concerning translation prelude the 2nd the 2nd strata

--------------------------------↓ further down the strata ↓---

will I just have prelude after prelude before prelude as I try to articulate something or other . . . ?

Though I feel am on verge of saying something of reasonable significance.

Yet it may simply be the allergy medicine I have taken, it has done something to my head (brain) . . . appearance-wise, my head is unchanged.

Well I hope so . . .


Writing as death = writing oneself into a disappearance = writing is a vanishing act!

& translation is a doubling-down of all this . . . there is the virus-vector to consider also -- invader-translation: (enters syringe-like into "host" language.)

/ thoughts on the importance of marginal-idol units of Tokyo keep intervening, as though there is some connection to make before I can proceed /


writing as disappearance: from Blanchot "The Work and Death's Space"

" . . . it is vain to want to remain oneself above and beyond one's disappearance . . . vain and, moreover, the opposite of what one wants, which is not to subsist in the leisurely eternity of idols, but to change, to disappear in order to cooperate in the universal transformation: to act anonymously and not to be a pure, idle name."

/ idols ! / idle / an idyll / and doll, a lifeless semblance-to-life /

(see yurumerumo: id idol /keywords: "identity / "suicide" very here


If I could first answer the question: why are Oyasumi Hologram so good? I may get closer to managing to say what I have to say re: translation &c (and they are "so good" -- I will fight whoever disagrees.)

So, if for example, someone solves the riddle of the recent-ish song "MOTHER" -- why the Japanese lyrics are not the lyrics sung - the lyrics sung are in English and do not relate to the Japanese lyrics, though the Japanese lyrics do relate to the video itself . . ? (&,watching the video and listening the song and reading the lyrics almost become three separate things, or like a muttering "other" -- it is an odd sensation)

(it is uncanny)


(another) end for now / /


  1. possible trio/trinity in "MOTHER" / 1) the mother / 2) the child-in-womb / 3) the sounds heard from within "MOTHER"
    (huh, Twin Peaks?)

    // one can imagine a surrogate language, that has no syntax, nor words, only a language as substitute during translation process / a con-fusion/ = is the transitory language-space between original work and its translation./ A temporary language to be deleted as soon as the exchange is made successfully. (birth) / (placenta) / DISJECTA MEMBRA . . . ?

  2. // the uncanny if joyful or at least contains joy, I should mention. This is likely why I am integrating marginal-idol units into the talk / they are joy arisen from trauma. To write towards a death can be a joyfull act /

    This still requires more connections, like I am missing pieces of a lego set.

    but for now let us abide in a period of thought, where/ while, the abject (as yet hardly unidentified) subject (of what? more questions . . .) gathers bits of joy about it (from entirely anywhere) / / / . . .

  3. also Blanchot's use of "vain" more is "vain to do" i.e. result is little worth the effort. He is not necessarily talking about one's ego.

    I think.

  4. I figured out the "mother" thing / I think to my satisfaction, but won't elaborate further till computrons are more, or feel more, safe.

    It goes back oddly a long ways and connects things.

    And almost every interview with producer of marginal idol units&c say the march 2011 was the catalyst as such. So I was right. Am right. Highly unusual. I'll bask in that a-whiles . . .