In particular, speakers of Leet are fond of verbing nouns, turning verbs into nouns (and back again) as forms of emphasis, e.g. "Austin rocks" is weaker than "Austin roxxorz" (note spelling), which is weaker than "Au5t1N is t3h r0xx0rz" (note grammar), which is weaker than something like "0MFG D00D /\Ü571N 15 T3H l_l83Я 1337 Я0XX0ЯZ".
And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom.
Hypnosis, you're the one who has made me understand it, hypnosis is you. Slowly I wake up from you, I get the circulation going in my limbs, I try to remember everything you made me do and say under hypnosis and I will not manage, I will be on the verge of managing only when I see death coming. And you will still be there to wake me. While I wait, I deviate, I use the power that you lend me - over the others
FABLE
I cannot call it shape or configuration since shapelessness is not what I refer to at all. I can only say that these objects, not one of which resembled the other, were of no known dimensions. They were not square or rectangular or circular or simply irregularly shaped nor could it be said that their endless variety was due to dimensional dissimilarities. Simply their appearance, if even that word is not inadmissable, was not understood by the eye and was in any event indescribable. That is enough to say.
Today, when we can eat Tex-Mex with chopsticks while listening to reggae and watching a YouTube rebroadcast of the Berlin Wall's fall—i.e., when damn near everything presents itself as familiar—it's not a surprise that some of today's most ambitious art is going about trying to make the familiar strange.Similar to: Sir Richard Bishop, Alexander Tucker
