XI. Un plan d'eau
Umberto Boccioni’s States of Mind III: Those Who Stay (1911)—Curtained, lean
Masses of complementary experiments shedding planes under conditions of the normal
Stretch of their corporality; maximally, as under training—We guess at rewarming antimatter
In delimiting vertical bars of arriving unspoken in Saint-Lazare (1912), where Cartier-Bresson
Catches a submerged work site (1932) behind, or Queneau’s botanical, olfactory
Exercises in Style (1947)—Atrial natriuretic peptide and the ample body’s apparitions of salt—
Perhaps, it is only in the intention of piecing another’s language—Boccioni discerned little of the tongue, in the now salt
And peppered photographs of Galerie Bernheim-Jeune (1912)—Rather than lean
To the trash overheard, or enumerated in signs, before which a wax partition tears to flood the olfactory
In the feint of reaching their proper memories—Depending on immersion, or lipid availability, combined with normal
Blood pressure expanded from the municipal supply, atrial natriuretic peptide sputters with the antimatter
Of positrons per kilogram per hour, forging an etheric double—The one you scrape and smooth, multiply exposed by the likes of Cartier-Bresson’s
Leica camera—Near a wall, urinating, with its effective circulating volume misted in the dark cold; Cartier-Bresson
Rummaged through a box of spare parts—Mario Chiattone (1891-1957), Futurist architect, whose surname, is fat, conjures the salt
Loaded arabesque curves and straight lines of adipose cells, which the deft application of antimatter
To unreliable receptors amends—Futurism, that would advance Art Deco, with the noncooperative equilibria of people leaning
Over balconies—Wild pomegranate flowers of balusters afford the safety from falling, from the braided olfactory
Rising there, we are distending to appreciate—From atrial and ventricular, cordoned parapets the normal
Printout monitoring parallel-flow turbines—Boccioni’s Table + Bottle + House (1912)—The normal
Umberto Boccioni’s States of Mind III: Those Who Stay (1911)—Curtained, lean
Masses of complementary experiments shedding planes under conditions of the normal
Stretch of their corporality; maximally, as under training—We guess at rewarming antimatter
In delimiting vertical bars of arriving unspoken in Saint-Lazare (1912), where Cartier-Bresson
Catches a submerged work site (1932) behind, or Queneau’s botanical, olfactory
Exercises in Style (1947)—Atrial natriuretic peptide and the ample body’s apparitions of salt—
Perhaps, it is only in the intention of piecing another’s language—Boccioni discerned little of the tongue, in the now salt
And peppered photographs of Galerie Bernheim-Jeune (1912)—Rather than lean
To the trash overheard, or enumerated in signs, before which a wax partition tears to flood the olfactory
In the feint of reaching their proper memories—Depending on immersion, or lipid availability, combined with normal
Blood pressure expanded from the municipal supply, atrial natriuretic peptide sputters with the antimatter
Of positrons per kilogram per hour, forging an etheric double—The one you scrape and smooth, multiply exposed by the likes of Cartier-Bresson’s
Leica camera—Near a wall, urinating, with its effective circulating volume misted in the dark cold; Cartier-Bresson
Rummaged through a box of spare parts—Mario Chiattone (1891-1957), Futurist architect, whose surname, is fat, conjures the salt
Loaded arabesque curves and straight lines of adipose cells, which the deft application of antimatter
To unreliable receptors amends—Futurism, that would advance Art Deco, with the noncooperative equilibria of people leaning
Over balconies—Wild pomegranate flowers of balusters afford the safety from falling, from the braided olfactory
Rising there, we are distending to appreciate—From atrial and ventricular, cordoned parapets the normal
Printout monitoring parallel-flow turbines—Boccioni’s Table + Bottle + House (1912)—The normal
Reclaimed by Le petit pan de mur jaune (ÀRTP III, 1920-1921)—Shadows of sun
draughts when rail wheels strike their wings—Henri Cartier-Bresson
Absorbed as a teen Breton’s Café de la Place Blanche; naturally, he
embraced explosante-fixe (1937), before which all of our sightings blend into
olfactory
White—Arthur Hacker’s A Wet Night at Piccadilly Circus (1910), which
obliges higher ISO sensitivity; the salt
Strewn across lens and heart divisions that condense and seep, where
the white willow shutters like antimatter
Alpha particles guessed at, in gold foil (1911), the familiar, Young Girl in a Punt (1900)—Dependent on the way one leans,
Sympathetic nerves, or not; Filippo Masoero’s long exposures suspended
from a plane, where the broken touch of electrolyte leans
Completing the half hitch of afferent, efferent glomerular arteriole
holding salt; a saturated film in the normal
Course of day—Munkácsi’s Three Boys at Lake Tanganyika,
(1929-30) that issued Arsila, Spanish Morocco (1933)—In the lightbox of
a beach, the projected three strike through their luminosity as antimatter—
Concentric blues of the Blue Rider Almanac (1911), for three
types of speculative neutrino Cartier-Bresson
Designates anchor ropes—Energy traces proceeding to swiftly annihilate
ambient electrons, unless we consume twice as much oxygen, the olfactory
Bulb's extinguished wick, the corneas tracing Giacomo Balla’s Arc Lamp (1909)—Development, witnessed from the vacant bonding of sodium lamps, as
when salt
Is consumed in excess—Sleeting in the grotto of the modeling heart, where emerging ventricles, formed in an enriched sediment of salt,
Arrive thickened, and prone to asynchrony—Calling for a natriuretic peptide analogue from a tree snake, dendroaspis natriuretic peptide (2001) bites cardiomyocytes back—The venom and cardioprotectant leaning
Beyond magnitudes of its human equivalent; being slower to degrade in the receptor’s site—Another mind conceives of the olfactory
Sense; shaped by an influx of sodium over an apical membrane, before which a torch lays dormant, for its normal
Projections of sulfurous rain broadcast the caldera—There are intimate portraits worked from the blindsight that broadens our understanding of antimatter—
On assignment from Life, the sufferer dismisses the evidence of senses mislaid in Futurism’s glazed atria, if not for Henri Cartier-Bresson’s
Is consumed in excess—Sleeting in the grotto of the modeling heart, where emerging ventricles, formed in an enriched sediment of salt,
Arrive thickened, and prone to asynchrony—Calling for a natriuretic peptide analogue from a tree snake, dendroaspis natriuretic peptide (2001) bites cardiomyocytes back—The venom and cardioprotectant leaning
Beyond magnitudes of its human equivalent; being slower to degrade in the receptor’s site—Another mind conceives of the olfactory
Sense; shaped by an influx of sodium over an apical membrane, before which a torch lays dormant, for its normal
Projections of sulfurous rain broadcast the caldera—There are intimate portraits worked from the blindsight that broadens our understanding of antimatter—
On assignment from Life, the sufferer dismisses the evidence of senses mislaid in Futurism’s glazed atria, if not for Henri Cartier-Bresson’s
Images on the Run (1952), with the cover by Matisse—Henri Cartier-Bresson’s decisive moments are above exchanges, like salt harvests
Raked in the tropics—Solar flares and thunderstorms of antimatter circulated in the nearly ten-foot span of Boccioni’s The City Rises (1910)—Westward leaning
Awaking in our arms, the star garlands penetrate six olfactive layers, filtering in our waking thoughts, seeking a normal connection as a wave-backed stallion, or a diverted train—
