to c is to b

john f. marok. scribe  72"x40" oil/canvas

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after the afternoon storms of road-lined garbage cans, flattened fields of grass, half-second intervaled wipers, romeo made a decision that influenced a generation of liberal thinking neuro-cognitive therapists: he made a phone call to a radio talk-show host who was married to sweet baboo. sweet baboo's last performance was legendary - a non-stop monologue. the monologue was a long, rambling logorrhea, and did not have any apparent end, it only stopped when sweet baboo took off her hat...which was at a different time every night. if listened to closely and watched with astuteness baboo makes comments and gestures on the arbitrary nature of god, human’s tendency to pursue love then fade away, and towards the end, on the decaying state of the earth and the heavens. her ramblings, it was said, were loosely based around the theories of the irish philosopher bishop berkeley, who, after seeing the performance, was inspired to re-write his treatise concerning the principles of human knowledge into a dialogue form re-titled three dialogues between hylas and philonous. others who saw the performance said it was heavied with an oil soaked rag of a thought, a combustionated, potential ball of fire. a bootleg filmed copy exists on an early form of camera-phone, replete with crackling candy wrappers, coughs, sneezes, snores. once upon a time, romeo was baboo's manager, they made a ton together in the halcyon days, blew it all on private jets and bamboo shacked caribbean islands. the question after 90 minutes of trying and swearing and recorded musak was: when experiencing a spectacle, does the audience or the performer experience this state of being: esse est percipi (to be is to be perceived)?

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