Exchange Rate

our eyes met. it was at that moment s/he knew s/he'd sign up. I leaned
over to clinch the deal. s/he looked me up and down I was swollen in all
the right places and then some. Chinatour gained another satisfied
customer, hir fantasy money in the bank. let's call this piece Exchange
Rate. geodesics make geodesy. I couldn't forget my future s/he said to no
one in particular. Chinatour will take care of that I said to no one in
particular. :leased hir body hir sheave-skin distended in all the right
places, for what, for Chinatour, the mountain says it all, hir body in the
foreground. I can't see clearly I said, I'm distracted. that's my job,
s/he said, I'm Chinatour, if you look at me I make money for them, you
can't help it, I can't help it, they pay me, they can't help it either.
where do they go I asked. who. Chinatour. s/he replied not to China that's
for sure. I don't know. but they use the Sung backdrop, Fan-Kuin, some-
thing like that, I don't speak the language. you can't see anything s/he
added, the fog's in the way. it's you not the fog I said and let it go at
that. Chinatour gains a point, maybe five. it's more than I'll ever see.
and these photos, incredible. almost like the real thing. there are no
real things around here. they're as real as they get, you just don't see
them. at least I see, s/he replied. at least I see as well I said not
catching the drift into body and fog, sheave-skin and mountain. our eyes
met.:leased hir body for that ad for Chinatour who knew what would come of
the foreground effacing tao-mudra w/ hermit in the distance well s/he
needed monie as s/he said and flight was easy it's our world s/he said,
there's no tao. there's no tao, nothing, not even emptiness, everything
stricture s/he said, you can't have a thing without a frame & a frame
without a thing. but I can fly s/he said & that's the tao of Chinatour you
can always have an image of the thing if you can't have the thing itself.
even emptiness I asked. even emptiness, if there's no way just turn the
screen off, I won't know, time stops when I'm gone, when I'm back it's
like I never left. even if things changed I asked. I begin where I begin
s/he replied. look at me. I'm ready for it. what's that I asked. movement,
process, s/he said, I can't go farther, Chinatour is looking for me:China-
tour, the velvet fog of the world:Chinatour satisfies your customer:China-
tour, the velvet fog of the world:Chinatour, when your day is done ours
ust begins :Chinatour, when there's smoke there's mountain

from ESP-Disk night performance at the Bowery Poetry Club (for Barnacled and my re-release of an ESP recording: http://www.alansondheim.org/esp2.mp3

Apologies for not responding here; I've been working on things like the enclosed . The video contains two avatars; each is created with motion capture used simultaneously by two people (therefore four people in all); the stills are from head and body scans of dancers that are then attached to the avatars; in other words there is an entire community here invisible and visible; dancers are Kira Sedlock and Foofwa d'Imobilite; programmer is Gary Manes; production etc. myself; choreography mixed; technical Azure Carter; created at the Virtual Environments Lab, West Virginia University. For a more detailed rendering of the video try http://www.alansondheim.org/riddle.mov . This work consists of duals, as if the pre- or proto-linguistic self-constructed from oppositions that dissolve into the abject.

outline of emanent research

(note while the notions of 'code,' 'coding,' 'decoding,' codework,
underlie almost everything below, they're not explicit - nor are the
actions of reading and writing. the actions can be considered emergent
phenomena, and the notions as primitives in the sense of members of a set,
etc. again, the analog and digital phenomenologies are implicit as well,
as are the (related) concepts of abjection and purification. the analyses
of these comes out through praxis, attention to detail, thinking through
mandalic structuring until the scaffolding leads, not to silence, but to
tending. this should be clearer as the work progresses.

i should note that the following is both a constitution of my usual/cur-
rent directions and most likely too ambitious. the trajectories circulate
around formal systems and their psychoanalytic/psychological receptivi-
ties, around emanents and 'true worlds,' around edge phenomena which turn
towards the uncanny and abject, around languages, bodies, sexualities,
communalities, and inhabitations. i have increasingly worked through
buddhist philosophies, the analogic and digital at the limits, notions of
'dis/eased' philosophies, deathing and uneasy worlds. now that i have a
clear time to think through these things, the outline below is useful as a
guide; for that matter, it's a guide to the past few years of the 'inter-
net text' as well.)

I. motion capture: this conjures up external behavioral characteristics
translated into internal processes (penetration, scale, displacement,
torsion, according to various geometries). think of mocap behaviors
operating within a constrained field with strange attractors / catas-
trophic jumps. continue to develop mocap with new multi-valent sensors
and software rewrites:

1. turning nodes on and off
2. combining nodes
3. mathesis such that node1 = f(node{n not = 1}), or such that
node1 = recursively f(node1)
4. multivalent sensors such that sensor(x) = sensor[{n}]

what are the emergent images here?

what is the possibility of constructing bvh files with additional nodes
determined mathematically from the hardware set? or mathematically from
extraneous data?

what is the possibility of other organic models (i.e. than human or
animal forms)?

IA. data remappings

entry of bvh files into blender:
1. modeled onto abstracted forms
2. modeled onto parent/child forms
3. modeled onto metaball forms

blender file outputs:

1. entry into cave environment: static or dynamic
2. video output
3. what is the possibility of gaming output here? (moving around emanent
environment)
3. second life output: static or dynamic/interactive

IB. interiors

1. standardized interiors: sheave-skin, sheave-organism
2. constructed 'model' interiors: solid, transparent, penetrable,
impenetrable
3. abject fluxed interiors: how should these be constructed?

IC. interior narratologies

1. abject/purified narratologies and emanent interactions
2. abjected/purified contents of dis/ease, dis/order, ecstasy, ekstasis,
catatonia, defuge, death/immobility, sexuality, speech/murmured/
whispered/cried/screamed, body formed/deformed
3. tantric/middleway theoretics

ID. choreographic mocap (see above)

1. additional issues of jump/leap, exhaustion, tether
2. video/photographic output as well as bvh

II. scan

phenomenology of scanning, causality across scanned lines

IIA. small scanner

1. head/speech phenomena dissected
2. schizophrenias and beam-splitters
3. reflections from coils, air condensers
4. static tantric buddha image: sutured, stitched-displaced, node
combinations and splits
5. wounds, scars, lips, genitals, ears

output into .obj files into blender/cave
output into video/still image files

within blender: solve the issue of disappearance/transparency

IIIB. large scanner

1. interior scans: rooms with bodies, reflections, dance-studio,
scan-choreographies
2. exterior scans at bretz coke ovens, persona rapid transit (in motion),
soccer fields
3. mobilized body scans in inert environments: reading 2d -> 3d, nature of
the inference.
3. environmental scans with mobilized and peripheral bodies
5. narratologies of such bodies: violence, chase, jump/fall, etc.
6. choreographic narratologies

III. access grid (open source internet 2 group messaging/environment)

1. distant interaction with emanents
2. readings of the corporate / corporate bodies: photographs/video
3. theory and discussion, levinas, leder, lingis, etc. at the distance
of telecommunications

IV. cave and second life

1. performance and documentation
2. working/running within emanent interiors
3. and so forth

V. goals of the above:

1. what does it mean to be in-carnated within the real/virtual/
true world?
2. what are the edge-phenomena/plastic and static limits of the body?
3. of the geopolitical body? of the political-economic body?
performance: abu-gharayb modeling in sl
performance: abu-gharayb modeling in choreography
4. what are the signifiers of bodily arousal/violence/meditation?
how are these constituted within the real/virtual?
5. readings: what does it mean to read the real body? the virtual body?
6. what are the ontologies and epistemologies involved here?
ontological status of the so-called virtual -
schrodinger's cat paradox and collapse of the wave function as model
for simultaneous analogic/digital readings -
seeing through microscopy (tunnel, scanning, optical, etc.):
are ontology and epistemology equivalent at the limit?
(are analogic and digital equivalent at a parallel limit?)

VI. medical model

1. internals and externals, static/dynamic. remnants of the visible
human project, gendering of the visual/internal
2. comfort, dis/comfort, ease, dis/ease, hysteria and abjection/fluid-
ity (laycock's 1840 essay on hysteria, kristeva, chasseguet-smirgel)
3. dis/ease, hysteria, and so forth of emanents
distorted emanent behavior and body image (gaz)
distorted surface textures and behavior-collisions (sondheim)
distorted worlding, 'bringing one out of the true world' (etc.)
4. medical model and technology
5. psychoanalytics and technology, psychoanalytics of emanents

VII. radio

1. vlf - very low frequency - body interferences with antenna
reception, phenomenology of body coupling with antenna
2. scanner - social, continuous socio-political landscape description.
3. sw - anomalous signals
4. long-wave - anomalous signals
5. crystal - the receptivity of inert materials, primordial radio and
primordial radio culture
6. phenomenology of the antenna/field: materiality of the world as
electromagnetic channeling

VIII. emanents within fieldings, choreographies, edge/boundary phenomena

VIIIA. praxis of edge/boundary phenomena

1. analogic and worn emanent boundaries
2. edge / boundary phenomena - physics and psychophysics of the game-
world edge in second life
3. phenomena of the sheave-skin and sheave-skin internals
4. phenomena of medical models in relation to edge/boundaries

VIIIB. praxis of edge/boundary phenomena with hardware/software

1. edge phenomena in literature, codework, mathesis of the text
(cramer's and reith's programs)
2. edge phenomena within the motion capture software, poser, blender,
calculations for example of sin(tan x) as tan x nears the
asymptote
3. generalization of edge phenomena into the dialectic between tacit
knowledge (polyani) and error (winograd/flores)

VIIIC. live choreographies:

1. foofwa and soccer (edge phenomena, dancesport, etc.)
2. foofwa with crystal radio, vlf radio, etc. in large field
3. sexuality of ballet (nude ballet, classical or genre figures),
gendering of roles, ballet as emanation
4. anita berber narratologies ('annihilation: to the limit!')
5. foofwa dancework at coke ovens
6. 'body-contouring' of dance/geography
the geography of dance, dance of geography, dance geography
7. 'body-contouring' of dance/technology: dance at the limits
of the machine

IX. world-constructions

1. what constitutes worlds? constructing?
world of the text, inhabitation/dwelling/building (heidegger,
dufrenne)
2. what constitutes the true world? worlding?
'true world' in which lines/angles are 'trued' (affine geometry),
'true world' in the sense of 'trued' phenomenologies within which
virtual, real, and ikonic are blurred and interpenetrating, somewhat
equivalent, and within which traditional epistemologies of symbol/
sign/signifier/signified/index/ikon etc. break down (kalachakra
tantra, jeffrey hopkins)
3. 'reading' underlying (substructural, configuration files, guides)
organization of mocap/scan through surface phenomena
(and the relationship of this reading to waddington's epigenetic
landscapes)
4. who is world? communality, consensuality?
the problem of other minds and the problem of consensual other minds
(group hallucinations, vijnanavada, dwarf sitings, ufos, etc.)




===





These images are produced from scanners, motion capture, anything that can analyze or transform the body in unexpected ways. For theory there are the pm.txt, pn.txt, po.txt going up and on at http://www.alansondheim.org/
- please check for details. Thanks

From sondheim@panix.com Wed Jan 2 22:33:
Date: Wed, 2 Jan :33: (EST)
From: Alan Sondheim
To: Cyb , Wryting-L

Subject: Boojum




Boojum


Our cat, Boojum, had to be put to sleep today, in our arms, two days after
her 18th birthday. We were closer to her than most people. She meditated.
She taught patience. We're distraught; she was a good friend, a companion
who helped us through bleak times. She loved olives, asparagus, tomato
sauce. She was beginning to close down; her last purring was about ten
days ago. Losing a companion (Haraway's companion species) is as bad a
loss as any other (in spite of my father, who said, It's not like losing a
person you know). I can't do elegy after days of crying, running to emer-
gency rooms, trying different foods and medication. Below is her Internet
Index, within the crabbed space of my webpage.


her name, boojum, jean-paul, others
her name, boojum, jean-paul, others
her name, boojum, jean-paul, others
her name, boojum, jean-paul, others
name, boojum, jean-paul, others her name, boojum, jean-paul, others her
name, boojum, jean-paul, others her name, boojum, jean-paul, others hear
the despair among the carbon cacti, boojum trees, even in the midst of the
name, boojum, jean-paul, others her name, boojum, jean-paul, others her
name, boojum, jean-paul, others her name, boojum, jean-paul, others hear
the despair among the carbon cacti, boojum trees, even in the midst of the
Aditya A boggart bogle bonachus bonasus bonedevil bonnacon boobrie boojum
hear the despair among the carbon cacti, boojum trees, even in the midst
forgotten. Now, 2007, we are bringing our cat Boojum, this May 29, to Hope
2003 Boojum the cat who adopted me in 1990, developed breast cancer. She
The cat, Boojum, imagining her, the tenor of her fur, quality of her eyes,
:Boojum Carter
Comments by writer: Boojum is named after the Boojum tree in Baja
fury of cancer and creation. Azure and I are beside ourselves, and Boojum
Boojum, our cat, is checked now daily for a resurgence of cancer; we can't
cat, Boojum, imagining her, the tenor of her fur, quality of her eyes,
Boojum Carter Comments by writer: Boojum is named after the Boojum tree in
Boojum Boojum, our cat, is checked now daily for a resurgence of cancer;
cat, Boojum, imagining her, the tenor of her fur, quality of her eyes,
Boojum Carter Comments by writer: Boojum is named after the Boojum tree in
Boojum Boojum, our cat, is checked now daily for a resurgence of cancer;
partner, Azure Carter, and their cat, Boojum.


Boojum Carter (medical report four years ago)


feline, aged 13 1/2, four years after our mother's death, biopsy diagnosed
as follows:

Microscopic: MAMMARY MASS ONE - This mass is demarcated and has a well
localized appearance. It is comprised of a collection of neoplastic
epithelial cells that are forming tubules. The tubules are separated by
variably thick connective tissue septa. The neoplastic cells have ovoid
stippled nuclei and a scant amount of eosinophilic cytoplasm. Cytoplasmic
borders are distinct. The mitotic rate is low and ranges from 0-1 per
high-power field. Nonneoplastic tissue is forming margins. There are
scattered aggregates of lymphocytes and plasma cells surrounding the
growth MAMMARY MASS TWO - This is the larger of the growths evaluated.
There are several large cysts. There is a proliferating population of
neoplastic epithelial cells. The cells are organized in the lobules that
are forming occasional tubules. The central areas of the lobules are
degenerate. Neoplastic cells exhibit invasion. One or two layers of cells
line the tubules. The cells have large round vesicular nuclei with
multiple nucleoli. The cytoplasm is eosinophilic, scant and cytoplasmic
borders are distinct. The mitotic rate ranges up to six per high-power
field. Nonneoplastic tissue is forming margins.

DIAGNOSIS: MAMMARY MASS ONE- MAMMARY GLAD ADENOCARCINOMA, TUBULAR, LOW
GRADE MAMMARY MASS TWO - MAMMARY GLAND ADENOCARCINOMA, TUBULAR CYSTIC

PROGNOSIS: Guarded

COMMENTS: Feline mammary malignancies should be considered capable of
metastasis and warrant a guarded prognosis at best. The first smaller
growth evaluated is well localized and is not exhibiting invasion. This
appears to be a well-differentiated adenocarcinoma. The second growth is
exhibiting invasion and this growth should be considered as having
potential for metastasis. Lymphatic invasion is not identified with any of
the sections evaluated. These growths appear to be excised.

Comments by doctor: Guarded. Felines tend not to recover. She might live
six months, several years, or less. There is no way to tell. She needs
immune system fortification. The doctor wishes her news would have been
better. The question is whether or not the tubules remain within the body.
The cancer could spread rapidly or even go into remission.

Comments by writer: Boojum is named after the Boojum tree in Baja
California. She is thirteen and a half. She exhibits no signs of illness.
She has been my companion and is highly sociable and nervous, She has the
personality, if not the skills, of a brilliant writer. At the moment she
is sleeping, recovering from the removal of her stitches. She travelled
with us to Miami, where she encountered, even indoors, new and interesting
forms of flora and fauna. Azure and I pray that she will live forever.

Comments: That cancer is always the same, disordered, disorderly, a tough
go whose treatment is violent and invasive as well. The well-defined
structure of the body begins to collapse as tunnels are formed through
highly-organized tissue.

Every organism is a world of miracles, and every creature dissolves in the
fury of cancer and creation. Azure and I are beside ourselves, and Boojum
Carter dreams now, not of death.




From sondheim@panix.com Thu Jan 3 08:39:
Date: Thu, 3 Jan :39: (EST)
From: Alan Sondheim
To: arc.hive@anart.no
Subject: elegy for Boojum, our companion cat, we are all poor




elegy for Boojum, our companion cat, we are all poor,


'i can't do elegy' -
this is a poor and sleepless poem -
when something's at the limit there's nothing more to say -
for a moment i might have reversed the process
but heard nothing more than wailing or sounds like an animal -
nothing of crying, just tattered sound -
nothing of warning, fear, existence, trepidation -
nothing can be said on either side of death -
neither this one nor that one -
neither this nor the other -
death is an other -
(eighteen years, and death is an other) -
death is everywhere, death is not around -
(eighteen years, and death is everywhere,
death is poor, death is not around) -
always already other can't speak can't hear can't see -
double needles, of sedative, of anesthetic overdose -
doubled needles -
who are these people & their kindness -
(eighteen years and the kindness of strangers) -
i'm done with it, the other's never done with it -
always the last trip last day last night
last meal last touch last scent last sound -
(eighteen years and the last day and night,
last touch and meal, last scent and sound) -
in and out of the thick of it -
the thick of it never changed -
it stayed dry, viscous, substance and fissure -
it's uncomfortable, stains, sticks to everything -
lives on in us, exchanged, drops to the ground -
crawls out, walks to the sea, drops to the ground -
i can't drop to the ground, i drop to the ground -
there's an elegy on, everyone's there -
she says i think we're at the beginning of speech -
she says she's very sad and wants to go hone -
she stood dry, unattended -
(eighteen years and dry and unattended,
accompanied and unaccompanied, who can go
into and out of the world) -
the fire went out, into the world --
today someone counted elements,
earth, fire, water, wind, air, heat, dearth,
wood, & metal -
(eighteen years and the counting of elements) -
how was the air, the air was cold, bitter,
the wind harsh, we turned the carrier against
the wind, dearth of it all, harboring a flame
until the last, dying in our arms, the metal table,
off to a far wood of hunting -
the world is filled with secret coordinates -
impermanence of the metallic -
she says she thought of the limit -
in a small heaven somewhere -
& now we are silent in the night, existence is silent -
existence crawls, we heard her cries, the catheter
carefully inserted elsewhere in the building -
we held her heat against us, we exchanged heat -
the tablets - prayer wheel spinning above a slow flame -
we couldn't bear to empty her water, clean
her bowl of food, now despair reigns, & in our arms
nothing happened, everything seized --
'this is a poor and sleepless poem' -
without goodbyes, with ill-knowledge,
with infinite regret, with the world undone -
(eighteen years and the world undone) -
ah ah ah ah
ah ah ah ah
ah ah ah ah
ah ah ah ah

2 images, Azure and samisen during packing, so many hidden instruments, count them all. but then a fan which (all but) disappears as all fans do, into the background (and the real, taking slightly more time). what more can I say but Queneau, stylistic exercises. in my life, I prepare for a continuous leavetaking - I realized I haven't had even the semblance of a 'steady job,' that is a situation that seemed as if it might continue, since 1985, which means 23 years of scurrying. so I will die most likely rather soon - I feel the increased stress constantly - for which purpose I suggest you download as much as possible, as quickly as possible, whatever you might like, just on the offchance that the site goes fallow, that I'm unable to keep up payments for pecuniary or health reasons. in the meantime do check out the current, December, issue of Signal to Noise, p. 44 for an excellent article on my work - I do say so myself - every so often someone seems to have gotten it 'right,' by which I mean of course, something I agree with, no more and no less. Also if you have the chance, check out, in whatever stage of progress, Barbara Caspar's film Acker, on Kathy Acker - again, a getting-it-right; I saw this at MOMA here in NY and was tremendously moved. (Most work I've seen on Kathy makes claims one way or another, 'claiming Kathy' - this film, as much as possible (disclaimer here), give her the presence of the fullness of her speech, not that of others.)

a

fetal and fetal-field, more importations of human plasmatic neoplasm organism into programs of restructuration, retaining and amplifying abject deconstruction.

experiments with human modeling through a variety of programs passing matrices, objects, structures, vectors, from one to another, programs include Second Life, mocap, Blender, CS, Poser, scanning softwares, etc.

chirality, in this space

for 64 move upward 66
for 63 move rightward 63
for 62 move forward 62
for 61 move downward 61
for 60 move leftward 60
for 59 move backward 59
for 58 move upward 58
for 57 move rightward 57
for 56 move forward 56
for 55 move downward 55
for 54 move leftward 54
for 53 move backward 53
for 52 move upward 52
for 51 move rightward 51
for 50 move forward 50
for 49 move downward 49
for 48 move leftward 48

Yamatantra debris / ex-caliber /

identify with Yamantaka Vajrabhairava an occurrence from 1st thru 2nd life then identify with nothing at all when the space abandons itself



second life third life

begin by setting out directions, these are the five healthy directions,
the middle direction is one of exhaustion and ecstasy, then in the
direction opposite the middle direction set out the last direction, which
is one of wounding and suffering. if the middle direction is reception,
the last direction is penetration, if the last direction is reception, the
middle direction is penetration. set the house in order from the middle
direction outward, these are the spokes which narrow to the point of
intersection between the middle direction and last direction. now forget
the four directions, concentrate on the spokes, the point, the middle and
the last direction. then concentrate on the spokes, forget the point, the
middle and the last direction, the spokes come close to the point, forever
close to the point, but the point is absent, emptiness, emptiness radiates
outward between the spokes. now forget the spokes, emptiness radiates
among the ghosts of them, the spokes are hungry ghosts, they gnaw at
emptiness, they are wounded, they are defeated, they disappear. now think
of emptiness, think of nothing else, think of nothing. now you have laid
out the house and the world and the word, but you are in ignorance, you do
not know house or world or word, if you think house or world or word you
must begin again, laying out the five directions and so forth. now you
have come to an end and you are ready to begin, you have come to the
beginning, and you are ready to end. now continue.

you must imagine now yourself and house and world and word annihilated,
you must imagine annihilation of annihilation. you must imagine almost all
pleasure, among taste of delight and touch of exaltation, and among scent
of numinous being and sight of untold beauty and hearing of harmonious
sounds. now you must imagine another being joined to yourself and house
and world and word, you must imagine penetration reception and reception
penetration, you must imagine fullness and overflowing of delight. now you
will find you are creating and you are making sheave-woman and sheave-man,
you are sheave-woman and sheave-man, you have sheave-sight-and-sound, you
have sheave-touch-and-scent, you have sheave-taste-and-mind, you have
sheave-passion and sheave-ecstasy. now you will walk and remember, you
will remember everything, and you will speak and hear, see and taste, you
will forbid nothing, you will not be forbidden, you will rise above and
sink below, you will be among the direction of wounded and suffering. now
you will do this for a long time, for aeons.

now you will embrace emptiness, you are making sheave-other, you are
making sheave-emptiness, you are making wrath, are making creation, are
making annihilation. now you are making annihilation, now you are among
them, beneath them, above them, now you are beyond them. now you are no
longer imagining, you are no longer thinking among them, you are no longer
thinking, no longer sheave, no longer thought, now you are annihilation,
now you are making nothing, now you are annihilation, now you destroy
house and world and word, now you are destroyed, now you are annihilation,
you are free, you are emptiness, you are annihilation, you are emptiness,
now you are free.



Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Nikuko: Say everything.
Julu: Say nothing.
Julu: Say Nikuko.
Nikuko: Say Everything.
Julu: Say Julu.
Julu: Say nothing.
Nikuko: Julu.



almost a sonnet -

Azure wakes up in the middle of the night, she says
she says, well I say, I'm getting up here in Denver,
there might be coyotes - I say, are you awake, feeling
a bit moronic with the possibility of an 'of course' -
she replies you have to get out of the way - I say, of
what - of the man with the cart - what man - the man
with the cart - I look, we're in a small room, surely,
if there were a man with a cart, I'd see him - well he
was behind the cart - but still - I look around, she's
awake now - I say where did he come from - she says
she says, from the closet - she says from the closet -
I can't sleep, it's 3am or 4am - I say, I'm getting up,
I rise like the dark sun of her dreams - she's sleeping
again, I dress in the dark, look out the window - no
coyotes to be seen, no man, no cart, no me, I walk down
the hall, open the laptop, write this, almost a sonnet -

PLEASE NOTE:

My webpage is no longer http://www.asondheim.org but
http://www.alansondheim.org
Thank you.

savaged code

ps ml r yr ml an yt ml j hz ml uh ml aml ml af c ml ag uh an ah af an ah
ah c ah am j ah ap aag b ag ag baaiah bb ap ah bb b aibb bb am bb ch ap bb
d aw bb dd babb ds cc bb ecubb edd cc eeech eef cueg dd e gg ds egz eeeh g
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ps ps ps yt ps yr yr yt



Memory of a Walk


I walked last Wednesday night from the Modern Culture and Media building
at Brown University to the train station downtown. I took the 6:16 to New
York. It arrived around 9:50 at Penn Station. On the way I remembered the
walk. I followed myself step by step, reconstructing as I went along. This
was six days ago. Now again I remember.

What did you think you were doing?

Memory and reconstruction worries me. I wanted to follow myself. I didn't
think of this at the time, that is the time of the walk itself, but only
later. I conductor asked if I were a philosopher; I think I appeared deep
in thought. I wanted to remember as much as possible. Later, several times
in the past six days, I thought I would try and remember again, try to
write everything down. But I thought this would take too much effort; it
wasn't until now, Tuesday, that I've had the energy to proceed.

What did you take with you?

I'm clearing my belongings out of Leslie Thornton's office. This trip I
took, in addition to what I brought up, a Cambodian bowed instrument, a
pair of slippers, some extra toiletries, a white towel. The towel and a
plastic bag were wrapped around the instrument and inserted into a cloth
bag. It was damp out. I added a polka-dotted umbrella as well, in case I
needed it.

Where did you go?

I went down the stairs and out the front door. Susan and Ellen were in the
office talking. I didn't say anything to them. I walked out the door and
turned right.

What did you do then?

I walked to the corner. I thought about going straight down as usual, but
instead crossed the street. I began walking up a slight hill to the Brown
Quadrangle. I passed two people as I turned into the Quadrangle. I took a
diagonal left, which would leave me out between two libraries.

Wait, I remember crossing the first intersection. I think there was little
or no traffic.

Then?

Then I walked diagonally through the cold mist, almost but not quite a
rain. I went through the gates to the top of the street. I didn't notice
the sculpture on the left; usually I look at it. I crossed the street. I
was surprised there was no traffic. I thought that usually there was
traffic. I began the descent of the hill. I passed the location of the old
Brown Music Department, where I had played several times; I thought about
that. I didn't think about the arts building that replaced it. I went
straight down the hill. I arrived at Benefit Street.

At Benefit Street you had several choices. What did you decide here?

I crossed Benefit street; I believe there was some traffic, but I'm not
sure. I continued going down the hill. I passed a corner building and
looked in a window. I wondered whether the window was where my studio at
Rhode Island School of Design used to be. I thought again about the
accusation I had stolen equipment and wondered how S. could possibly think
that since I had no place to take it but the school itself. I looked in
other windows on the way down; they were studios. I think they might have
been drawing studios; I'm not sure. I reached the bottom of the hill.

Now you're into the city itself, or at least the outskirts of the city, by
Providence River. What did you do?

I crossed the intersection here. This one I remember being easy. I arrived
at the bank of the river, the bank nearest the hill. I thought that the
time before I had crossed and taken the other bank. I found that the river
split, and that I was thrown off-course, that I ended up guiding myself by
the Statehouse dome. This time I felt tired, and stayed on the nearer
bank. I looked into the water as I walked towards the train station; I
couldn't see anything. I reached the next corner.

Then there was traffic?

There was a lot of traffic. I ran across the street; I was almost hit. I
continued on the other side.

Did you press the button for the traffic signal?

I remember a button, but it might have been farther on. I didn't press it,
I think. Perhaps I did.

And then?

Then I continued walking. I think it was either this block or the next,
possibly the end of this block, still by the river, that I heard foot-
steps. Or possibly saw someone ahead of me. But I think it began with the
footsteps. At the next intersection.

We're then at another heavily trafficked one?

Yes, the footsteps belonged to a woman, I think possibly a student, carry-
ing a backpack or small suitcase of some sort. I didn't see her full-on; I
couldn't identify her, but thought she might be blond.

What happened?

She had crossed the street and I crossed as well, somewhat behind her.
This was the second time I was almost hit; I wanted to make the light,
since the signals were long.

And then?

The road curved up ahead. Wait, there was a four-way stop intersection.
She continued up the curve on the left. I walked part of the way across
the bridge, crossing the Providence River. I stopped and looked down in
the water. I was looking for the herring or shad family fish I had seen
there before, in large schools. It was dark out; I looked for ripples in
the water. The week before I was guided by ripples. This time there were
none. I couldn't remember the name of the fish, something like mulhagen; I
still can't remember. I was frustrated, worried that I couldn't remember.

After looking in the water for a while?

I crossed the street. There was hardly any traffic. I looked up ahead to
see if the student was heading to the train station. I thought I saw her;
I couldn't be sure. I stopped on the other side of the street, which was
the other side of the bridge. I looked again down at the black water; I
was looking for the fish on the other side. Most of the time I had seen
them on this, the other side. This time again there was nothing, no
ripples, at least none visible. But wait.

Wait?

On the first, left-hand side of the bridge, I saw a leaf in the water; it
was large, and looked like one of the fish on its side; I wondered if it
was in fact one that was dying. When I looked on the other, right-hand
side of the bridge, I saw several more, and it was clear that they were
leaves, slowly going down the river.

Which way were they going?

I'm not sure; the river flowed slowly, but I believe from the right-hand
side to the left-hand side and beyond.

And then?

Then I began walking up the hill towards the train station. I had again to
go out into the street because the sidewalk was partly closed due to
construction. I walked past a number of parked cars on the right, in this
fashion. I noticed the construction was coming along, and remembered
hearing that apartments were to be built here. As I walked up the hill I
walked over a recently-asphalted entrance to the construction site, or
near the entrance. I wondered why the asphalt had been poured; it could
only be temporary and didn't seem to serve any purpose. I continued up the
sidewalk.

Did you see any birds?

No, often in the daytime, particularly in the spring, I had seen birds
around the site and in the trees directly to the left of the train
station. But this time there was nothing. I looked down into the huge
excavation beyond the immediate construction and noticed for the second
time, the train platform, I think it was the platform for the number 1 and
2 tracks, jutting out into it. The platform looked oddly spacious and
beautiful in the dark. I continued walking past the trees.

This was near the taxicab stand?

This went directly past the taxi stand. I saw a number of drivers standing
around; they were speaking a language I didn't understand. At first I
thought, this might be Pakistani, but then I thought Italian; I couldn't
hear well enough. The drivers all seemed to know one another. I wondered
what would happen if a new driver came along, who didn't speak the
language - would he or she be accepted in the group? Would the group, on
occasion, speak English to him or her? Would the driver be ignored? This
went on only for an instant. I reached the station doors and went in.

Just went in?

I remember looking at my cellphone on the way, at least twice, checking on
the time. I was early as usual; I think I arrived at 5:34, for the 6:16,
but I'm not sure. I was hungry.

How long did the walk take?

I think it took about twenty-one minutes, but I couldn't be sure. If I had
gone directly, it would have taken between seventeen and eighteen.

You were hungry? Were you hungry the whole time?

I was hungry the whole time; I had only breakfast at Louie's, a #1 with
orange juice extra, I think, beforehand. I was going to drink some Red
Bull to keep me going through the day, but had a large coffee with skim
milk instead; the Red Bull is still in the office.

So what did you do?

I went to the small cafe inside the train station. The man who served me
wasn't there; the woman was. I had often wondered about their relation-
ship; they seemed tight. I ordered, I think, something with apricot; I'm
not sure. I do remember eating it without getting sticky; I didn't have to
wash my hands afterwards.

And this whole time you were carrying both your camera bag with various
things you had brought with you, as well as the cloth bag contraption with
the Cambodian instrument and other things?

Yes. I believe I also took back a copy of The Structure of Reality with me
on this trip. I had a copy of Claire's demo DVD, since I'm writing a
recommendation for her. I remember I didn't change clothes; the clean ones
were still in the bag. I had some trail mix left over from the ride up. I
didn't want to order anything on the train.

And you were reading?

Yes, I had books with me, but I'm not sure I remember them. I definitely
had Jane Austen's Northanger Abbey, which I had read; now I wanted to
finish Sanditon which was in the same Penguin volume, which of course I
did. And I had a copy of David Hume's Enquiry with me as well; I had been
reading about miracles. But I think there might have been a third book.
The week before I had carried a relatively medieval history of the tantric
schools of Tibet, but I don't think I had it with me this time.

What else were you carrying?

Other than the usual identifications, I had a small Olympus solid-state
recorder for notes. I didn't use it - I had been hoping to. The camera bag
was somewhat heavy of course. Another item - a small power supply for the
phone.

Do you remember going down the stairs from the office?

Not very well. I do remember having to negotiate the stairs because of the
awkwardness of the instrument package. Once outside, things were easy. I
had been afraid of rain; the skies were threatening all day. But as I
said, there was none, or rather just a light misting, slightly, nothing
more.

Money?

I had taken sixty dollars with me, but had spent very little. I spent
nothing on the train on the way up, so I had all of that. I spent little
there, and little on the train. I had walked down to Wickenden or
Wickendon street to go to an antique shop; I was hoping to find some
useful books, but nothing seemed promising. So I had most of the money
with me of course. I also had four rolls of unused Tri-X and Plus-X (the
new Plus-X) 16mm movie film to shoot in the winter and spring. And on the
way up I had brought a mini-DV tape for transferring the second roll I had
shot, but the roll wasn't back and the tape stayed in the office.

Anything else?

Some recommendation forms from Claire; I had to fill these out. I was
afraid they would get bent. I put them between the pages of something else
I was carrying back - I don't remember, a pamphlet of some sort.

Were you tired when you walked down to the train station?

I was extremely tired; I had hardly slept the night before - I coughed a
lot, there were sounds around, etc. I should add I sleep in the office to
save money; there's a futon. So I was glad that the air was bracing. I
went down to the train platform itself - #1 as usual - at 6:04 - I
remember looking at the clock - because it was open to the air and would
wake me up. I walked down; I haven't taken the elevator for a long time. I
noticed that the construction inside the station was down for the first
time - there were new escalators installed, but the one for track #1 only
went up.

Anything else?

Only that I remembered, as I approached the station, that I would be too
tired, and it would be too late, to go to the Border's bookshop in the
nearby mall. When I went into the station, I wouldn't come out again, at
least until the train I boarded left, which it did, two minutes late.




ballet's wet Pirouette grande (dance-film)


Arabesque foot
penchee down
up goes
goes the
the head
foot what
down a
head penchee
what up
a goes
balance,
the
straight the
line floor,
slammed what
to a
floor, hinge
wanton straight
hinge line
allongee
to
high, higher,
higher, pole-hole
pole-hole spectacular,
spectacular, nothing
nothing hidden,
hidden, wanton
thrown
foot
thing, thrown,
Throw, spun
thrown, around,
spun secret
around, archaic
secret vision,
archaic bared
vision, returned
bared thing,
returned
Throw,
Sur up,
les higher,
pointes useless
lift running,
it get
up, away,
useless hinge
running, Sur
get les
away, pointes
every
lift
bone sorry
hurts monsieur
i Grand
am plie
so partners
sorry ready
monsieur for
Grand your
plie bone
partners hurts
ready i
for am
your
so
pleasure, fingertips,
fingertips, fear
never Lift,
fear caressed
Lift, partner
caressed lifting
partner sex
lifting pleasure,
sex
wanton
armed smells,
one wanton,
or she
another, looks
looks, the
smells, hard
wanton, thing
she over
looks armed
hard or
thing another,
over
looks,
distance, damp,
body slid,
hinged, flesh
damp, fingered,
slid, wanton,
flesh well
fingered, or
well distance,
tunnel,
hinged,
nub your
mausoleum hands
seconde, knees,
on look
hands blessed
and of
knees, nub
look mausoleum
blessed seconde,
of
on
world you
have Blessure
you extension
Blessure tripped
extension privilege
tripped Attitude
privilege grecque,
Attitude the
grecque,
world
void to
abyss, be
spartan, sure,
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be brought
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they void
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house don't
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scented, En
drift and
En where
travesti, one
where scented,
discovers
the
holes
hinged
poles
soles holes
roles.
hinged




The Muralist


The muralist has one good idea, something he repeats over and over again.
The muralist is an expert portraitist, avatartist.
It has been said (of him), He paints the same woman again and again.
It has been said, It is the result of an unhappy love affair.
Of the muralist: His pallet is limited, his technique sure.
Of the name of the woman: Jennifer.
Of her surname: Unknown.
The one good idea of the muralist is transcendent.
It is said (of him), Everything is contained in these portraits.
It is said, As with Being, so with the Portrait of the muralist.
The muralist paints the eyes mysteriously, they follow you.
The muralist uses techniques found in primordial drawings and caves.
No one possesses the woman of the Portrait.
It is said, the woman of the Portrait is Woman, is infinite.
(It is suggested she is a woman of the sheaves.)
(It is suggested she contains others, who contain her.)
The muralist is considered mad, obsessed, compulsive.
It has been said (of him) that his skill comes from bewitchment.
It has been said that Jennifer paints the Portrait over and over again.
Of the muralist: That he is a woman, that he is Jennifer.
Of the muralist: That he has no skill, that he is doomed to repetition.
It has been said: Jennifer is the result of an unhappy love affair.
(It is suggested she is his daughter.)
(It is suggested she is a daughter who died at birth.)
(It is suggested she is the mother of a daughter who died.)
Of the muralist: That he understands women, he understands Jennifer.
Of the Portrait: That Jennifer speaks, that Jennifer speaks through him.
The muralist repeats herself (it is whispered).
She has had one good idea (it is whispered and whispered).
That she paints and paints (the result of an unhappy love affair).
(It is whispered. It is murmured. It is said.)

http://www.alansondheim.org/Portrait.mov

images by azure carter (most likely)

my ghost in my machine


mv clara
postulations; these ian;
; then there are relays, one to another, all indirect -

hole. i put my face in my hole._" (, hole, in uncontrollable bod-
login:
USER My name's her own.
alias()
udbexpand()
forward()
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another window in Panix, -window. The One or Eye floats in and out
gaillard tbyfield topaz vilardi nepsa osc pirmann sethb vernonw
notify ;
Plot: clearly jennifer, dreaming and loving .
scott screambaby: screen-l : stephan stephan steven telektronikk
n byzantium. my- name is on the maginot l ine down so deep
(no subject) Hi request sub air-l Virtual Writer-in-Resi-
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exit shell
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holes are visible, open: she is speaking: "i am 's beautiful
friend, hello , you are my new friend, hello squid, you are my new
slot, it enters your inbox, you see there, you see there,
write by the rules, 's obnoxious, his thought's idiotic, he plays
anything with it, 's far too bitter, his name is so ugly, he's far
your holes, it's far too creepy, you see there, you see
signifiers sions Snoxfly sourcess spam stromatolite subgroupoids
surely you must think, mr. , that you are stale and have covered
is it something else, mr. . [shrug] [jump]
you are a saint, mr. . [laugh] [kiss]
mr. , we are with you in our heart. you are a genius and you must
of course you will not, mr. , you have never done but brilliant
audience [empathetic] [poor mr. ]
you are so brave mr. , i cannot believe how brave you are in this
that was wonderfully put, mr. , thank you, thank you, thank you.
noticed the gears beginning to saw away at the studs and ties.
skeining skeins Snoxfly sourcess spam stentor stromatolite
( soaking, filmed with the dying camera
( in mourning and recuperation
inscribes itself on retinal matrices. it says ', there is nothing
to look at.' it says, ', you will have nothing to see.' i hide
inscribed with rectilinear coordinates. sawgrass says, ', this is
embarrassment. my machines say ' is not a pariah.' i am run by my
' is not a pariah.' i am run by my machines in this direction. it
', there is nothing to look at.' it says, ', you will have
says, ', this is your imaginary.' sawgrass says, 'inscribe
Login name: In real life:
-dark - assassin-killer laureate. -genius I am
sick of assassin-killer -dark - assassin-killer. laureate
-genius doesn't know how stupid and rude he is. laureate
-genius must certainly revel in being hated and stupid. -dark
- is hated more than beautiful-laureate of sir hates
laureate -genius or his stupid old-man writing. beautiful-laureate
of sir thinks he is better than assassin-killer. -dark -
suffering in the world. How pathetic is laureate -genius saying
how pathetic assassin-killer is. Read laureate -genius for the
second time and he is a trite baby wa-wa. -dark - thinks
he can get away with laureate. -genius assassin-killer thinks he
about -dark. - assassin-killer ruins creativity for
others. Everyone has discovered coding before laureate -genius
bad idea and sends it everywhere in the world. laureate -genius
writes about nothing else other than death.
writes about nothing else other than doaned viewers aware
all of 's writing is about his death; he goes on and on about
patent blanket
- the effect is a slow movement of air throughout. the patent
elements. the patent blanket is under development.
)

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if even . it's someone not pretending even to . a
and ellen zweig
pull. except pluspart, azure carter, . no production, no direction
but read the stele of AB.BA.HI.A.
the stele of AB.BA.HI.A.
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, two rooms on dean street. set to black background.
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mo about ! -dark ! - ! assassin-killer ! ruins ! creativ
the each last: it , as thing existence...has begins - names
couldn't have done that much music, pictures, films, and
Created by
's Home
Home page area that contains the items created and collected by
's Home bathingbeauties.mov
's Home archon
's Home jungamer.mov
two important short films by
i tell you, if it wasn't for , theory wouldn't exist!
Created by
cut off did slit ange strange todays thu problem tbyars regedit
"political shadows," by
poolings ecologies geomatics biomes tion a ikonic sions tions
made everything up and none of this is real he wants
scholar elimination tango
community cited digital warnell code wind see f of ba mark vedral
why cannot show his sight.
and cannot play his sound.
's Home mountain awaken
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's Home dank
's Home undank
's Home danker
's Home dankest

*** Signoff: um (I'mum outtaum here!)
's Home unlinked
's Home scratched
's Home rootthrone
's Home swingle
's Home lohengrin

arounds a
a audion
app archaea aristotelian arounds a audion audiophiles authorial
signifiers simulacra sions skeining skeins Snoxfly soundwork
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order atavistic # #
index of parent directory mp # vlog # intitle indexof mp
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skeining skeins Snoxfly sourcess spam stentor stromatolite
( soaking, filmed with the dying camera
( in mourning and recuperation
inscribes itself on retinal matrices. it says ', there is nothing
to look at.' it says, ', you will have nothing to see.' i hide
inscribed with rectilinear coordinates. sawgrass says, ', this is
embarrassment. my machines say ' is not a pariah.' i am run by my
' is not a pariah.' i am run by my machines in this direction. it
', there is nothing to look at.' it says, ', you will have
says, ', this is your imaginary.' sawgrass says, 'inscribe
, daishin nikuko, who are julu-jennifer
holes are visible, open: she is speaking: "i am 's beautiful
, daishin nikuko, who are julu-jennifer - what wounding of
form. Form, thrust out. Form, thrust away." (, Disorders of the

unspeakable reality of the world. In this uncanny present, 's
In 's writings digitization is no historical process. Or if we are
process, shows that we find rupture and breakdown of the process
digital. The great importance of 's writings is to treat the
More specifically, writes the problematic of the analog and the
digital. There is a rhythm to 's writings on the subject. Even
the more in its absence or gap. 's writing is syncopated in all
Firstly, these writings are syncopated in the way thinks through
only in digital form. There are only analog-simulacra. 's
through the analog. takes a different route, gambling on a
these will not reduce the confusion. This is not to say that
The ``mathematical physicist'' addresses in ``Spike'' could help
some level. More simply, writes from a belief in the world. The
Secondly, 's writing is syncopated in the way it differentiates
by explaining that ``by digital I mean discrete,'' ties thinking
both ``relative and fundamental,'' explains . For example,
``intervention'' in everyday life. is clear that raster and
Every aphorism is latent in every other and 's writing remembers
communication. 's aphoristic writing is in the mode of Novalis or
Finally, bodily interruption syncopates 's writing. Of course, it
digital and analog. This is 's concern throughout, but it is most
's aphorisms is reprocessed and hashed and the embodied text stops
making sense. offers some clues or lures for the reader. Perhaps
super-ego, suggests, followed by the introduction of numbers and
libidinal. To say that 's writing exhausts the problematic of the
through.'' 's work on the analog and digital works on itself. What
's writings on the analog and digital are grounded in pragmatics.
technologies. explains the digital as the result of setting up a
possibility of accumulation. Finally, 's raster and protocol are
None of this is entirely new in 's work. The concern with the
back as early theoretical writings, such as The Structure of
allowed a theory of online writing as hysterical text, as
environment. For , the implication was subjectivity in relation to
If writes against the digital future described by Kittler and
On the one hand, saw the possibility of a future where REWRITE
If 's analog and digital writings do not foreground futurity in
digital orders. What is such an intervention? does not specify
a world of increasing digitization, demonstrates the entanglement
immense importance. The style and content of the work is radical.
dialogue with . The content ranges from theory to praxis, with
and virtual subjectivity. While interacting with 's ebook of
and thought itself has written: "These are the essays I
"['s] writing exploits the plasticity of natural and machine
Introduction: Codework

Weisses usually in Massachusetts. In contrast, the side of the
deep; I had felt close to the Weiss, not the , side of the family.
lives in another world, just like our own.
saw the world was his.
would listen to you speaking and would
listen to listening to you speaking.
knew that the world was doubled.
would watch it burst, but it would burst
was not joined at the horizon.
and then the world. would hardly hear
For my mother, Evelyn Weiss
: This is fascinating - I'm always curious how many of
:
:
displayed the following
: Some of them are working! I've been playing around
: But Im not in bold now -are you? There's no bold at
: Well, I've got the URL up - yes, it's difficult, you
: Why don't you start with questions and we'll see where
: It's odd because those seem like different operations
: Well, what gets rid of the "I self Me" - which is
: The protocols reference code and the breakdown of
: and it's between code and its breakdown that I'm
: which is partly interpretable in a classical sense
: She disappeared a while ago; I didn't want to write
: The space-between code - what underlies writing here
: I started calling this 'codework' which has taken on a
: So the subtext so to speak ruptures the text which
: As if the bones of the tomb of writing were made
: - as if the bones had some sort of presence in the
: So that the writing in a way is 'lurid' - cutting
: As in the 'Anita Berber' pieces that I've put up at
: Mistakes in print, and in the traditional Tanach, five
: There's the "skeleton" of a piece of writing - which
: which gives you a huge list of synonyms. The first
: Which is a kind of overflowing of synonyms, burying
: and there's a parallel with Berber's life here, at
: This isn't my 'best' tabla work, but I thought it
: I wonder what happened; I'm always afraid of clicking
: The first bit - the short bit - is a
: There are better tabla pieces here! I think something
: Think of the rest as both an expansion and a
: in so many directions that nothing
: It a strange interface with a mysterious life of its
: two bits in that sentence will get you a quarter (bad
: yes, but you might want to ask away here? When I enter
displayed the following
: There are so many terms - I mentioned 'codework'
: which just about close everything down in a classical
: If you think of say Lautreamont - what he was doing
: But if had to attent a conference on his own work,
: What I've put up here - and you do have to shuttle
: There's also a few code snippets (most of which I've
: I tend to write in Unix or Linux - I've been doing
: which allows me to use all sorts of sophisticated text
: Just briefly - the first is Normal, then 'Back" takes
: Punched Cards is another linux program that turns
: Eliminate which was written by Florian Cramer for me
: Elimx is one I wrote from Florian's that makes a mess
: Cramer made a program that eliminates duplicate
: The program is above. It counts different words for
: The "mathesis" program I love - Jim Reith wrote it for
: You can enter a mathematical function (the very first
: GoogleScrape - is just using the Google program (API
: It's just a more sophisticated way of using google
: Then there's the "Simple perl program results" - which
: Yes of course, that would be a lot better than this
: Yes to both, that was also a while ago. Shinto
: Not so much; I've been very moved by Red Pine's
: because I can't get myself "around it" - which is
: On the other hand, I could never 'submit' to Zen or to
: and am alienated by, say, Mishima, by whale-hunting,
: The one book that stays with me, now, is the Flower
: These are openings for me, and the sutra is
: By the way (while waiting) the Yipes! text is made
: And the "Using Chat" was made by recording one of
: Ah I see - for me in relation to D Turner's second
: about Youtube and so forth - the work skitters among
: I also work with dancers in Geneva, Switzerland, and
: Yes, the meaning shifts in each context, but the
: Edting in relation to suprlus - that depends on what
: but I prefer also to work on an idea, get through with
: Code and text interact for me; sometimes the structure
: When I'm working with software (I work at the Virtual
: to some sort of limit - seeing what happens at the
: Text-based work allows me to think the
: I write a great deal of theory, and it's so easy to
: Sometimes it matters, most of the time it doesn't - if
: whether or not one understands it fully. There are
: I did some work in visual basic (you can download the
: Exactly like lace, and just as
: It makes it seem as if the world is both obdurate,
: I think of Jacques Lacan in this regard - reading his
: There are also political concerns here - trying to
: Which effects in the films? And you should sometime
: There are avatars that are constructed from motion
: and images from laser scanning equipment (big
: I'm not sure which this is! I think that's the
: The Wolf piece - that's using motion capture and
: Yes, Bellmer fascinates me, but thenI worry - in my
: It's separate, it's faster than Max I think - the
: A lot of teen-age boys make 'ideal' girlfriends with
: I think my work walks an edge of being lurid and
: I do think at least in the US these images are the
: There was a book years ago which talked about Jewish
: culture as breaking down the 'etiquette' of middle or
: for example Freud scraping at the psyche, Marx at
: And these people were - again perhaps like codework
: partially-assimilated Jews, but not 'really'
: This is obviously a gross over-simplification but it
: You have the same thing, say, in the blues, with
: When I'm surprised by the result, it's a success, no
: when I know 'what I'm doing' - it may well be a
: I coined the term 'defuge' to reference those moments
: for example when you try to read a novel several
: The same thing happens with pornography, but that's
: - if pornography were 'ideal' - one image would do it
: In sports it's another related issue - one wants one's
: So there's a kind of disinvestment at work here, and
: I think it depends. I haven't been thrown out of
: I also cross-post a lot which bothers
: The sexual content of some of the work bothers
: And at my end I have little patience for what I think
: I don't know, some tame, some not tame - it depends on
: "don't I think" - I'm not sure where this typo was
: With my work? Just to be able to keep doing it. And
: I'm terrible at programming, okay with borrowing or
: I want to explore more 'body-avatar' issues in Second
: for me, at least the aesthetics of
: Well, she may return, but there are other things -
: I don't thin I need an editor but I might have
: In fact some of the work they do is imitating avatars
: When you getto something like the Wolf,
: I have no dance background, but I work with a dancer
: That's his choreography from the avatar tapes
: We tend to inspire each other. I can't do much
: I agree re: Butoh, I haven't, but would like to work
: Or I'm the material for the dancers; it's really back
: At times I'm not sure who is doing what with whom or
: I can stay for a few more minutes if there are any
: Oh someone asked why the webpage is a
: That's the simplest way I can present the materials;
: The Trace materials are different - they were done
: There are six left; before I leave, are there any
: I'll sign out then and thank you and thank you
: No problem; I'm about to sign out unless there's a
: I'll be on the discussion board later this
: Kate, please send the recording if you
: Thank you as well - I'm constantly worrying about the
, Written on some Body
- (somewhere over Kentucky)
Pardon me for interrupting, but are you the on the Poetics
, lists, there is a certain consistency, there is a certain
ici, you are here, you are really here, trans. .
, beatle-eyed, there wasn't a bone to him that wasn't soft, if
I tell you, if it wasn't for , theory wouldn't exist! He sure
, I said, and he replied, oh, the musical?! No, I said, the phil-
It's the melatonin, I said, gave it to him, and it changed his
blue glow of dawn.' (James Lee Burke, Heaven's Prisoners)." (,
re Carter, - this flicking among flics among flicks - an _o
[ joined the session]
[ started recording]
: Listening to this session for the echo in the room.
: "Recording this session" "Listening to this session"
: I remember when I used to write into the void,
: And because the worlds were beyond worlds, because of this,
: They recorded only as echoes, they sounded only as echoes.
: That was the beginning of appearance, that was the ending
[ stopped recording]

by
, CO-MODERATOR OF INTERNET.

, TESTIFIER
this the - so when this happened and I interrupted, I'd find
, beatle-eyed, there wasn't a bone to him that wasn't soft, if
I tell you, if it wasn't for , theory wouldn't exist! He sure
, I said, and he replied, oh, the musical?! No, I said, the phil-
It's the melatonin, I said, gave it to him, and it changed his
, dark horse of sacrifice, given to the queen
Jen
out of defuge () - the _hacker drive_ which tends towards what
isolation, however tautology's shadow." (, Textbook of Thinking.)

theorized (Kaja Silverman, The Acoustic Mirror; , Fissure
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Prisoners)." (, Love, The Blue Glow of Dawn)
"
" lives in another world, just like our own.
saw the world was his.
would listen to you speaking and would
listen to listening to you speaking.
knew that the world was doubled.
would watch it burst, but it would burst
was not joined at the horizon.
and then the world. would hardly hear
I glow for you, where I glow for you, my name , where it
The name is no longer the same, "" is virtual, faded; "," a
simulacrum structuration systemics Thomas-Edwards Thomas-Edwards.
tends towards a translation of , but with other, more reson-
, Brooklyn, New York, and the date.

this writer , a conveyance or purchaser of such a magazine at
But the model, this writing says, is Mina Tsurumaru perhaps
. I sense it's broken because I'm breaking back in America
For.Daishin.Nikuko.by..
A jumps up and down and nothing breaks.
A immediately regrets his life!
A Has Fled The MOO!
This is an automated reply. is in at the moment but
"You are an impatient man, Mr. ," Jennifer said, holding
"I'm an orphan," Mr. , she replied.
[Kim McGlynn and ]
( and Kim McGlynn)
"In the past five years, has produced a large body of work,
"A more appropriate place to begin is with 's notion of the 'rich-
"One of the basic strategies in all 's work is to extend an analy-
es, errors can be especially revealing and thus much of 's work,
"For our purposes, and apparently for 's as well, the working-out
"But before the formalism settled into a final form, began to
ness and Being._] "however, _A General Theory of Reality,_ which
"As to whether or not his work is art, argues convincingly that
###--###||Rev
Sidonius, trans. , Ad V. C. Catvllinvm:

'' this Kyoko Date, Webbie Tookay, , Virtual Idol, Diki
, folded where the legs join, looking and folded where the legs
-- Contributed by !
- by way of Jennifer's Bonner's Villon
Jennifer , my daughter Jennifer , my sister Jennifer Sond-
Women, you'd have Blattle Women. If God merged with , you'd have
Daishin Nikuko, Dr. Leopold Konninger, )
blue glow of dawn.' (James Lee Burke, Heaven's Prisoners)." (,
This is a perfect text by . It has everything in it: theory,
sort what needs unraveling. The perfect text by ends here.
Altavista postface to search for ""

re Carter, - this flicking among flics among flicks - an _o
(who knows nothing about this)
Ala[a-z]'[a-z]book[a-z]includ[a
>> Nikuko we're battering ourselves once again in
>> as in : if A then B else C - in which A and B
>> please note the lack of punctuation in the initial
>> line as everything remains unconstituted. But
>> until all of our are speechless in our presence
>> worrying the subjunctive literally to death, another
>> or you could begin in an other space: \there:
>> or "doing something else"
>> as if there is something else to do
>> when we're waiting for your reply, Nikuko
>> "in this busy world"
>> else you're \checking out
>> , I'm going to say this once and for all.
>> , I can't read this, it's going too fast,
PRIVATE MSG: >> , this is just to you, you'll hardly be
PRIVATE MSG: >> , this is just for you, you, you, amazing
>> , I can't believe this, <-------- ---- -------->
>> emergent engine tunnel - the sound almost
>> ing as the rails split and merge, split and merge,
>> ack looped in patterns which emerge inchoate,
>> lssubmerged emerges back again not coherent but
>> cproduction of the universe as if the end could
>> thtalled or a membrane torn and shriveled then
>> andsgain holding loop against loop, creating
>> fornc herself or himself, located the subject,
>> thie ee aindsm after
>> oihe sound one might imagine as transcendent,
>> that ot tterroducing internals
>> f'nnpxternal
>> iclattering against clattering as the same processing
>> ng else, something almost monstrous,
>> but und or appearance of a cavern or hollow mind
>> the s what will remain after universal chaos
>> eethid inchoate from all systems
>> reeeing from all systems
>> from as somsohich inderefled within the presence
>> frnihilation
>> tota
>> w an
>> el
>> Come and Join us One and All
>> My First Love's Name was Margaret Hall
>> A Schoolboy Crush, She Never Led
>> Me On and Now she Might be Dead
>> Beware the Schoolboy Crush, and Girl
>> You Never Know Life's Horrid Whirl
>> It takes you Here, It takes you There
>> And we Will Learn, Life is Unfair
>> Life will Die, and Stuff upon It
>> Misery will always Come
>> Perhaps that's Margaret's Rule of Thumb:
>> It's always Part of Someone's Hand
>> What Grasps the Tools that Make this Land
>> But Crushes Now go Nowhere Fast
>> Cause Earth Will End in Fiery Blast.
>><< >> Pet Pat! Put pit pot! >> Pin pan, pun. 'Pon
pen. >> Paw pew, pow! >> Pad pod.
>> Pop pap? Pip pep-pup. >> Pet Pat! Put pit pot!
>> Pin pan, pun. 'Pon pen. >> Paw pew, pow!
>> Pad pod. >> Pop pap? Pip pep-pup. >>
Pet Pat! Put pit pot! >> Pin pan, pun. 'Pon pen.
>> Paw pew, pow! >> Pad pod. >> Pop pap?
>> You can't preserve much; I have a volume >>
In New York there must be a dozen >> This is probably the
most international >> I write from an abstract or virtual
>> New York, like Newfoundland, has absolutely incredible
>> Some places, like Miami, conjure up >>
>> Pet Pat! Put pit pot! >> Pin pan, pun. 'Pon pen.
>> Paw pew, pow! >> Pad pod. >> Pop
read it if you may be offended by such. Kim Mcglynn, ]
Pardon me for interrupting, but are you the on the Poetics
>> ok here's a stupid joke. what did one pickle
>> you've got me in a pickle.
>> ok, here's a stupid joke. what did one spark
>> that was electrifying.
>> ok here's a stupid joke. what did one pencil
>> you've got me in the pen.
>> ok, here's a stupid joke. what did one window
>> i bet you think that was really clear.
>> ok, here's a stupid joke. what did one plate say
>> hold me before i spill the beans.
>> ok, here's a stupid joke. what did one cup say
>> hold me before i spill another bunch of stupid
stupid sucks idiot moron asshole
Your search - " sucks" - did not match any documents.
the picture... Audio of these poems by Poetry Index,
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>> b >> i >> g >> s
>> e >> c >> r >> e
>> t >> i >> a >> m
>> n >> i >> k >> u
>> k >> o >> h >> e
>> e >> h >> e >> e
"The Voyage, by ." "I live around here." "Coral Gables is on

"rant" so be it. You're too good for us, , you're a piece of
You always ask too many questions. You are never content. ,
you are never content. , you are about to cross the "plane."
The "plane" is very broad and wide. With his fingers, , is
I exclude " Myouka ". I exclude " Jennifer ".
I exclude " Jenn ". I take my temperature.
Let there be no doubt. "".
>> this is the proof. i go to england...
>> and talk to myself.
>> no one is here to disturb me. a connection
>> moves across space through time in order
>> to bring me to myself. paths are taken, then
>> broken. packets are signed, delivered, according
>> of address and in the future, urgency. there
>> about myself returning to myself, nothing imminent
>> about this capturing process. i would have assumed
>> myself, no matter what the discourse emanating
>> from my body. now, however, i await my reply,
>> the connection holds. what is a proof without
>> what is a witness manque, through language, the thin
>> bandwidth all that is necessary
>> for my proof. here and there, a shattered mirror.
>> i am among us or myself. i can't carry this with
>> the machine. the machine.
Panty-!,peckogo!,Jennifer:,Rates,in,wrists,homes,rains,much,o,saxy
caverns,snows,clouds,legs,,by,,pebbles,recks,caverns,)!,do,be
Login name: In real life:
:
Smylie Soden Southern Staehle Stahlman Stalder Stallings Stefan
Interview with
: I see one leading into the other; I was doing 'interference'
is universal, then it's the time to out of defuge () - the _hacker
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chaotic or noisy. I find myself embarrassed or shameful." ( in
Violently, ran down to the pier, hidden between the dark firs
got the laptop back from Cynthia who had written the stuff you
lot). Isn't it true that 's text, on the other hand, seems to
Everything is signal, everything is SCROLL, has said, stressing
has countered, I think successfully, that desire pervades vir-
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author's name. For further information, contact ,

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shows in INTERNET TEXT, the result is a self as continuous

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Dear ,
video by
This
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Eleanor Thornton and both have tinnitus, continuous ringing
A very short film by .
Max Kitzingen Wuerzburg Unterfranken Bavaria
Julius Kitzingen Wuerzburg Unterfranken
Grete Frankfort On The Main Wiesbaden
Sophie Page of
Sophie Klein Langheim Wuerzburg Unterfranken
Herman Frankfurt Am Main Wiesbaden
Emil Berlin Berlin Berlin Germany
Fanna Wuppertal Duesseldorf Rhine Province
Hedwig Koeln Koeln Rhine Province Germany
Hermann Frankfurt Am Main Wiesbaden
Margarete Frankfurt Am Main Wiesbaden
Sara Frankfurt Am Main Wiesbaden Hesse-nassau
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CD Thomas, Cathy Young, Mia Lipner, Sharon Keller, ,
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and virtual subjectivity. While interacting with 's ebook of

Denise de la Cerda,
Digital Orders, ry tfe Digital: BK Digital I meen discrete.
time black rain,-lord crashes like sea i can't kill any
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says: the time of black rain,-lord
says: crashes like the sea crashes
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says: i can't kill any more,-lord
can't kill any more
says: they left my flesh in another war,-lord
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brings you back home to me
says: the time of black rain,-lord
says: crashes like the sea crashes
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says: i can't kill any more,-lord
can't kill any more
says: they left my flesh in another war,-lord
stashed away lashes smashes dashes
unknown can't kill the land,-lord
says: can only watch the rain
crashes smashes lashes dashes stashes
is, in fact, a sort of art maniac, whose fixed idea is to
confounding all the others and then to reread it. s works seems

Gate
"do wah" by
- pioneer nerd: Birthday;
, launched by Antoine Lengo on the bottom of scene transformed
ensemble an create Thornton and nomads, Like the darkness of the
's to spread legs wide open with my trenches, battleships, of
by the way nd I will be your guide for the evening. Or for as
prices Wyoming Seminary Alumni Update Request Inquiry Correction
rn Magnhild
en & :
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, side of the family. department head, made veiled threats. To
"depth"
[ joined the session]
[ started recording]
: Listening to this session for the echo in the room.
: "Recording this session" "Listening to this session"
: I remember when I used to write into the void,
: And because the worlds were beyond worlds, because of this,
: They recorded only as echoes, they sounded only as echoes.
: That was the beginning of appearance, that was the ending
[ stopped recording]
Anderson (violin), (mandolin, guitar)
[-] Q&A with
[-] Re: Q&A with
Re: Q&A with

properties. Indeed, I'd go so far as to say it was 's most
thank you
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Soundtrack and story: :
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NOTES ON CODE ()
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What I'm writing about is related: and I have been
almost always cites 's work but does not engage it directly.
Dear !
---

Pardon me for interrupting, but are you the on the Poetics
, beatle-eyed, there wasn't a bone to him that wasn't soft, if
I tell you, if it wasn't for , theory wouldn't exist! He sure
, I said, and he replied, oh, the musical?! No, I said, the phil-
It's the melatonin, I said, gave it to him, and it changed his

radio radio


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Human modeling again (notes for a talk)


I think 4 aspects - psychoanalytics, avatar-skin, medical modeling, AI
communality/behavior/sociality - to be considered.

Well: Avatar-skin: surface of being human which is always a fiction; there
is no exacting boundary where body ends and environment begins (think of
breath, other processes). So this is splines, Bezier curves, NURBs, early
polygon work, etc. now automated by Poser etc. Avatar-skin also applies to
audio (later touch, scent, taste, etc.) - everything perceived from one
human or other organism to another.

Well: AI communality/behavior/sociality: the internally-automated behavior
of the avatar-skin; think of this as diachronic avatar, and avatar-skin as
synchronic; each moves through the other. With AI, avatar is somewhat
spread across the social; communication and communality extend the opaque
body (metaphorically) into the translucent.
Fundamental rules of the 'game' tending towards description.

Well: Medical modeling: Both diachronic and synchronic, the projected/
introjected organs of the avatar-skin, always on the level of a model,
i.e. a beating heart is fabricated on a subtextual level again from poly-
gons, curves, splines, etc. The ontology is different as long as one
remains within the realm of computational modeling. (One might say that
_inscription_ in the real is paralleled by _fissure_ in the virtual.)
Medical modeling is fundamental description tending towards explanation.

Well: Psychoanalytics: Here is where the following have to be taken into
account:
1. The abject: epistemological/ontological/inscriptive 'smears' across
domains. Corrosive and irreducible to the other categories.
2. Introjection/projection ('jectivity') - formation of internalized
images from virtual to real.
3. Obscenity and interjections: Breakdowns of communication within
communication.
Psychoanalytics are not susceptible to mathesis beyond topology.
(Level of the metaphoric: No verification procedures.)

But of course all of this is rough, not exactly accurate; ontology and
epistemology, various branches and techniques of mathematics, can be
thrown around heedlessly. Still I'd want to begin from the four aspects
described here: body/surface, psychoanalytics/'mind', AI/habitus, and
medical/observation-experimentation. One would have to further consider
the role of apparatus, observation, observer, in all of this.

One final note - the concern - that, with formal and informal modeling
systems of organisms/physics/mathematics: How is consciousness in
relation? In other words, _what are the effects on the reader/programmer/
experimenter? How do these relate to abjection and jectivity if at all?





Notes from the Structure of Reality


In my Structure of Reality (which is under review), there are three funda-
mental layers to what I call the 'topology of intention'; these are of
interest since they critique any structuring, conscious or unconscious,
'like a language.' The layers are the real, interpretation, and language;
there is a 'zone' between the real and interpretation, and mappings all
across the layers. The real is knowable through interpretation which does
not presuppose language (syntactics, sememe); the mappings are tight, how-
ever, between interpretation and language. One might think of this as a
pre-linguistic representation without the thwarting embodiment of lan-
guage. You can see this at work when the 'unnamed' of the real skews into
anomaly - in other words, when anomaly appears without the aegis of lang-
uage. Consider for example something falling without the presence of an
ostensible object; the 'something falling' might be construed as such by a
thud or less-interpretable sound. Repeat this enough and a name is gener-
ated; if it remains on the level of a singularity or the anecdote, it
might be quickly forgotten - except for the possibility of a marker of
some sort, for example, a recording.

Heinz von Foerster: "Since nothing in the environment corresponds to
negation, negation as well as all other 'logical particles' (inclusion,
alternation, implication, etc.) must arise within the organism as a
consequence of perceiving the relation of itself with respect to its
environment." (From "Thoughts and Notes on Cognition.") SoR p. 69

Cyclical chains sailing past O and I - maybe modeling through the tangent
function. Is the repetition assumed to be 'complete'? A cyclical chain is
a loop with any number of nodes; think of one as nul, O, and another or
the same as universal, I. Then circle. What happens? One moves from 0
through infinity perhaps then back again. The simplest equation here:
tangent. Each revolution is marked perhaps by sliding along the x-axis:
equivalent but not identical graphs. And so we're there. We can visit as
many times as we like.

Does distributivity really fail w gesture? (The old Land experiments in
color vision as well as a structural analysis of gesture seem to imply
that distributivity in Aristotelian logic fails in daily life - which
further implies the potential for superimposition as the basis for a logic
of gesture.)

The thinness of language - ontologically existing on the level of the
sheave - language carries no weight at all. From within the avatar, the
sheaves, surfaces, have zero-width, one-pixel width, nul-width, as 2d
mathematical manifolds embedded within 3d space; they've all got the same
measure as the continuum, but zero volume in the embedding space - like-
wise language has zero volume.

Language, speaking, is always frustrated, flustered. It can't get around
things. Meaning: One can't get around things through language, not even
through performatives (which indicate real-material embodiment elsewhere).

Meditation medication goes nowhere.

Aristotle's Problems - sexual problems related to fluidity, abjection, in
part iv - numbers pp 327-328, Loeb edition. The beginning of the fifteenth
book is of great interest - he describes number systems with different
bases which is fascinating given the apparent absence of zero.

Conservancy of the Problems, Bacon of all people working through them
almost two thousand years later; not that much had changed. The Problems
are on the level of the anecdote - curiosity cabinet, wonders - same as
any fundamentalist text - wonder upon wonder without internalized
structure or subtext - everything is new, raw, unrelated. Or causality is
pushed back into categories which are taken for granted, even though, like
heat or air, they're composite.

What is meant by modeling? Think of a 'world-particle' W whose scope is
anything, process, etc.: W( ... ). what does that tell us? What are the
processes of narrowing the scope, increasing the information - in other
words filtering?

Along these lines, modeling is always a filtering.

Four negations: annihilation, -x s.t. --x > x; 'chain negation' s.t. -x >
y; -y > z or whatever; combinations of these; negative of the 'set-aside'
- form of retrievable absence.

States and nodes of graphs represented/mapped into states and nodes of
graphs - this includes the possibility of 'foreign' graphs which are
disruptive. The whole becomes an excursion into description rather than
explanation, which is seen as a subset.

There should be limited copies of the Structure of Reality online/offline
- dates from 1977, I wasn't a child.





SL - theoretical approaches


Second Life behaviors come as animations which may eventually go down to
the frame, but are packages in any case. There is a relation with older
silent film and melodrama patterns - what have been dubbed histrionic
gestures. A good text here is Bharata's Natyasastra, which discusses,
among other things, rasa and pattern presentations. Patterns are used as
generators of audience psychological response. The text not only considers
patterns independently, but as group structures.

Second Life bodies touch on the abject, but don't 'enter' within it; there
are issues of purity and corruption. Buddhaghosa's Visuddhimagga, Path to
Purity, is extremely important in this regard, especially in relation to
illusion and suffering. There are also kasinas which are may be related to
landscape 'focal points' in SL. A second important text is the Hevajra-
tantra with its multiple bodies; it might be worth looking at the works of
Tsong Ka-Pa in this regard as well. (Again, Kristeva's Powers of Horror,
Lingis, Mary Douglas, all come to mind.)

In terms of ontology, Nagarjuna's Mulamadhyamakakarika, The Fundamental
Wisdom of the Middle Way, is critical, given its analysis of dependent
(co)-origination ad emptiness. This correlates almost too neatly with the
ontology and epistemology of protocols on one hand and the abject body on
the other. Dependent (co)-origination can also be related to Indra's Net
and the relation of the Net to the Internet as a collocation of nodes, at
least on an epistemological level.

One might ask what is the ontology of SL from _within_ protocols - and
whether such a question makes any sense at all.

To self-active an SL avatar - use the screen itself as vision, motion-
detection across the image - feed this into AI neural networks - output
back into SL through encoded behaviors. Note the ontological and epis-
temological shifts involved: from digital readout through analog screen
(2D) interpretation.

Finally there are the old MOOs - MUDs-object-oriented, where MUDs stood
for multi-user-dungeon (or some such - out of the old D&D gaming). MOOs
are text-only virtual realities, somewhat similar to SL. One of the
biggest differences: MOOs are open-source and can easily be set up on any
linux/unix box. Now MOOs (like SL) have a system of unique identification
tags for every object, player, etc., and this is hierarchical (much like
unix itself, with the root / ). Explore the earliest numbers (which re-
flect the sysadmins, wizards, MOO structure as a whole. Remap through
dependent (co)-origination. (It should be noted that the Sharp Zaurus,
which runs on embedded but easily terminal-accessible linux, has a file
structure which 'resonates' with itself - one can literally go in circles
through it. How can one think through these dependencies, proxies, etc.?)
This might be a way of clarifying the philosophical issues - for example,
one might think of both absolute and relative ontologies (much like URLs)
- and then how the former maps onto the latter, or how all of this dis-
appears. (Just as things disappear, mathematical objects appear to appear.
So problems related to SL and avatars: the mapping of protocols, networks
in relation to the visual; to mathesis and abstract ontologies; and to
hardware implementations: static (ROM or storage where configuration is
mapped thing that is read as virtual thing), and dynamic (where transmis-
sion dynamics, ontologies, and economies are paramount).




i'm sick of swallowing


in my own adulterated view, defuge is connected with the hunt as well,
with the ravishment and devouring of the other, with propitiation.

oh i'm so tired having taken you and reduced you to nothing, oh such tired
and you're nothing to me, not even flesh, not even a smear on the carpet,
once ravished, you're all over, what the fuck

i hunt and one of you is not enough; my cock hunts you down. lucky me i
got a gun. lucky me you don't.

kill me, i'm bored.

interest in, and may hunt at his pleasure; where besides the pleasure in
and as I hunt the world of storm, I fear for your safety and my own. In
in my own adulterated view, defuge is connected with the hunt as well,
through the message bases, in the form of a hunt or retrieval: recupera-
that it produced language, just as the hunt did. That the repetitive bab-
then i hunt for something stronger than pills
from the hunt and the preparation of ancient flesh.
constituted, constructed, as the humans on the hunt - no more or less. i
kill all priest. worry lama. hunt rabbi. kill shaman. kill all grand
my own adulterated view, defuge is connected with the hunt as well, (and
the man on the hunt for the rabbit. The man-dog is preyer; the rabbit is
while there's no stopping humans from the hunt -
elon grief dim weapons quiver savoury love hunt obey kids goats loveth
vinegar, the wine! Seize the hand, hunt with it, angle it upward! Mend
deleted weemails should scream them bloody with hunt But them for with now
views them But scream views 349: should them hunt that 349: that But with
bloody is is bloody now for weemails is should with machette. hunt that
now murder scream with scream them for murder with them hunt But just
bloody But with now play play machette. hunt for nowand approach murder
practice. i hunt on the internet. i shape ride on the internet. i speak
You can hunt anywhere, you can hunt online. Ghosts are here, their images

you can't smash them. i want to sleep. kill me, i'm bored.

identity self hunt economy dyad eat wife-force co-

o god ravish me isn't the same as oh god ravish me. i can't tell the
difference. eating flesh helps for a while. fuck you i'll code your flesh
i'll stamp it out. there's this odd calm after the hunt but then it turns
to slaughter. breathing heavy it's a sign. don't wait to breathe heavy.

To code is not to produce codework; it is to produce code on the level of
the code or interface. Bridged code, embedded code, is not codework; the
irreversible spew of cellular automata is codework, all the better if the
rules are noisy. The cultural production of codework abjures
intensifications, strange attractors, descriptions such as this (which is
the oldest game in the book). The hunt and reception of short-wave number
codes is codework. Writers on the edge are circumscribed by codework,
malfunctioned psychoanalytics, scatologies endlessly coded and decoded;
the codes are dissolute, partial, always already incomplete: the differend
is codework.


If I were a different species
I'd be me
I'd still be me

If I were a smelly goose-pickle
I'd be me
I'd still be me

If I were a protein shop
I'd be me
I'd still be me

If I were a blue kasina
I'd be me
I'd still be me

I'm am me
I'm still am me



I photographed these flying saucers (there seem to be two types??) over
Clarksburg, West Virginia, in the north-central sector of the state. A
slight amount of detail is visible. Clarksburg is known as the hometown of
Gray Barker, who was first visited by "the men in black" - he was also the
first to write about this top-secret government organization. The saucers
were silent, propelled by a new kind of drives which relies on elements
and physical principles unknown to modern science.

I photographed these wooden and plaster models (there were two types) as
they were thrown vertically in Clarksburg, West Virginia. These were made
by Barker himself and were a prototype for many of the flying saucer ima-
ges from the 1950s-60s. Barker created the concept of "the men in black,"
as well as secret letters purported to originate with the US government,
which encouraged the saucerian movement.

ay summed other miracle of life




summed remains of the d

flying saucers clearly visible over clarksburg west virginia, i saw these with my own eyes, some sort of magnetoroidal drive definitely visible

days of wine and eclipse but something else was in the air
i keep getting caught in ontology

following from around 1994

DEATH ON THE NET

PING jefferson.village.virginia.edu: 56 data bytes

----jefferson.village.virginia.edu PING Statistics----

29 packets transmitted, 0 packets received, 100% packet loss

1 xenyn-eid-E0.nyc.access.net (198.7.0.126) 2 ms 2 ms 2 ms
2 sewer-S1-T1.nyc.access.net (166.84.64.10) 5 ms 4 ms 3 ms
3 transit.nyc.access.net (166.84.0.98) 5 ms 5 ms 4 ms
4 144.228.2.193 (144.228.2.193) 12 ms 12 ms 12 ms
5 sl-dc-8-F0/0.sprintlink.net (144.228.20.8) 18 ms 17 ms 15 ms
6 icm-dc-1-F0/0.icp.net (144.228.20.101) 29 ms 29 ms 13 ms
7 icm-fix-e-H2/0-T3.icp.net (192.157.65.122) 25 ms 109 ms 38 ms
8 sura9-fix-cf.sura.net (192.203.229.9) 17 ms 13 ms 18 ms
9 sura8-ext-cf.sura.net (192.221.252.8) 24 ms 14 ms 13 ms
10 wtn8-sura8-c3.sura.net (128.167.212.2) 17 ms 14 ms 15 ms
11 ctv-wtn8-c3mb.sura.net (128.167.3.2) 24 ms 22 ms 22 ms
12 uva-ctv-c3mb.sura.net (192.221.3.18) 41 ms 28 ms 27 ms
13 acc-router.ver.NET (137.54.200.12) 24 ms 24 ms 26 ms
14 garrett1-router.acc.Virginia.EDU (128.143.226.4) 26 ms 27 ms 25 ms
15 * * *
16 * * *

no answer from jefferson.village.virginia.edu

Packets spew into the space, absent themselves past any conceivable
timeout. Traceroute exhausts itself flailing uselessly at the doorway to
eternal hell, damnation of black-hole event horizon where bytes transform
into noise, heat, the far side of the chaotic domain. The bell tolls for
Thomas Jefferson who, refusing enlightenment, does not accommodate this
dark date in Cyberspace, this December of Cybermurder,
tinymurder, which shall be forgotten forever and ever.

Beforehand, there was mail-collapse, waves of temp files, waves of
exiting processes, long languorous waves-becoming-membrane, almost the
fluidity of space itself, wash-down of the wires, supplement of the
signifier. But not quite, as the gag covered the mouth, the machine was
raped, stuffed with anonymity, empty dark messagings, the gristle showing
through. If you read this, if it arrives, you're shape-riding, riding the
gristle, going for it; if you read this, there hasn't been a
resurrection, you're just not part of the chaos, destruction, tinymurders
and o lucky you.

oh this is just the older stuff that appears every now and then
you can find it just about the same time you can find other things
at the a.txt when you look past the Net.txts of various sorts


How to take the damn video out, it wouldn't render over ten hours.

b.c. a.d.

Analogical, used by way of analogy
Analogically, in an analogical manner
Analogicalness, the quality of being analogical
Analogize, to explain by way of analogy
Analogous, having analogy
Analogy, resemblance between things

Digit, three fourths of an inch, the twelfth part of the diameter
of the sun or moon; an number expressed by a single figure
Digitated, branched out into divisions like fingers

Electre, a mixed metal
Electrical, Electrick, attractive without magnetism
Electricity, a property in bodies, wherebye, when rubbed, they
draw substances, and emit fire

(Walker's Critical Pronouncing Dictionary, 1823)




Yes, yes, of course.


I am God and when I die God is dead.

(There's little time left to speak to Me.)
(I'm not leaving a forwarding address.)
(Come to think of it.)
(Offerings don't count.)
(Pretty much anything you have to say.)
(Thank you for listening.)


Our Wonderful Picture of the Month!

What happens when the image of a text becomes the archaeology of the text
itself? Let's find out in this wonderful image by Alan Sondheim. He says:
"I took this with a Canon 630 set on flash and automatic. The image is a
shelf in my local bookstore, full of works connected with "theory" and
other intellectual pursuits. But everyone knows that books like knowledge,
decay, and I thought, how can I hasten the process? I experimented with
many filters and pencil bandwidths, finally settling on an ideal transfor-
mation, in which a few of the titles like Doubt are just barely visible. I
hope to continue in this vein; the best thing about digital photography is
that no one needs to see your failures, and there are so many successes!
I'd advise anyone to just keep their eyes open, to shoot what they know,
and to shoot as many images as possible. You'll find that one golden one
in the mountain of dross, but it's always worth waiting for. And with
digital, you can just shoot and shoot and shoot! It costs almost nothing
to make mistakes, but takes a great deal of editing and creative energy to
find that one perfect image, the one that dreams are made of." We are sure
that Alan will continue to make these "perfect images," and we will all
enjoy them. This is a far cry from our Sunset Composition we began with,
just a few months ago! http://www.asondheim.org/thelatest.jpg


Subject: Stress Fracture

View

This is the view from my desk which is neither in Paris nor the Black
Forest; it faces nothing but bleak development, projects, urban wasteland
scheduled for drastic over-development, still opposed by Develop Don't
Destroy Brooklyn (DDDB) in what is increasingly appearing to be a losing
battle. How can one expect literature from such blight, nature pushed out
to the limit, pigeons with missing toes resulting from frostbite, squir-
rels huddled in backyards along with jays and almost invisible mourning
doves? Everything protects itself; humans are the dominant species and
everything, including other humans, is prey.

So don't can't expect literature, only theory crippled by screams and auto
accidents; you can't expect proper grammar and spelling - those literary
matters - in the face of screeching cars and sirens.

http://www.asondheim.org/windowview.jpg





Uselessness of Monoculture


I will call 'monoculture' anything before the advent of the Internet - in
particular artworks, literature, theater, dance, etc. etc. This culture is
characterized by the singular; even when dispersive anatomies are present,
they are always in opposition or subtext to traditional thought. The mono-
lith is always present and accounted-for. The monolith is either station-
ary or process- movement- oriented, always static or dynamic; its elements
cohere, separate, are born to die, to be reborn again. This is the culture
of the traditional university but it is also urban culture, street-corner
culture; it is the culture of history and historiography, of the encyclo-
pedia and the expert and think-tank. Monoculture resolves, whether towards
resolution or irresolution; it is possessed by narratological impulse, by
development and the compass. Monoculture is not necessarily unary; there
is multiplicity and the nomadic, beneath the stars, within it. Monoculture
blinds us to the world; it is the World that is all the case. It is the
culture of gas, liquid, solid, electrostatics, electrodynamics, special
and general relativity; it is the substance of quantum mechanics insofar
as action may be defined as action or verification at a distance. In sum,
it is our sum, our summation, our accountancy of the world and of our-
selves, and it is useless, as the result of an Internet that is neither
singular nor plural, neither present nor absent, neither coherent nor dis-
persed; I will call 'Internet' what has corrupted monoculture, tended
towards its demise. I am not implying that 'Internet' in fact or fiction
signifies anything, that the name means; it may, in fact or fiction, be
characterized imprecisely by insigification, spews, abjections, blurs,
avatars, nothing at all.

For the change that has come about within and without the tangled skein,
holarchy of networkings, is of the plasma or swarm; it is Wolfram's
science, not Hertz's. Thinking through social sites, collaborative facting
and fictioning, wikipediatry, avatars of avatars, bots and phishing, what
comes clear is lack of clarity, lack of clarity's epistemology. This is a
fundamental transform to the extent that anything is fundamental at this
point; it sweeps away, for example, plots and allegories, bureaucracies
and governments, minds and bodies. Think of pre-Internet novels - novels
of modernism or post-modernism, of constructed and conceptual weavings, of
characters or lack of them. And television, theater, cinema, follow suit;
one is locked into farther time, father time, to diegesis, to an unravel-
ing that characterizes experimental film as well. Neither film nor paint-
ing are linear, but both participate in a locking-down of perspective, no
matter what openings, contusions, are on the horizon.

Lacan, Gardner, even Bateson presaged multiplicities; in Wolfram the swarm
is simultaneously organized and disorganized. Lacan never went far enough;
there was that reliance on language, no matter how shifted. It comes down
to this: When I read a novel, I don't recognize myself, the 'times,' any-
thing. When I watch a show on television, there are actors, people, or
animated actors. They're moving through familiar antiquated monolithic
space, proscenium or deep space - it makes no difference; there's always a
perspective. Perspective invades novels, stories, the world of monolithic
writing - on the other hand, try assigning a vanishing-point to MySpace or
even Facebook. Even Second Life, which tends towards classical perspec-
tive, falls apart on the edges where the simulacrum of physics is turned,
churned upside-down. One doesn't recognize (oneself or others) in Second
Life because recognition is already a problem; everything moves within the
aegis of Bell's theorem.

Consider photographic apparatus: begin with camera obscura, that one-to-
one allegory of the real - through Daguerre, view cameras, stationary then
moving then Edgerton. Cameras dissolve into swarming components; now com-
ponents themselves disappear as cameras transform into light-sensitive
holarchies, networked or independent, under whose or what control? The
image ends up everywhere and nowhere at all; no longer is it allegory -
which has long since disappeared - but the stuttering of the fragment
which no longer is in need of suture or extension. You can watch family
trauma, physical and mental abuse, on the morning talk shows, but whose
families? whose abuse? whose perspective? It doesn't need to end up on
YouTube; YouTube provides its own violence, its own parameters of liter-
ally unfathomable streams. Videos are removed if found, if from copy-
righted material; everything gets through, leaks. But leaks from nothing -
the culture, non-monolithic, Internetted, leaks without transmitters,
receivers, leaks without channels, or leaks from traditional channels,
only to be churned back, lost in brackish protocol.

Code, programs, codes, protocols, reference one another, are increasingly
open-sourceless; scratch the surface and no one's there, nor beneath the
surface - all those dead-ending projects on SourceForge ending up maybe
somewhere else, maybe vaporware, the languor of the name. Languages embed
languages; soon they'll be without physical foundation for all intents and
purposes, perfectly floating signifiers shattering against subroutines and
useful or useless misuses. (The world doesn't end either with a bang or
with a whimper; there is no world to end.)

This confusion is on the ground as well - in some places, Harry Potter
really is a witch; children suffer as a result. It doesn't take electron-
ics; it takes nothing more than extinctions, overpopulation, global cli-
mate change, weapon distribution, religious fanaticisms, starvation,
desertification - the unsupportive world. Radiations swirl around the
farthest villages; there are unheard broadcasts, music, news, exhortations
to the perfect religious life, promises of vacated paradises. These places
or spaces are the future of the novel; language dissolves without signifi-
ers, without that place where the sememe holds, however tenuously. It's
here that home is found, in the bombing of the home, categorization of
flora and fauna, ethnic cleansing. Online real explosions transform into
hacking, thousands, millions, of MySpace friends, hundreds of millions of
blogs, billions of Wikipedia pages hardly ever under contestation. Yes,
it's all true. Yes, none of it is.

Monolithic culture prepared the battlefield inhabited only by the wounded.
Monolithic culture developed the technology of multiplicity and the plasma
- a multiplicity of multiplicities, never stationary enough for analysis,
never moving enough for a coherent dynamics to emerge. It's a memory to an
extent, to the extent that memory is encapsulated in fast-forward media
already forgetting what was loosened in the habitus.

This is all electronic, all colonial, all nanobot, this isn't your fath-
er's monoculture, your mother's multiplicity, your father's multiplicity,
your mother's monoculture. Capital seeps everywhere as do heat and water;
island nations are disappearing in the Pacific, Atlantic not far behind.
Think of this as the anxiety of diminishing power; surely, not only is the
world out of control, but control is as well. What happens to feedback in
chaotic domains? One likes to think fecundity, fractal, but in the real
this holds only so long before 'things' bottom out in rust and tumors.
Monoculture is always waiting in the wings; as networks decay and data-
bases turn useless, big iron will descend upon the world. But this is far
in the future, a future so defined that no one will see it, no one will
inhabit it. Instead of now, we are pre-sent, always in a state of arrival;
there are endless tracks, monorails, they go nowhere, sink in dust,
desiccation.

This is all electronic, and as technology miniaturizes, improves, perhaps
these skeins will continue, sheathed, to exist, transmit, transform, no
matter what. Then the scenario simply holds longer. Consider: There are no
species. There is no real life, no organic life, no artificial life, no
patented life, no constructed life. There is network life and one hopes
that the remnants of wilderness (which are not to be deconstructed) remain
that way, that enclaves succeed where management hasn't. Consider: There
are no persons; there are couplings, situations which grow increasingly
small and temporary, imminent decisions. Consider: Immanence has disap-
peared, if it were every anything more than mythos; it's replaced by the
Facebook contact, as enunciations are replaced and replicated by 'What I
am doing now.' Consider the usual: We are all audience; none of us are
watching; we are all watching; there is no 'we.' It's the latter Lacan has
missed; there is nothing to talk about. These essays themselves are thin
sheaves, interspersions; they carry the dim light of the dusk into the
dusk. 'Beyond' means absolutely nothing; time is indicated only by the
stoppage of death. What is a store if not a mouse-click or twitch? What is
a body if not blown to pieces by a car-bomb? On a certain undefined level,
these are identical. Perhaps an economic level. Perhaps in the poetics of
disappearance.

To be in pain, slaughtered, wounded, is two-fold, interior, exterior. The
former stops everything; it is unthinkable, unbearable. It is always other
even when ourselves. The color of time disappears without witness. But
exterior - this requires transmission, a receiver, political economy, some
means of noise control. The receiver must be receptive, must orient itself
towards the message; otherwise the message remains noise, death. The
receiver must have space place for reception, a moment off the network
which in the very real, idiotic inert real, may be what has brought her to
this moment. But the receiver is already dissolving and a hundred-thousand
new novels are being born, and they are not novels, nor histories, but
software biographies perhaps. Rather than monoculture, monolith, let us
say multlathe, uncontrolled or multiply-controlled lathes refashioning,
refiguring, configuring, what we are reading that was once literature.
There is great exhilaration, great promise; multilathing, in its bypassing
any and all absolutes, is always in process of permanent deconstruction.
Think of the school essay, modified, bought, sold, dated, outdated, online
and offline, assembled, reassembled, spell-checked, recreated, plagiar-
ized, written on demand, printed on demand, behind wikipediatry, related
to class, gender, sex, race, nation, religion, handedness, all or none.
Think of the essay reader, the recipient, following through with programs
designed to weed out the copy which is always already a copy, hacking his
way through the sememe looking for miscreants, passing results to and from
university and institutional databases, listening softly to the YouTube
song, exchange of draft letter on Gmail, or just listening to Ipod Itunes
with her Ii. The whole world is steganographic, embedded, uninterpretable,
piecemeal, exchanged.

So for better or worse monoculture is dead; it grew on foreign soil, is in
the process of recession. To what? To the corners of vulnerable data-bases
and technologies, conservationists, those disappearing from the present.
The future were there, pre-sent, and it's why novels and paintings and
just about anything before 1985, say - _not_ 1968 - is inconceivably
quaint, something for school credit, nothing more. We need an ethnography
of our own pasts presented as disappearing cultures or archaeologies
written in the unreadable, spoken in the unspeakable; it is here that our
bodies once reproduced and never reproduced in the continuing acceleration
of images - of someone or other or no one at all.

(I'm not good enough; I'm not smart enough: You may think this is tempora-
ry or not-me, not-I, that this is elsewhere, of an other, an other genera-
tion, place space, time, time before death. This is not the bicylist who
was injured on the corner of Fifth and Bergen three days ago, but this is
her/our interior, her/our political economy, what comes about in the midst
of architecture and physics. I want to talk about the pleasure of novel-
reading, Harry Potter and other accelerants, and their fan- and enclave-
existence. I want to talk about radiations and dusts and their dispersions
and what they carry from prions to nanogarbage to pollutions to sex to
early deaths from bullets and asthma. I want to talk about mash, I want to
perform djay vjay Vday vdday. I want to be you or someone. Rimbaud knew he
was splitting up. The last of the obscene has passed, the obscene is al-
ways passing: the ob-hack fractured and visible. The last of the discourse
too.)



Nagarjuna 1 2 3

You are singing no space, place, spatial distinctions cumber observation,
the annihilated self. How so. Speak no speech, to be spoken to, undisting-
uished distinction, in zazen in walking meditation, hearing is the space
of the heard. My bones are ornaments, my neck Buddha's, my eyes Nagarju-
na's. Pratyahara, withdrawal, without rasa, flavor, fervour. Breathing is
the body's violence, meditate your corpse, you have it, you are singing no
home, no home singing, you are singing no home singing, you are singing no
home singing no home singing, you are singing no home singing
http://www.asondheim.org/buddha.mp3



Bhaga


"Two lives there certainly are not; -- nevertheless an extra body is
visible, by reason of the Shadow-Sickness."

" Naga-tabi no
Oto wo shitaite
Mi futatsu ni
Naru wa onna no
Saru rikombyo. "

( Lafcadio Hearn )

What is foretold by gong is foreshadowed by memory of its telling.
True, but emergence she said.
She said true, but emergence.

http://www.asondheim.org/bhaga.mp3



notes on code:

study of huddling http://www.asondheim.org/huddled.mp4

Major modality:
Relationship between modeling and codework:
mapping within the subtext/substructure of the metric.
Visual modeling: Visual as thetic - modality of happenstance (i.e.
modeling becomes dependent on the physiology of visual bandwidth).
Aural modeling: Visual with similar field, different spatial modality.

How is the thetic (is that the correct word?) in relation to ideality?
Does political economy depend on visual/aural physiology?

Scanning as doubled text: coded software / parameterization of the real
tending towards results which are residue (separate the results from the
structure). But within the phenomenology of the real, the results and
structure are inextricably tangled.

Motion capture (mocap) - see scanning. In scanning, the static object is
standard; in motion capture, the dynamic object. Think perhaps of the
latter in terms of a second-order differential - doubled modeling of
changes (1. through mocap; 2. through 'accelerated modeling').

The results: the 'code carapace' or chiten - Barrier/revelation code.
(Older work: The relation of consciousness to structured systems: what are
the manifestations of those systems?) Code as armor.

Seeing and hearing seem 'tawdry,' unable to sustain the abstracted or
philosophical weight placed upon them. To see or hear text philosophically
churns on transparency; everything else stumbles. We turn to writing
because it gets away from us to the extent that it's also reflective of
deep abstraction, alien-code (all code is alien).

All code is alien because it calls from elsewhere - or rather, doesn't
call at all; it's as if someone created it, it's as if it wasn't created,
not a bit of it.

Which is the fundamental phenomenological status of code: some of it is
created, but some of it isn't.



What was here -


Second Life residue / theory, Sandy Baldwin, Alan Sondheim:
On avatars and avatar escapes, July 26 performance -
duplication eliminated -

[13:23] Gesture is missing from database.
Eifachfilm Vacirca Online
sandy Taifun [13:29] Taifun: My avatars! little people!
I have moved into the interior of avatars...
avatars speak with a thousand voices. Mon poupees.
DO WE NOT BREATHE AS ONE PERSON? ARE HUMAN?
murmur constantly, you can hear them just beneath surface, in my heart,
gasps air, dolls
[13:30] They run around everywhere, underfoot. will play song, aire,
jig or rondelay!
vectored human
define an avatar as organism which infinitely repairable
not
within and without semi-geodesic space paralleling
i'm becoming avatar-man dream-woman.
natyasatrotpatti: mythical origin work
You begin to understand that all are bots expert systems some symptoms
am
preksagrhalasksana: characteristicis playhouse its different parts
You: ==/222
Well, there's no more it, his writing discourse itself getting stale.
He's taken bend
trundles bundles towards future; we're there carrying than our share
avatar's, where there, so heard
Just like those pirouettes, if were body at center them. Her skirt kept
flying up, was nothing
SQUEAK forever now hold your peace; this life, do lease on any other,
left,
rangadevatapujana: worship deities connected stage
upangavidhana: gestures minor limbs such eyes eyballs eyebrows nose
cheeks lower lip chin mouth
fifty industrialized nations incincerated 250000 Iraqis ARMED POLITICS
ANNIHILIZATION science baby, camera absurd linkage VOLUPTUOUS SHOCK
VIGOR BODY FRAME "TREE" "SEA" "SKY" "I" GO AWAY red pepper boiling
vinegar teach marks PHILOSOPHY OF VIRTUAL BEDROOM AVATAR immortal
sacred heater language train pet
ritual-objects-insignia-power-substitute-spiritual-satellite-enchanted-l
ove-exposure-regulative-transaction-corruption-norm
acquire baody others - blood milk urine shit face value social
universal perversion contract law coordinate field
rudding odors sweat vaginal semen ova decompositions bacteria
vegetation hummingbirds sparrows flies mites "i detest her because i
know well" imitate her" curse felt"
OOH AHH YOU AAH YOUR YOURS ARMS criminalization society = transactions
portions feed decay protodocument libertinage rules for outcries
screams unnatural acts after-image liquefy vaporize crime shortcircuit
dissipate thickness passion trigger calculate
sinews muscles mecoming glands libs blotting out muscular enervations
loose wet chest become
semiotic comic witness extreme pleasure speech reduction crushed
conspiracy integral monsters torso split big brains
cipher OUTRAGE THE NORM ASSAULT SUCH EQUILIBRIUM BLAZE SCREAM solitude
essential limit stranger shout
metallize starched nurse uniform wanton hands liquify atmospheric
electricity markers lust muddies turgid light idols
vaseline-coated lens streets orchid limb thrust meter possessive
handgun GIMME SAY AM DYING remaining suspended fondly animal fur
feathers root dank hummus flake caress fabric come silk leather seesaw
horse hump transact mire ossify
slime
fluminescens
hardness bones rods collapse secretions belly giggling jelly swamps
fetishize solidify sweating gleaming belts boots powdered
male milk-sap LIFE FLUID EXCESS BLOOD PUMP fluid conduity neuter
identity self hunt economy dyad eat wife-force co-
[13:31] phallocratic mach bullshit rights WIT NONSENSE RICOCHET HEART
CLANDESTINE NIBBLES ocean illuminated plastic box motor, tiny
heels depilated legs job musculature buildt gym scar liquid hand
movement want man woman PEFORATED LOBES EARS HIS NOSTRILS TUSKS BEAKS
CLAWS PLUMES SHELLS PATHS FEAST
hillbill
monoculture
SURFACE! SEX! SHADOWS! ELEMENTS! PINK MUFFINS! COUCH EARTH! DUCK LIPS!
MANDRAKES!
small creature half-hidden seaweed brown drag undertow hermit crab
shell smelled moist ebb doorway
[13:32] corpse color remains when their unreality has been demonstrated
becomes eye longer stimulation retina world declares odorless song wind
trees
remediations, mediations, projectivities, introjectivities,
phenomenologies, histories, mechanics, Extruded intruded (upon) body:
cleansed bodies continuous middle-eastern 'war'
armored imaginary journeys (Rhine, England); sexualized bodies:
o avatar, rise midst maelstrom, sadness cobalt plutonium uranium radium
seriously, what covers pain completion, yours argon xenon neon, whirl
me through infinnnnitude drugs
file sex fuck suck cum avatar.
knife skin watch solo sexatar watch.
shades avatars-- precognition behavior collision transparent
interpenetration gave new Life Avatar Body moves would move had File
called God
attempting escape vectors result avatar-work led 15:47:47 There
constructed motion capture equipment 15:48:08 images laser scanning
check Love War, Avatar, Cyborg, Experimental conferences.
{avatars backed, back infinite space}.
digital sublime, space}
imitating real-life people right, imitatin avatars.
refuse moon-bay, moon-bay. avatars, (digital) sublime; backed
, well, these torn apart, By What May AsK?
sublime
backs against wall space; nowhere left go.
elsewhere
The disappearance branch hardened rock occasional artifacts.
itself, image-avatar, ghost. ghost travels anything course; coordinates
tacit knowledge electronic Every symbol ligament avatar; every referent
gesture; gesture procures body; speaking
spectre doll faerie wraithe hobgoblin troll tengu kappa presence
cloth stitch suture binding closing damming holding velvet cotton wool
"Consider next smearing thinking skin.\n";
Kamishibai, virtual idols, PlayKiss
Nikuko, Meat-Girl, (among others) 'emanation'
another dead ok you're hearing imitation 78 record created event very
low frequency
help. 16:04:35 explore 'body-avatar' issues
tobother less! 16:07:11 dancers live yes 29-Jan-2007 16:07:18 In fact
they something head pieces did while ago but excusable! went
somewhere, said something!
beginning transparency, wizard listening-posts MOOs example. Here we
are, becoming-virtual still.
Given danced-to-infinity motion-capture second=life quasi-avatar
tethered somewhat distanced
image 'break through' private barriers course consequence
"one by one, each line alone, typing Control-d done.\n";
$name calls forth $a[$gen1] $noun[$non], hungered, making things.
$prep[$pre] $a[$gen], $a[$diff], $[$gen], $str?
system("touch .trace; rev rope >> .trace"); system("rm
rope");
"Your inscription finished, thing.", "\n\n" 3 < $g;
fly it. takenpart apart llnhx 2.2.6.::attributions Devour Blue
Nattributions Brought Forth lntarn$l karnals, bhckats pf mpdhlas,
Attempt grapple ungrapple Death Star Galleon (s0): h boarding Flying
Dutchy (f0) Dutc
Sound wood wire: alpine zither:
wish home computer with.
avoid swords. swords make angry.
avatar-meat representation uncaptured remembering origins / scars
ancer ancer/avatar ancer/ancer ancer/igital igital ancer.
ancer{}igital{{}}avatar{}analog. igital{{}}avatar{}analog.
deconstructible
level deconstruction
engineering reverse "My leashed, logical thought, protocols thought;
it's wonder think al
One cannot reach farther one's reach, closer control release,
dissipation. Enter reality world, suffused sound.
Over Lord 1 Quon: tone war... Wings creak, sound beginning.
(Subtitle)
Haruka: "Why blue?" That's wondering. Ayato stops turns toward Har
MACHINE coursing trapped blood, flush spirit vaporized, substitute
bodypart another, apparatus obstinancy, prick
machine: undoes belt buckle him, finds right diagram support weight,
tongue, zone, other love
MOUTH LETS CHAINS SENTENCES, RAMPLES, GIGGLES, TONGUES SPREAD WET OUT
OVER LIPS, LEAKS, COLLAPSES, MELTS, FINGERS
[13:33] don't listen avatar-man. dream-woman contaminated. building
condemned.
transformed early version 'outt' blue construct-space outt-structure.
avatar-video avatar-performance content degree.
sukara, dakshinanila, nandiskandhardhara, dhurya, prakata,
pritvardhana, aparajita, sarvasattva, govinda, adhrita
prefer small, seeping, peripeheral, marginal, scattered words
sites, domains, emanations, emissions, interwoven sharing coagulated
ego/s, matrices, languages, bodies.
break down here, use me? absjure, abjure ... moments ?
words, drops say drizzle
everything moment you, mmmm... matrix, mother, maternal, announces edge
frame dialog, carried forth...
times smooth us, bits bytes, protocls lost smoothing functions traced
across peripheries, margins
coagulating limpets seas jellies
made, women, sounded, resonated, protocol, site open winds
you've before, over again, repetition goal delibery interval...
bring about semblance face, lineaments mouths, elsewhere, sides things
often lure seduction among here relates Lacanian objet a, deferal....
future Net, it attains state _seamless reality,_ melding real
disturbances way tending _psychosis,_ interweaving realities, respon-
sibilities claim
Avatars always disturbances, irruptions language, lang- uage portending
_the raveling existence essence
appear erasures also visible, letters disappearing reverse.
dark dreams, enough soft limbs, mine...
matrix saves ending, pureness salvaging spaces...
subject other/ near side screen
tangled avatar-sites/sights/citations. @create $thing begging.
clear speaker herself separate creations. Voices, voices!
Each participant occupies represents (virtual) constituted written
begging object number #75438.
margins, slippages, constitutions, constructs, emergences "depths"
software hardware, blockages flows
only taking account, well surface manifestations possible comprehend
subjectivity
These develop limits program, reveal substructures/protocols violate
dialogs
stick-like _anime_ figures work, distributed authorships anatomies.
consider _projection self_ appearance various applications
audiophiles app arounds bio blogs awk biomes tion tr
We look ruptures characters resonating interfering configuration files
exe everglades
empathetic encapsulations episteme extasis entropic extensivity fantasm
externality [13:34] package: knives. prims cut.
talks. inside he says. construction torsion edge-space. world.
anorectic
[13:35] =====/999
original
/www
/bbb
/qqq
eggs
placenta cloaca
3/333
[13:36] [13:37] [13:38] ====/ggg
[13:39] [13:40] [13:41] ====/;;;
/'''
/zzz
/xxx
oooo [13:42] [13:43] [13:44] [13:45] egg
[13:46] =======nous sont
nous sexdrive florescenece
font wack
centimes
centimez
=nous sens
hung eagle
news sense
[13:47] sonnet rect fluu
KJHKL
help send [13:48] buttons liquids
wiffle
()(*)
black rose thorn
ewwt hmmmmxxx
[13:49] stem baby cell
fine germanaachec
===if tyype won't be still during period fingers moving elsewhere.
/yyy
[13:50] pistol sucking fisted hair
given up how many lines ascii
==if type fight iraq thoughts [13:51] freedom else
return
lima lamina [13:52] ==/eee
/rrr
/tttt
[13:53] sputum war wrap arm =/kkk
[13:54] ==--=
[13:55] [13:56] god bod
[13:57] tv
Try closer. Can't sit same region you.
[13:59] =====/ddd
lick
yearn
[14:00] ()(
[14:02] [14:03] [14:04] clown
InnerT00b: aren't owner
[14:05] [14:06] ======/ggg
whole
Like slimy hole
[14:07] ==/666
[14:08] [14:09] =/iii
/[[[
j;ljssldj;d aaahhhhhhhh
=/mmm
[14:10] =/1111
gooo goooo goo meee cooo pooo
/z/zzz
9-=-09
[14:11] WEEE TUSY TUSKY WWOOOOSHY
margerine
massage cheep
jf
[14:12] myh horno
royal road
[14:13] flutter mu
outrage
bad go [14:14] crumbs fattties flat oybc py puncture
==== =/,,,
/...
/\\\
/qqqq
wanted sole
d conditoin
[14:15] A REAL MAN WOULDNT'
cna't bew
REEALL WOMAN IN REEL HER BELLY AND HAIR
HAH HA HAHHAHAH
LAFF IMMOLATS
[14:16] dissection ham
da haoney
JLll oh [14:17] encounter
====/777
0000000
toy finger
[14:18] fluids
/nous bon jour
oui ii iii fffuucckkk
=when write one WHEN WRITE THIS NO CAN SEE ME
[14:19] WRITTEN COMES TO TELL OTHERWISE
listened wouldn't WHENIWRITETHISLIKEIN THISFASHIONIT WILLREMAINFOREVER
shudder came
YES YESYES YESYESYES NOUSSONT NOUSNOUSSONT
=/PPP
effe [14:20] [14:21] sigh cage merge miniscus
[14:22] septum
why didn't happen
[14:23]

===

control

sections of control performed by sandy baldwin alan sondheim
in sl east of odyssey excerpted from 19-minute video in which
sound provides the motive and text provides the moment of
disappearance

http://www.asondheim.org/control.mp4

the full video would be around 200 megabytes highly compressed;
this is bad enough but sufficient and indicative of the sort of
psychodrama undergone by avatars in disregard of their human
creators who remain in the background while sky land and skin
turn blood

this is america and iraq this is gender this is all or none this
is gray code incremental

learn the art of gray code and you will never have error again

Uncanny Beauty


http://www.asondheim.org/denverstorm.jpg

shelf equation resulting

http://www.asondheim.org/shelf1.png
http://www.asondheim.org/shelf2.png
http://www.asondheim.org/shelf3.png
http://www.asondheim.org/shelf4.png

now coding process

http://www.asondheim.org/codingproces.png

Coding process consists of four arrows.

Class 0 and Class 4 interact, encode, decode, model transmission
through Interface 1: Interface 1 may be an encoder, decoder, channel,
none or all of these. But there are results and results.

However think through a second process.

Interface 6 and Interface 1 interact, transform the ontology of Class 7.
Thus Class 7 is virtual by dint of representation through the processes of
Interface 6 and Interface 1. Perhaps the full model is a ghost trap within
which the epistemological changes among Class 4 and Class 0 are iin
relation to the ontological change of Class 7, virtual. Then perhaps
Interface 6 and Interface 1 are in a continuous process of evanescence,
disappearance. These are the models of coding process.

moktak

moktak composition for plane, bird, lake, moktak

http://www.asondheim.org/moktak.mp4

"Mandala is the impression of the feet." (Hevajratantra)

"May I hear the three sounds, may I perceive the three forms."

"Having said this to witness I will have been reborn."

"Propitiation dies with the insurmountable corpse."

"Meditate upon the double entrance of the circle."

"The accountancy of rebirth is of no account at all (i.e. nothing)."

"All afflictions, all sufferings, extinguished by these words."

"The whole of existence, Clear Light and mirror."

"Ten directions and no sounds, two directions, semen and blood."

"Ten directions, no sounds, the (fierce) corpse is killed."

"May I perceive the word of the corpse."

"Death is a tautology."

"May I perceive the word of death."


on our earth, the killdeer

we are on earth for such a shorttime, we have no more than a picture.
the picture is what we think of when we say, 'the way things are.'
just yesterday or tomorrow, something new, perhaps a bee.
the bee pollinates a flower shortly after our death.
there is a storm somewhere.
just now, i am beginning to understand the alarm calls of the killdeer.
the ghost of a shorebird, the feint, the run, the back and forth.
everything, everyone, lives in a different world.
i can say this because the image is always a sad image, the image is in
mourning for our death.

http://www.asondheim.org/killdeeralarm.mp3

like neural signals, the killdeer calls are a mix of analog and digital
phenomenology - their frequency is very narrow, and the repetitions of
standard (most likely territorial or display) calls are easily comprehen-
ded - at least they appear to be (the cry of the killdeer is easily iden-
tified) - on the other hand, there are temporal processes, non-standard
pitch and repetition, which present information, in this case alarm based
on distance, degree of threat, etc. - as far as i can tell - which means
nothing at all - on the sample you hear both calls and responses and the
changes within individual calls as well.

===




_NOTES AND DIALOG ON CODE_ (7/31/07) (Sandy Baldwin and Alan Sondheim)


NOTES ON CODE (Alan Sondheim)

Major modality:
Relationship between modeling and codework:
mapping within the subtext/substructure of the metric.
Visual modeling: Visual as thetic - modality of happenstance (i.e.
modeling becomes dependent on the physiology of visual bandwidth).
Aural modeling: Visual with similar field, different spatial modality.

How is the thetic (is that the correct word?) in relation to ideality?
Does political economy depend on visual/aural physiology?

Scanning as doubled text: coded software / parameterization of the real
tending towards results which are residue (separate the results from the
structure). But within the phenomenology of the real, the results and
structure are inextricably tangled.

Motion capture (mocap) - see scanning. In scanning, the static object is
standard; in motion capture, the dynamic object. Think perhaps of the
latter in terms of a second-order differential - doubled modeling of
changes (1. through mocap; 2. through 'accelerated modeling').

The results: the 'code carapace' or chiten - Barrier/revelation code.
(Older work: The relation of consciousness to structured systems: what are
the manifestations of those systems?) Code as armor.

Seeing and hearing seem 'tawdry,' unable to sustain the abstracted or
philosophical weight placed upon them. To see or hear text philosophically
churns on transparency; everything else stumbles. We turn to writing
because it gets away from us to the extent that it's also reflective of
deep abstraction, alien-code (all code is alien).

All code is alien because it calls from elsewhere - or rather, doesn't
call at all; it's as if someone created it, it's as if it wasn't created,
not a bit of it. Which is the fundamental phenomenological status of code:
some of it is created, but some of it isn't.


DIALOG

Sandy Baldwin:

Thanks for these notes - always helpful. It would be interesting to
present them somehow with the video. I'm trying to think about your
question about the relation of the thetic to ideality. Now, the former
references taking a position (thesis) and signification (cf Kristeva); the
latter references Husserlian phenomenology and the constitutions of
objects. Are the second set of distinctions (political economy - visual /
aural physiology) parallel to the first two? Anyway, I wonder if you would
venture an answer to the question?

Alan Sondheim:

I'm not sure I understand all the modalities or connotations of the
thetic; online we have (among other things): 2. Presented dogmatically;
arbitrarily prescribed. and derived: Greek thetikos, from thetos, placed,
from tithenai, to put; see dh- in Indo-European roots

So I was thinking of the thetic as arbitrary proffering, gesturing; if
code might be construed from ideality, the thetic might be construed from
code.

The visual/aural/sensory modalities seem clearly arbitrary in the larger
scheme of things, if such exists; the electrical senses of fish obviously
map the world completely differently (not to mention magnetism in birds,
bees sensing of solar polarization etc.). So this is the thetic, the shown
and it's in relation to political economy, which is dependent on culture
and organism. The ideality - and this for me is where a kind of
neo-platonism comes into play - is a structure which underlies everything
- a structure which _might_ map through propositional logic or Wolfram's
cellular automata or etc.

The structure is alien to the extent that a rock is in-itself, ding an
such. It's possibly here that the uncanny of codework appears (and coding
in general, mathematics/mathesis in general) - that code, no matter how
written, always seems, in part, to come from somewhere else, to appear, to
have appearance, whatever the sensory modality.

Sandy:

Thanks for the elaboration of the thetic. Some thoughts: As to the
visual/aural modalities (you mention fish, for example), I wonder if
inter-species animal display such as "stotting" (sp?) or "organs to be
seen" and the like, apply here. Here the code of display, in the large
sense of code from Eco or elsewhere, implies a semiotics that can't simply
be understood in terms of a return to the individual or even the species,
that gestures towards a general not-political economy. I'm thinking that
we, insofar as we are just such animals in the world, are on display for
the other (substitutable in the sense Levinas talks of).

Alan:

Had to look up stotting! The sp. is right. But I'm not sure that it
doesn't imply a 'return to the individual' insofar as the communication is
a signal? This isn't the 'mutual orienting of cognitive domains' - it's
masquerade or camouflage in a sense? But the display has to be readable by
the other, in both cases, stotting or display for the other, and the
modalities are always limited; in fact, with stotting, the limitation is
absolutely necessary - for a signal to be a signal.

Sandy:

I take this substitutability I refer to above as the alien you refer to *
the alien that I am. The thetic (as arbitary positing and also as a
"thing" in the scopic field) is always ideological. I think this is where
I'm coming to your point about ideality, and when you mentioned
neo-platonic I thought of Barthes' on the photograph as a kind of
"emission" (in the sense of
Plotinus).

Alan:

Yes, I think we're in agreement here perhaps. The alien is the source
structuration of code; the propositional calculus can't be consumed...

Sandy:

Agreed. Obviously, I'm thinking, on the one hand, of Bataille or Lingis
and their insistence and foregrounding of economies of excess and
non-return; but then, thought is made to account for and come back to
itself. Now, this dialectical reason is inseparable from philosophy, yet
we know there are other philosophies and unreasonable ways of thinking. I
could see this as life within and against the human.

Alan:

Interesting... I agree with you but then there's the 'selfish gene' issue
- if the stotting is common and in various species, then it's not leaky at
all but highly efficient; certainly it would be evolutionarily (?)
determined more than other signals, since it's at the fulcrum of life and
death...

Sandy:

Here's a different but not unrelated question - returning to the alien as
"source structuration of code." I wonder about the following: it seems to
me the subject relation to the symbolic online, let's say to the ideality
of ascii, is like that of the subject of film. There's is something like
suture occuring, and so on; at the same time, there's a difference and
even a complete reversal. I think this has to do with time, but I'm not
sure? Any thoughts here - again, if it's too much, there's no need.

Alan:

I'm lucky to be online. A HUGE storm is coming, lightning etc. out here.
Anyway - the subject online is an actant of course; the suture is similar
but different in that the filmic subject is predetermined - and therein
lies it's power - I think it relates to a fundamental masochism. The
viewer is held in thrall by the film, and/or the actions of the viewer
change nothing about the film itself - which continues to unravel at its
own pace - but only about the diegesis, which is always in dialog. The
subject in relation to the online symbolic, I assume you're referencing
jectivity (projecting, introjecting) is in a sense too much in control, as
if that control were offered to us elsewhere, outside online being as
well. In that sense, time is 'supple' for the online subject - in film,
it's not linear, but shuttled, and that dialog is set into motion by the
obdurate quality of the film, which just unravels. Of course this obdurate
quality relates, I think, to the inert of the real as well. Then when one
brings dream, dream-screen, all these other aspects into it, the whole
situation becomes muddled? Perhaps hopelessly so?

Sandy:

Thanks, yes. I think in the suppleness of the online subject: ASCII gives
me life, I give ASCII life, but I also ask more of ASCII than it can give,
and it gives more than I can ASCII. (In the otherness of it.) Also,
interesting that there's no "apparatus theory" of the net, beyond your
internet text of course (which does explain all).




The World in Two Jokes


How many Passenger Pigeons does it take to change a light bulb?
None.

How many Tibetan Buddhists does it take to change a light bulb?
None.

Yes, yes, of course.


I am God and when I die God is dead.

(There's little time left to speak to Me.)
(I'm not leaving a forwarding address.)
(Come to think of it.)
(Offerings don't count.)
(Pretty much anything you have to say.)
(Thank you for listening.)


Uselessness of Monoculture


I will call 'monoculture' anything before the advent of the Internet - in
particular artworks, literature, theater, dance, etc. etc. This culture is
characterized by the singular; even when dispersive anatomies are present,
they are always in opposition or subtext to traditional thought. The mono-
lith is always present and accounted-for. The monolith is either station-
ary or process- movement- oriented, always static or dynamic; its elements
cohere, separate, are born to die, to be reborn again. This is the culture
of the traditional university but it is also urban culture, street-corner
culture; it is the culture of history and historiography, of the encyclo-
pedia and the expert and think-tank. Monoculture resolves, whether towards
resolution or irresolution; it is possessed by narratological impulse, by
development and the compass. Monoculture is not necessarily unary; there
is multiplicity and the nomadic, beneath the stars, within it. Monoculture
blinds us to the world; it is the World that is all the case. It is the
culture of gas, liquid, solid, electrostatics, electrodynamics, special
and general relativity; it is the substance of quantum mechanics insofar
as action may be defined as action or verification at a distance. In sum,
it is our sum, our summation, our accountancy of the world and of our-
selves, and it is useless, as the result of an Internet that is neither
singular nor plural, neither present nor absent, neither coherent nor dis-
persed; I will call 'Internet' what has corrupted monoculture, tended
towards its demise. I am not implying that 'Internet' in fact or fiction
signifies anything, that the name means; it may, in fact or fiction, be
characterized imprecisely by insigification, spews, abjections, blurs,
avatars, nothing at all.

For the change that has come about within and without the tangled skein,
holarchy of networkings, is of the plasma or swarm; it is Wolfram's
science, not Hertz's. Thinking through social sites, collaborative facting
and fictioning, wikipediatry, avatars of avatars, bots and phishing, what
comes clear is lack of clarity, lack of clarity's epistemology. This is a
fundamental transform to the extent that anything is fundamental at this
point; it sweeps away, for example, plots and allegories, bureaucracies
and governments, minds and bodies. Think of pre-Internet novels - novels
of modernism or post-modernism, of constructed and conceptual weavings, of
characters or lack of them. And television, theater, cinema, follow suit;
one is locked into farther time, father time, to diegesis, to an unravel-
ing that characterizes experimental film as well. Neither film nor paint-
ing are linear, but both participate in a locking-down of perspective, no
matter what openings, contusions, are on the horizon.

Lacan, Gardner, even Bateson presaged multiplicities; in Wolfram the swarm
is simultaneously organized and disorganized. Lacan never went far enough;
there was that reliance on language, no matter how shifted. It comes down
to this: When I read a novel, I don't recognize myself, the 'times,' any-
thing. When I watch a show on television, there are actors, people, or
animated actors. They're moving through familiar antiquated monolithic
space, proscenium or deep space - it makes no difference; there's always a
perspective. Perspective invades novels, stories, the world of monolithic
writing - on the other hand, try assigning a vanishing-point to MySpace or
even Facebook. Even Second Life, which tends towards classical perspec-
tive, falls apart on the edges where the simulacrum of physics is turned,
churned upside-down. One doesn't recognize (oneself or others) in Second
Life because recognition is already a problem; everything moves within the
aegis of Bell's theorem.

Consider photographic apparatus: begin with camera obscura, that one-to-
one allegory of the real - through Daguerre, view cameras, stationary then
moving then Edgerton. Cameras dissolve into swarming components; now com-
ponents themselves disappear as cameras transform into light-sensitive
holarchies, networked or independent, under whose or what control? The
image ends up everywhere and nowhere at all; no longer is it allegory -
which has long since disappeared - but the stuttering of the fragment
which no longer is in need of suture or extension. You can watch family
trauma, physical and mental abuse, on the morning talk shows, but whose
families? whose abuse? whose perspective? It doesn't need to end up on
YouTube; YouTube provides its own violence, its own parameters of liter-
ally unfathomable streams. Videos are removed if found, if from copy-
righted material; everything gets through, leaks. But leaks from nothing -
the culture, non-monolithic, Internetted, leaks without transmitters,
receivers, leaks without channels, or leaks from traditional channels,
only to be churned back, lost in brackish protocol.

Code, programs, codes, protocols, reference one another, are increasingly
open-sourceless; scratch the surface and no one's there, nor beneath the
surface - all those dead-ending projects on SourceForge ending up maybe
somewhere else, maybe vaporware, the languor of the name. Languages embed
languages; soon they'll be without physical foundation for all intents and
purposes, perfectly floating signifiers shattering against subroutines and
useful or useless misuses. (The world doesn't end either with a bang or
with a whimper; there is no world to end.)

This confusion is on the ground as well - in some places, Harry Potter
really is a witch; children suffer as a result. It doesn't take electron-
ics; it takes nothing more than extinctions, overpopulation, global cli-
mate change, weapon distribution, religious fanaticisms, starvation,
desertification - the unsupportive world. Radiations swirl around the
farthest villages; there are unheard broadcasts, music, news, exhortations
to the perfect religious life, promises of vacated paradises. These places
or spaces are the future of the novel; language dissolves without signifi-
ers, without that place where the sememe holds, however tenuously. It's
here that home is found, in the bombing of the home, categorization of
flora and fauna, ethnic cleansing. Online real explosions transform into
hacking, thousands, millions, of MySpace friends, hundreds of millions of
blogs, billions of Wikipedia pages hardly ever under contestation. Yes,
it's all true. Yes, none of it is.

Monolithic culture prepared the battlefield inhabited only by the wounded.
Monolithic culture developed the technology of multiplicity and the plasma
- a multiplicity of multiplicities, never stationary enough for analysis,
never moving enough for a coherent dynamics to emerge. It's a memory to an
extent, to the extent that memory is encapsulated in fast-forward media
already forgetting what was loosened in the habitus.

This is all electronic, all colonial, all nanobot, this isn't your fath-
er's monoculture, your mother's multiplicity, your father's multiplicity,
your mother's monoculture. Capital seeps everywhere as do heat and water;
island nations are disappearing in the Pacific, Atlantic not far behind.
Think of this as the anxiety of diminishing power; surely, not only is the
world out of control, but control is as well. What happens to feedback in
chaotic domains? One likes to think fecundity, fractal, but in the real
this holds only so long before 'things' bottom out in rust and tumors.
Monoculture is always waiting in the wings; as networks decay and data-
bases turn useless, big iron will descend upon the world. But this is far
in the future, a future so defined that no one will see it, no one will
inhabit it. Instead of now, we are pre-sent, always in a state of arrival;
there are endless tracks, monorails, they go nowhere, sink in dust,
desiccation.

This is all electronic, and as technology miniaturizes, improves, perhaps
these skeins will continue, sheathed, to exist, transmit, transform, no
matter what. Then the scenario simply holds longer. Consider: There are no
species. There is no real life, no organic life, no artificial life, no
patented life, no constructed life. There is network life and one hopes
that the remnants of wilderness (which are not to be deconstructed) remain
that way, that enclaves succeed where management hasn't. Consider: There
are no persons; there are couplings, situations which grow increasingly
small and temporary, imminent decisions. Consider: Immanence has disap-
peared, if it were every anything more than mythos; it's replaced by the
Facebook contact, as enunciations are replaced and replicated by 'What I
am doing now.' Consider the usual: We are all audience; none of us are
watching; we are all watching; there is no 'we.' It's the latter Lacan has
missed; there is nothing to talk about. These essays themselves are thin
sheaves, interspersions; they carry the dim light of the dusk into the
dusk. 'Beyond' means absolutely nothing; time is indicated only by the
stoppage of death. What is a store if not a mouse-click or twitch? What is
a body if not blown to pieces by a car-bomb? On a certain undefined level,
these are identical. Perhaps an economic level. Perhaps in the poetics of
disappearance.

To be in pain, slaughtered, wounded, is two-fold, interior, exterior. The
former stops everything; it is unthinkable, unbearable. It is always other
even when ourselves. The color of time disappears without witness. But
exterior - this requires transmission, a receiver, political economy, some
means of noise control. The receiver must be receptive, must orient itself
towards the message; otherwise the message remains noise, death. The
receiver must have space place for reception, a moment off the network
which in the very real, idiotic inert real, may be what has brought her to
this moment. But the receiver is already dissolving and a hundred-thousand
new novels are being born, and they are not novels, nor histories, but
software biographies perhaps. Rather than monoculture, monolith, let us
say multlathe, uncontrolled or multiply-controlled lathes refashioning,
refiguring, configuring, what we are reading that was once literature.
There is great exhilaration, great promise; multilathing, in its bypassing
any and all absolutes, is always in process of permanent deconstruction.
Think of the school essay, modified, bought, sold, dated, outdated, online
and offline, assembled, reassembled, spell-checked, recreated, plagiar-
ized, written on demand, printed on demand, behind wikipediatry, related
to class, gender, sex, race, nation, religion, handedness, all or none.
Think of the essay reader, the recipient, following through with programs
designed to weed out the copy which is always already a copy, hacking his
way through the sememe looking for miscreants, passing results to and from
university and institutional databases, listening softly to the YouTube
song, exchange of draft letter on Gmail, or just listening to Ipod Itunes
with her Ii. The whole world is steganographic, embedded, uninterpretable,
piecemeal, exchanged.

So for better or worse monoculture is dead; it grew on foreign soil, is in
the process of recession. To what? To the corners of vulnerable data-bases
and technologies, conservationists, those disappearing from the present.
The future were there, pre-sent, and it's why novels and paintings and
just about anything before 1985, say - _not_ 1968 - is inconceivably
quaint, something for school credit, nothing more. We need an ethnography
of our own pasts presented as disappearing cultures or archaeologies
written in the unreadable, spoken in the unspeakable; it is here that our
bodies once reproduced and never reproduced in the continuing acceleration
of images - of someone or other or no one at all.

(I'm not good enough; I'm not smart enough: You may think this is tempora-
ry or not-me, not-I, that this is elsewhere, of an other, an other genera-
tion, place space, time, time before death. This is not the bicylist who
was injured on the corner of Fifth and Bergen three days ago, but this is
her/our interior, her/our political economy, what comes about in the midst
of architecture and physics. I want to talk about the pleasure of novel-
reading, Harry Potter and other accelerants, and their fan- and enclave-
existence. I want to talk about radiations and dusts and their dispersions
and what they carry from prions to nanogarbage to pollutions to sex to
early deaths from bullets and asthma. I want to talk about mash, I want to
perform djay vjay Vday vdday. I want to be you or someone. Rimbaud knew he
was splitting up. The last of the obscene has passed, the obscene is al-
ways passing: the ob-hack fractured and visible. The last of the discourse
too.)

ravishing

her eyes fall through her eyes, a thing is lashed
you find yourself hysteric, is she watching me
or something else next to the shuddered prims
so gaze against her gaze, nothing is ever lost
and play within her plays, whatever might be found
this might seemed worried, her mouth is berthing wide
no matter what bleak hardness or good however grace
or where the neural networks might be stashed
her eyes, uncanny, swollen, gaze across a sea
you're always swollen, harboring her whims
is clearly thing your flesh has neatly tossed
sodden emptied, sallow, on unhallowed ground
you fear the world, there's no thing more inside
no more than eyes cut through the hollow face

http://www.asondheim.org/lookatme.mov

Gnat swarming behavior

The following video was made about 100 meters from the Jordan River trail
in Salt Lake City (West Jordan / Midvale), Utah. The site is a pond per-
haps one or two acres across; there are numerous birds (swallows, swifts,
red-wing and yellow-head blackbirds, etc.) around. When I first saw the
gnats, near sundown, they swarmed in a typical ellipsoidal fashion, i.e.
similar to a free-falling water balloon in slow motion. I noticed several
columns forming; in a short while, they became vertical, long and narrow.
They swayed and held shape. In gnat swarms, males and females behave
differently; in one of the vertical columns, a roughly spherical 'head' is
visible to one side, and I wonder if there might be sexual differentiation
here. What is fascinating to me is the relationship of millions of gnats
to an over-arching geometry; this parallels slime mold behavior to some
extent. I've seen lots of gnat swarms before, but nothing like this. We're
leaving the Salt Lake City area today, so I have no time to investigate
this further at the moment (we're leaving today), but I'm interested in
any further input, images, videos, you might have.

http://www.asondheim.org/gnats.mp4


Radio

'Radio' - modified recording in the Mormon Tabernacle Choir building; note
the laptop in the foreground which controls and monitors the organ, light-
ing, recording, etc., as far as I can tell.

http://www.asondheim.org/radio.mp4

(video w/ Foofwa d'Imobilite, church at Pringy, text w/ytalk)


[Ringing julu...]


[1;25r
[?7h
[2;1H
[Ringing julu...]

http://www.asondheim.org/kirkegard.mp4

[Waiting for connection...]
[H----------------------------=
YTalk version 3.3.0 =-----------------------------
[2;1H
[12B
[A-------------------------= julu =--------------------------
[14;1HSwollen embryos filled the membrane of the KIirk
rk, Jennifer, almost sounds bubble
forth from the mouth
broth broth, Julu, air is always inside air,
there's nothing beside air, nothin
[6D
nothing motivated
[13Bthere are our motivations and we skillfully
envelop our bodies against the line separating us and our accountability
why do things always move sexually, as if there were no
other concourse, religi
[6D
religion for exampkle, the Kirk, for example
[13Bah you can see me there in the dark, you can hee re my whispers to
Chirst our Lor
Lord Buddha, you can hear everything, skin on skin and
face on face on face

[5Byour face is lovely lovely i would kiss your facei would
inhale your skin i wou would inhale your isin your sin i would take with
me a
would fondle your sin i w
would i would listen to you against dorje and cross
against hammer and star
[12Bwe expand in our own worlds of information, we move
accordingly, we act accord accordingly, we are drunk we are drinking each
other, we are devouring
[8Bwe are devouring each other's eyes, yes, and blinding
ourselves to anyting but
ourselves to anyone but ourselves to any universe but ourselves
[12Band reading ourselves one against ourselves,
o o o jenifer julu you are soundi
[6D
sounding bubbling forth, there is

are gods and goddesses after t

all there are holy

dances
[10Band dangerous and holy writings for us to read and o

anyone to read and to compar
[6D

compare beauty against beauty, love against love, our bubbles

[14;25r
[25;1H
[1;25r
[24;1Hour bubbles when they are whole, they cannot burst,
they are eternal, when they are the only one or two or multitude
, yes yes o ulu-enifer, when they are multi
[1;25r
[23;75H
multitude, then will they soften the sounds
of ours
selves murmuring and filling
[2;12r
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[1;25r
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great gyrefalcons above and b
[2;12r
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belong every new-born clouds, bubbling forth, the very froth of existence
[14;25r
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o glorious sound j
[14;25r
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jenifer julu, are
o participation in aeon and aeon and aeon
[2;12r
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[1;25r
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[2;12r
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[2;12r
[1;25r
[12;1Hwhat we have wrought here in this quiet space in this existence
[2;12r
[1;25r
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[24;1Hin this existing agan n and again and agon, in this murmuring
against
the membrane of the
bubble, murmuring membrane
[14;25r
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[12;1Hprolix and univie fied
[25;1H
[1;25r
[24;1Hwhy is there anything
[12;1H
[2;12r
[1;25r
[12;1Hwhy are we here
[14;25r
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[24;1Hi am drinking you ah ah ahhh
[2;12r
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[2;12r
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[2;12r
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[12;1Ho julu jennifer
[14;25r
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[24;1Ho jennifer julu
[14;25r
[1;25r

[1;25r
[?7h
[2;1H
[Ringing Jennifer...]
[Waiting for connection...]
[10B
[24C###############################
[31D# Rering Jennifer #
[31D###############################
[12B
[A-----------------------------= Jennifer =-----------------------------
[14;1H
[14;1H
Swollen embryos filled the membrane of the KIirk
rk, Jennifer, almost sounds bubble
forth from the mouth
[11Bbroth broth, Julu, air is always inside air, there's
nothing beside air, nothin
[6D
nothing motivated
there are our motivations and we skillfully envelop our bodies
against the line separating us and our accountability
[11Bwhy do things always move sexually, as if there were
no other concourse, relig
[5D
religion for exampk le, the Kirk, for example

[5Bah you can see me there in the dark, you can hee
re my whispers to Chirst our Lor
Lord Buddha, you can hear everything, skin on skin and face on
face on face
[11Byour face is lovely lovely i would kiss your facei would inhale
your skin i wo would inhale your isin your sin i would take with me a
would fondle your sin i
would i would listen to you against dorje and cross
against hammer and star
[7Bwe expand in our own worlds of information, we move accordingly,
we act accordi
[7D
accordingly, we are drunk we are drinking each other, we are devouring
[12Bwe are devouring each other's eyes, yes, and blinding ourselves
to anyting but
ourselves to anyone but ourselves to any universe but ourselves
[9Band reading ourselves one against ourselves,
o o o jenifer julu
you are soundin
[7D
sounding bubbling forth, there is
are gods and goddesses after t
all there are holy
dances
[11Band dangerous and holy writings for us to read and o
anyone to read and to compa
[5D
compare beauty against beauty, love against love, our bubbles
[2;12r
[12;1H
[1;25r
[12;1Hour bubbles when they are whole, they cannot burst,
they are eternal, when they
[2;12r
[1;25r
[12;1Hare the only one or two or multitude
, yes yes o ulu-enifer, when they are multi
[2;12r
[1;25r
[11;75H
multitude, then will they soften the sounds
of ours
selves murmuring and filling
[14;25r
[25;1H
[1;25r
[24;1Hworlds with wings and understandings of wings and great
gyrefalcons above and b
[14;25r
[1;25r
[23;79H
belong every new-born clouds, bubbling forth, the very
froth of existence
[2;12r
[12;1H
[1;25r
[12;1Hfroth uncarrying, uncaring, every one, every one and ojbect,
o glorious sound j
[2;12r
[11;79H
jenifer julu, are
o participation in aeon and aeon and aeon
[14;25r
[25;1H
[1;25r
[24;1Hwhat we have wrought here
[14;25r
[14;25r
[1;25r
[24;1Hwhat we have wrought here in this quiet space in this existence
[14;25r
[2;12r
[1;25r
[12;1Hin this existing agan
n and again and agon, in this murmuring against
the membrane of the
[2;12r
[1;25r
[12;1Hbubble, murmuring membrane
[2;12r
[1;25r
[24;1Hprolix and univie
[24;1H
[2;12r
[12;1H
[1;25r
[12;1Hwhy is there anything
[14;25r
[25;1H
[1;25r
[24;1H
[14;25r
[1;25r
[24;1Hwhy are we here
[2;12r
[12;1H
[1;25r
[12;1H
[2;12r
[1;25r
[12;1Hi am drinking you ah ah ahhh
[14;25r
[25;1H
[1;25r
[24;1H
[14;25r
[1;25r
[24;1Hi am drinking you ah ah ahhh
[14;25r
[1;25r
[24;1Hah and drinking and drinking you
[14;25r
[1;25r
[24;1H
[14;25r
[1;25r
[24;1Ho julu jennifer
[2;12r
[1;25r
[12;1Ho jennifer julu
[2;12r
[1;25r
[25;1H
[?1l

Engine

It becomes an engine.
It masquerades the crankshaft.
It turns like an engine.
It transforms taps into pitch.
It hums and makes everything hum.
It turns and turns out that way.


http://www.asondheim.org/revvvv.wma
http://www.asondheim.org/revvvv.mp3
http://www.asondheim.org/revvv.wma
http://www.asondheim.org/revvv.mp3

wma smaller ; if you can't open, use mp3

Virtual, not Real

Two modes of writing, most likely among others: Well, I demonstrate (x); well, I demonstrate (myself). The first compresses, contains, confuses the object; the second smears the object within or against the code/work of the text. To smear the object implies an onto-epistemological corruption or breakdown; it is abjection that determines the problematic relationship between self and object. To demonstrate (x) is to clarify an indexical mapping between symbol and object; to demonstrate (myself) is to dis-embody both object and self; the ontological breakdown is between organism and signifier; the epistemological breakdown implies that knowledge itself is problematized across the boundary. Of course there isn't any boundary; this is all non-sense - in other words, senseless, one can't make sense of these things, there's nothing in the sense of sense as direction - can you sense which way to go? The discussion itself leads to abjection; a w/hole body has no need of dis/splay, dis/comfort; it's there inhabited, sutured, one with inhabitation and self, powerful, commanding, desiring, desired. The body tending towards discussion is already embedded in a futile attempt to construct existence out of shifters, pronouns; the discussed body is already a crude form of empathetic magic, which never works but which constantly requires both sacrifice and repetition. Then one reads it, the same, the differentiated, as autobiography; what is being described adheres to, seems to adhere to, the events of the day, those contortions or fits (fitts) of the writer, and thus replete with projection; this holds as well for fictional characters, but everyone recognizes that avatars at least have no history. The avatar is intermediary/sluice between clarified object and smeared self; its skin labors skin in one very singular direction, that is, from an acceptable exterior distance - but its skin labors space within or close to within. Within what? The prims fall away, replaced by space which mirrors, maps external space, all the way to the ends of the game, game-space, or beyond; mirrors, by association, space itself in the real, which is already virtual, the closer one apporaches quantum or fundamental particle levels. In this very real sense it is the avatar which is real, and our selves, bodies, our organic existence, which is virtual, dependent among other things on an Aristotelian logic that holds only on _this_ level in the holarchy, among others. For the law of distribution, so important in the applica- tion of classical logic to the world, breaks down in favor of the gestural, once the logic is examined closely, once appearance and the reading of the world, such as it is, virtual-real, is foregrounded. We defend ourselves against this through a whole phenomenology of pain and suffering, as if death constitutes the undeniable presence of the material world. That this isn't the case is clear, not by considering death itself virtual, but by recognizing death as the termination of processes in the middle-zone, in the middle-way - and processes them- selves, are by virtual of the ineluctable ontology of time, virtual in their constituation.

In lieu, place, virtual or real, of this, I speak like a madman, like a hungry ghost, already a contradiction, since what would fulfill a ghost, hungry or not, except an internal transform among ghost-organs, ghost- perceptions, ghost-epistemologies? Madness always carries the tinge of the virtual with it, and thereupon the real, just as what one considers the real in everyday life, appears as a dream, false, masquerade, sham, facade, theater and theatrical performance, all of which is true, recognized in every movement or body-speech of an avatar, in one or another world, more real than virtual, as ours is more virtual than real. To write of an object: "Two modes: Well, I demonstrate (x); well, I demonstrate (myself). The first compresses, contains, confuses the object" - is to write of oneself writing of an object; this is elementary. And it is also elementary to realize that "writing of oneself writing of an object" is an aporia, useless, exhausting, falsely-recursive; one might as well stop there and recognize that the smear (stutter, cough, text, pause, punctuation, page or screen) is behind, within, inherent in, every utterance whatsoever. The psyhoanalytical loss of object or good object or bad object is founded on no object at all - none, but food in the eyes of the hungry ghost, or the hungry ghost in the eyes of its prey. Nothing is simple, everything melds within the hallucinatory, and rational action is the apparent ability to 'freeze' those moments, as if they endured beyond the momentary glance or description.

Too distant, too many calls. I'm on Ning (Second Life Odyssey), Facebook (Brown University), Youtube (whatever), Myspace (horror but I wanted to contact someone); this blog, which is hardly read at all, why should it be? finds or follows last... which is a shame.

http://www.asondheim.org/hhhhh.mp4
http://www.asondheim.org/amidha.mp4
http://www.asondheim.org/railray.mp4
http://www.asondheim.org/amidha.mp4
http://www.asondheim.org/fallingout.wav
http://www.asondheim.org/fallingouter.wav ]
http://www.asondheim.org/parisfull.mp3 ]
http://www.asondheim.org/spectralparisecho.mp4

Some of the soundwork is duplicated in the video but easier to download. You find some of the work as well at Ning or Youtube. I think this is my best work in quite a while. But here's the rub - I can't add anything to the senseless political climate; one would be a fool to pay attention to my personal ramblings; I can't review cultural/poetics/etc. books with any degree of interest in this space (although they're sent periodically to a number of lists); and I'm beginning to think more and more that blogs are all too often personal embellishment, ornamentation, rhinestones without the glitter like an albatross around the neck of Leda's swan.

But I feel an obligation, keeping the date open...

i'm on facebook i have no face:


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Facebook Photo Uploader version: 1.1.27 Current document URL: http://brown.facebook.com/editalbum.php Reload proxy configuration ... Proxy Configuration: Browser Proxy Configuration Done. Dump thread list ...
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"AWT-EventQueue-2" prio=4 tid=0x0399D428 nid=0xbec in Object.wait() [1d23f000..1d23fd8c]
at java.lang.Object.wait(Native Method)
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at java.awt.EventQueue.getNextEvent(Unknown Source)
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at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.run(Unknown Source)

"TimerQueue" daemon prio=4 tid=0x02130078 nid=0x15c in Object.wait() [1d43f000..1d43fd8c]
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at javax.swing.TimerQueue.run(Unknown Source)
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at java.lang.Thread.run(Unknown Source)

"TimerQueue" daemon prio=5 tid=0x038A4238 nid=0xf10 in Object.wait() [1d53f000..1d53fd8c]
at java.lang.Object.wait(Native Method)
- waiting on <1288ecb0> (a javax.swing.TimerQueue)
at javax.swing.TimerQueue.run(Unknown Source)
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at java.lang.Thread.run(Unknown Source)

"AWT-EventQueue-1" prio=7 tid=0x0295ECD8 nid=0xecc waiting on condition [1d63f000..1d63fd8c]
at sun.plugin.JavaRunTime.dumpAllStacks(Native Method)
at sun.plugin.ConsoleWindow$1.actionPerformed(Unknown Source)
at javax.swing.JComponent$ActionStandin.actionPerformed(Unknown Source)
at javax.swing.SwingUtilities.notifyAction(Unknown Source)
at javax.swing.JComponent.processKeyBinding(Unknown Source)
at javax.swing.KeyboardManager.fireBinding(Unknown Source)
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at javax.swing.JComponent.processKeyBindingsForAllComponents(Unknown Source)
at javax.swing.JComponent.processKeyBindings(Unknown Source)
at javax.swing.JComponent.processKeyEvent(Unknown Source)
at java.awt.Component.processEvent(Unknown Source)
at java.awt.Container.processEvent(Unknown Source)
at java.awt.Component.dispatchEventImpl(Unknown Source)
at java.awt.Container.dispatchEventImpl(Unknown Source)
at java.awt.Component.dispatchEvent(Unknown Source)
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at java.awt.DefaultKeyboardFocusManager.preDispatchKeyEvent(Unknown Source)
at java.awt.DefaultKeyboardFocusManager.typeAheadAssertions(Unknown Source)
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at java.awt.Container.dispatchEventImpl(Unknown Source)
at java.awt.Window.dispatchEventImpl(Unknown Source)
at java.awt.Component.dispatchEvent(Unknown Source)
at java.awt.EventQueue.dispatchEvent(Unknown Source)
at java.awt.EventDispatchThread.pumpOneEventForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEventsForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.run(Unknown Source)

"thread applet-com.facebook.facebookphotouploader.FacebookPhotoUploader" prio=4 tid=0x03513F60 nid=0xa7c runnable [1d33f000..1d33fd8c]
at sun.plugin.javascript.navig5.JSObject.JSGetNativeJSObject(Native Method)
at sun.plugin.javascript.navig5.JSObject.JSGetNativeJSObject(Unknown Source)
at sun.plugin.javascript.navig5.JSObject.(Unknown Source)
at sun.plugin.viewer.context.NetscapeAppletContext.getJSObject(Unknown Source)
at netscape.javascript.JSObject.getWindow(Unknown Source)
at com.aurigma.imageuploader.ImageUploader.init(Unknown Source)
at sun.applet.AppletPanel.run(Unknown Source)
at java.lang.Thread.run(Unknown Source)

"AWT-EventQueue-0" prio=7 tid=0x02746D50 nid=0xed0 in Object.wait() [fe3f000..fe3fd8c]
at java.lang.Object.wait(Native Method)
at java.lang.Object.wait(Unknown Source)
at java.awt.EventQueue.getNextEvent(Unknown Source)
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at java.awt.EventDispatchThread.pumpOneEventForHierarchy(Unknown Source)
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at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.run(Unknown Source)

"Java2D Disposer" daemon prio=10 tid=0x02897D00 nid=0xea4 in Object.wait() [93af000..93afd8c]
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"AWT-Shutdown" prio=7 tid=0x02C1A820 nid=0xd9c in Object.wait() [255f000..255fd8c]
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"Cache Cleanup Thread" prio=4 tid=0x0387D058 nid=0x9f0 in Object.wait() [1ceff000..1ceffd8c]
at java.lang.Object.wait(Native Method)
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"Main Console Writer" prio=7 tid=0x03F42ED8 nid=0x914 in Object.wait() [1cdff000..1cdffd8c]
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"AWT-Windows" daemon prio=7 tid=0x038D5B20 nid=0x504 runnable [1cbff000..1cbffd8c]
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"Finalizer" daemon prio=9 tid=0x078205C8 nid=0x2cc in Object.wait() [1c20f000..1c20fd8c]
at java.lang.Object.wait(Native Method)
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"Reference Handler" daemon prio=10 tid=0x03FD3DE8 nid=0xac8 in Object.wait() [1c10f000..1c10fd8c]
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"main" prio=5 tid=0x077B6A80 nid=0xe9c runnable [0..12e450]

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"VM Periodic Task Thread" prio=10 tid=0x03EBCA70 nid=0x618 waiting on condition
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My Lost Films


I made films from; most of them were carried by Canyon Cinema in
San Francisco. The films are all mast prints; I didn't copy them, but
showed the originals, since I wanted to use what little funds I had to
produce more. They were shown periodically at Millennium in New York, and
occasionally elsewhere, but they've never been part of the film community;
as a result, they've hardly been shown. Canyon Cinema returned them after
the board voted against handling masters, which could be damaged during a
screening of course. They were then placed at the Filmmakers Coop here in
NY, where they've remained on the shelf for fifteen years; I doubt anyone
has rented or seen them. I don't know their condition at this point; many
of the 16mm ones had mag stripe sound on them, which is susceptible to
print-through.

They were featured prominently in the 1992 Canyon Cinema catalog, just
before Canyon changed its mind about handling them. (I should add that my
videos have been available at times from places like Printed Matter or Art
Metropole, but these can be duplicated.) I'm saddened that they remain
unscreened - there are probably 15-24 hours worth. There are a large
number of them; for a while, when I was teaching at UCLA, I made a film
every week, mostly 16mm black and white sound, imitating the older silent
film production strategies and rates. For me the films broke a lot of new
ground - not least, in optical/magnetic soundtrack experimentation, but
they're quiet, moot on that point.

So I recently found a copy of the 1992 catalog and xeroxed the six pages
that describe my work. I am forced to think of the pages themselves as a
new film, made from the silence of the old; they read as a narrative of
concerns, experimentations, confusions, and theory-work changing over a
twenty-year period (although to be fair, most were made between 1980 and
1992). The image URLs are given below. Read the texts, imagine watching
the films, and maybe in some absurd future, they'll come to life again.

,




I've been remiss; if you go to http://www.asondheim.org/
just look at the most recent work; it's made with Second Life avatars still/yet - using techniques of behavior collision - when bvh files are piled on bvh files to the extent that there seems to be an almost darwinian competition among actions. i've also been doing performance in Second Life. if you look at http:// www.asondheim.org/pa.txt and http://www.asondheim.org/pb.txt you'll find the recent text files that accompanied the work. there have also been personal struggles, friends in troubles, our usual situation of desperate lack of finance (a faculty member at Brown where I'm teaching a beginning course in filmmaking asked if I liked living poor), bad leaks in the loft, cop shot in the neighborhood, building in flames three blocks away, riot in the subway station we use, friend in the hospital, another friend outrageously let go from a job, and so forth. not to mention health issues - that 'low temperature' thing that gives me flu-like symptoms about a third of the time (i have it now, accompanied by a headache of close to migraine proportions), a bad knee that's made walking difficult, eyes going bad and just no money for new glasses, our cat becoming wobbly, a real scare that my almost 93-year-old father was in serious poor health (not true), the usual series of nightmares giving me maybe a couple of hours sleep a night, fears of death and mass destruction, moving closer to the edge of deep depression (pulling back then but tottering), difficulty getting my main manuscript published, the usual job turn-downs, and the Sony shortwave stumbles a bit about the 15 megahertz position with a degree of static coming from god knows where... not to mention some bizarre uploads here that I have to go and correct, goodbye

rol everything, lesion-express, chora, brick of gold, dials and steerage across banned seas going nowhere, product of inconceivable geometries
everything began to follow apart in sorrow, second life was the refuge of the moment, i could cont

http://www.asondheim.org/pas.mp4

liner notes for Crepuscule


sexual projections over dancers and without dancers and sexual
dances on the tentpoles ravens at the four corners of the world.
dancers are below. oh they want to jump on the bodies.
this is dance on deadly earth.
origin of dance
try to make sense of the dialog; they can't. The live dancers may be
are nude, exposed; the dance ends when they cum. They observe
two dancers -
audience and masturbating couple - the dancers sexually aroused - if nude
dance should move from position to position. Anita Berber.
The dancers are reeling, on edge, nervous, difficult, a problem, their
desires constrained by spectacle. The dancers are on exhibit, behavioral
codes thwarted or broken. If a dancer feels comfortable, he or she should
push further on.
sexuality, and horror, interpenetrate. For the dancers, everything is at
the body of the dancer is eternal
exists in relation to the sexuality of the body within the dance, within.
dance is the interiority of the metaphysical,
dance succeeds only by virtue of the interiority of the dancing, only by
the foundation of the world. the foundation of the world lies in dance,
The body of the dancer lies supine, breathless.
storing these things - in the dance itself there's an image of a woman
My Cluttered corner of the dance studio. Cloth, food items, all supine,
is choreography masteranwhile dancers having dancing day debris three.
liner notes for Anita Berber.
point of dance and sexuality dancing is indiscriminate fucking, display -
midnight phone-calls and invitations. one a dancer is pornographic, once
this splay / display, dance, photography, culture, art in general, is
invisible as semen on stage, spurted from dancer, welcomed and returned by
art, of dance, of the body; it is also the most unknown. draw a vector;
appurtenance-appearance; this is what the dancer, photographer, performer,
tensed in our tawdry space of the real. for if the dance-dancer emerge -
Sex dances for one to four people.
The dancers are nude. There are no props.
Male dances alone while masturbating. He dances until he cums.
Female dances alone while masturbating. She dances until she cums.
Tethered: Male dances with one hand holding himself erect.
Tethered: Female dances with one or more partners' fingers in her.
Variant Tethered: Male dances with one or more partners' fingers in him.
The dance ends when one or both have cum.
Variant Tethered: Female dances with one or more partners' fingers in
her. The dance ends as above. The dance ends when the dance cums. dancers.
So this is a dancer transformed. Role disappears from dance, dance is.
The advantage of a dancer: You'll have your body at the end of the day.
The disadvantage of a dancer: You'll have your body at the end of the
day. dance and culture brings Signs from Worlds eaten by light. Score
restraint, bounded three-dimensional space, against which such dancers
remain authorless in the midst of author/authority, danceless in the
presence of dancers/dancing, human within the post-human, flesh within
dance the doomed Case of doomed, doomed, a-void. Case of A world chaos,
sex, spoken sex, poetics of sex. I may work with dance and sex and
dance-video and sex. I will not work with images of sexual violence. I
dance. Or I'm the material for the dancers; it's really back.

-- sondheim

Crepuscule (Twilight) recorded / edited 2006 Geneve


body out of sight
http://www.asondheim.org/thirst.mp4
by this time alan dojoji is out of control dance has held him he moves
through landscape escapes the camera hides in rock runs behind viewers
moves at the speed of light or something else instantaneous i am here but
i disappear you can't catch me you can't snatch me you can't watch me you
can't scratch me you can't match me you can't stash me you can't crash me
you can't slash me you can't mash me you can't bash me you can't trash me
you can't cash me you can't dash me you can't patch me you can't patch me
body out of sight out of light out of might out of byte out in flight out
and right out and tight out and wight out at night out with might out in
plight.



olomphax

the laminixys olomphax, a scotohylact watching horrehomo the somatoroser.
the menadodus beneath the odigraculus, the lythrophyll of the vilipheno
salamyx - a form of glottography against which the histemoreades of the
notooecetes the medeicelomel nablajact; olomphax's palpebriosche begat
tittholup. now to ingest the duobusthamnus, phalectopist, list to the
phalerlall of the nullistymatic nostocarcinus; from gorgopteris to mega-
medusa (zizanilarus flying high above the prinopalpodynia of the olomphax)
- paniseptum in the cimoliscutellium, a form of serpophial beneath the
irriturano. olomphax and conicrio together drank from the serpophial, that
very same, to say, moliphet, the olomphax herself was sersect. salamyx
tells no lies ...

cimoliscutellium small white-clay dish sersect late-cut moliphet hardly-
speak serpophial creeping saucer tittholup nipple-pain conicrio dusty ram
irriturano useless heaven laminixys thin-loins, waist menadodus way of the
moon lythrophyll bloody leaf salamyx lustful slime odigraculus song of the
cormorant glottography tongue writing vilipheno vile purple-red notooece-
tes moist inhabitant nablajact harp-thrower palpebriosche drunken touching
of testicles scotohylact dark yelper medeicelomel genitals resembling the
cheeks olomphax an entire young girl histemoreades mountain-nymph tissue
horrehomo trembling-man duobusthamnus two-cow-shrub somatoroser body-gnaw-
er phalectopist shining-wanderer phalerlall coot babble nostocarcinus
returning-home-crab nullistymatic limp gorgopteris fiercefern megamedusa
great jellyfish zizanilarus weed-gull prinopalpodynia oak-feeling-pain
paniseptum fence-bread




sonnet

onedy twody threedy four
fivedy sixdy sevendy more
fourdy threedy twody one
sevendy sixdy fivedy done
ingirl outgirl upgirl down
outboy inboy downboy crown
pretty bonnie in the well
happy johnny pulled the bell
seventeen eighteen nineteen two
twenty and one makes bonnie blue
nineteen eighteen seventeen one
sixteen years makes bonnie glum
zero zero short and narrow
cut the bone and gnaw the marrow

http://www.asondheim.org/running.mov - performance at Exhibit A opening,
Second Life, Odyssey

http://www.asondheim.org/lessens.mp4 - motion capture choreography studies




before all this


'Ubeidiya culture - Israelo-Abbevillian v Israelo-Olduvan (Stekelis my
teacher) Israelo -> placeholder: deep hiatus in relation to identification
the figuring at Berekhat Ram - earliest reported piece of art 'Ubeidiya
was the first place/holder 1.4-1.7 million years ago, emigration from
Africa - Acheulian tools at the dawn of hominid culture - Berekhat Ram -
early figurine I walked the trenches at 'Ubeidiya, hand-axes everywhere
embedded in the dirt walls, sacks of them at the edge of the site - how
could so many be produced by so few? so Israelo- becomes the placeholder
at this moment, perhaps Palestino- earlier or later - our time here is
minimal in relation to the depth of the early pleistocene - synchronical-
ly, the median lies well within the Olduvan; diachronically, the demo-
graphics fall pretty much now - twentieth-twenty-first-century collusion
bringing pre/history to an end; elsewhere I've written about the 'uncanny'
in relation to the site - holding, figuring, tools last held by almost-
humans

now when voice comes to Second Life: who will speak for identification,
morphing or the granularity of the real making its appearance across the
wires, given as such, taken as such? we're at the threshold of what
appears beginning, here/now, of the virtual, 'pain has turned the thresh-
hold to stone,' of the post-pleistocene - of the post-hominid landscape
whose details still escape us

what is the relationship between the grain of the voice and
SL originary history - what is an original of the voice - who spoke
and with what 1.7 million years ago -

the genidentity of the voice - genitdentity of locus of human production
- the voice which is self-identical, the rootless voice, the voice without
substance, the body untied to the voice, voice untied to the body -
genidentity of the voice: analogic transforms from real to real - return
to stone, to the stones, to material culture continuously absentint
itself, taking everything with it

7-day weeks - Onedy, Twody, Threedy, Fourdy, Fivedy, Sixdy, Sevdy 4-week
months 3-month seasons ... Even with your studies, you need to meet
people. I know! ... 7-day weeks - Onedy, Twody, Threedy, Fourdy, Fivedy,
Sixdy, Sevdy 4-week months 3-month seasons ... Even with your studies, you
need to meet people. I know! ... 7-day weeks - Onedy, Twody, Threedy,
Fourdy, Fivedy, Sixdy, Sevdy 4-week months 3-month seasons ... Even with
your studies, you need to meet people. I know! ... 8 bit bullet list
marker is recognized. september ninth nineteen sixdy, ... paragraph this
is a mail message that i received one day. i didn't make it up ... The
preprocessor is actually a series of small consecutive functions, which
may be thought of as one long pipeline. Each function makes certain
assumptions ... Help others find this item. Make a Search Suggestion |
Manage your Search Suggestions. No-one has made a Search Suggestion for
this item yet. ... Konference se bude konat v prostor ch katedry filozofie
FF v Plzni stnosti ... www.kfi.zcu.cz/fivedy E-mail: schust@kfi.zcu.cz ...
jemu
v r mci chodu katedry jeho kolitelem, vedouc m katedry, tajemn ky ... v
jednotliv ch kurzech, p prav ~[ a organizaci ~Yij
a ...


==

Pas.

From last night's Millennium screening greatly reduced

http://www.asondheim.org/pas.mp4
with Sandy Baldwin
and thanks to Ian Murray, Sugar Seville

11 short dance motion capture sequences in combination with walk/fly modes
in Second Life. Sound: Alan Sondheim (Ensoniq Mirage)

siting the edge of SL - at this particular point, SL/RL physics is trans-
formed into aberrant behavior; objects are literally deconstructed.

Think of these as collisions, speed-motion studies, the last digital ikon,
emptied signifiers, transformations of desire, metaphors for metonymy.

n : substituting the name of an attribute or feature for the
name of the thing itself (they counted heads)