Sketches in Wittgenstein

Abs tractions, stuck with Judgement Day voices, in murderous waves, of casual contempt.

Sideshow knife throwers at circus-cloaked naif, strapped (willfully) to circling target.

Why the what, found murdered with three knives in neck, and gurgling through blood in teeth: “martyrdom is mostly about loss.”

Topics for Detective Hunker Down when he can get to it:

Is 3 against 1 – better than none? regardless same outcome?

How was it self afflicted?

Who actually showed up in Bad Lands first? And how does that matter?

How did first (double) murder inspire the rest?

Why is it mostly about loss of value? Value of what, when its cloaked in distance?

What has revolving door (at theatre?) got to do with it, if anything?

Why still hears Frankenstein Townspeople (as ever) chanting: thief thief thief? as if at sacrifice of beast –

How is its loss physical? As death is to the breaking of a (primitive) taboo?

How is its Hail Mary-ism, a mutiny – of longing?

What has cruces (as in crucifixion) got to do with it?

Or for that matter the zealotry and horror – to everyone, including Mary – of a virgin birth?

How is adoration of Magi negative? ravishing, corruptive, annihilative? Whereas, music and intellection itself – illuminative, veridical, inclusive?

Why do religious sacrificial tropes spring-to-life so effortlessly, as to embody disorder – from murder to ardor?

How was each point of death different? as kill? as loss? in particular and respective?

How relates ghosting and image intensifiers to absorbance, reflectivity and parallax?

Why is Baudrillard suddenly, as if at my sink, putting away dishes, by the spice rack?