) happen here, a place allowing a state of being free that is open to love, friendship and companionship. This place is home, or home away from home, a place for a kind of fiction.