some of dance or
http://www.asondheim.org/tremb.mp4 or
http://www.asondheim.org/wirefoof.mp4 or
http://www.asondheim.org/wowie.mp4


Dance in the light of Badiou's event


A night-dictation event.

Dance events in the sense of being unprecedented, unaccountable, un-
called-for. Its arrival is then allied in this sense to the digital, its
appearance, its evanescence, simultaneously that of the analogic, its
carrying out, its production within the body as the analogic. Just as the
dance is simultaneously analogic, incapable of reproduction, incapable of
recuperation (of the reproduction of the real). Just as the dance is that,
it is also of the digital, in the sense of the body pressed against a
second body, or the body pressed against the pull of gravity as an other
body, or an other body, the dance is a dialectic between the two of them,
but reduced or scraped in a sense by these two barriers which remain on
the literal scale, irrepressible, so that a dance exists _there,_ within
_that_ - simultaneous lewdness and de/production. Cohen's set theory of
the continuum hypothesis accompanies this, 1 in the choice of hypothesis -
any way decided - a decision somewhere being made - neither true nor false
- can't be reproduced to that - but on the other hand a digital situation,
choice or no choice - all of this is in relation with the Schroedinger cat
paradox - in the sense of a collapse to a choice - although re: the cat,
the choice is simply by virtue of the collapse - in dance the choice is by
virtue of the choice - nonetheless a kind of forcing into one or another
position - in a sense you can say with the continuum hypothesis - the
continuum is produced as an alterity, an other order of things - or
absorbed within the former order - within one or another order - in one
case it produces itself as a horizon and in another case it is literally
itself part of a spectrum of possibilities - perhaps in both cases part of
a spectrum of possibilities. So we relate this to the dance - consider set
theory in this sense as a allegiance to dance or dance as an allegiance to
set theory.

In its inertness, in its inertness, the dance remains sexualized. In this
I disagree presumably with Badiou - it is always already sexualized - the
body that is dancing is not the neutral body of Cunningham, but is a
sexual body from which Cunningham creates a state of lassitude or with-
drawal, decathexis - an almost=neurasthenic state of neutrality which only
exists in relation to the sexuality of the body within the dance, within
the Cunningham-dance. Furthermore the sexed body may not be a divisive
body, that is it need not be that which is binary or divided to one and an
other, by calling it polymorphic, not polymorphic-perverse but polymorph-
ic-heterological, a whole spectrum of sexualizations, desires, always
already plurality, which may not be specified according to one or another
anatomical distress, one or another positioning of the anatomical.

Initially one might say that dance is the interiority of the metaphysical,
and if we pursue this, we can speak of dance as an interiority - of which
the audience is only a (secondary) residue (just as the style of the dance
is a secondary narcissistic panoply) - the audience is already an institu-
tionalization, already a production by capital, by the organization of
labor. The dance however is something else - the injury of the dancer -
the injured dancer - guarantees that something else that dance is.

One might consider the dance as a projection or reproduction within the
audience. Thus for example if one plays guitar there is a sort of mimesis
within, listening to another play. So the body of the dancer is within the
body of the audience because both of them are involved in movement which
only becomes itself. There is also the issue of accomplishment. In
watching the dance, one is always watching accomplishment, that is, a
certain level, regime, of preparation is necessary for any sort of
production - that the regime or preparation for the external audience is
one that always emphasizes an external perfection. In other words the
limbs continuously arranged and rearranged in such-and-such a way
according to the exigencies of the dancer generally in dialectic with the
choreography. However even in situations like these, one might say that
dance succeeds only by virtue of the interiority of the dancing, only by
virtue of desire, desire bifurcated into sexuality, desire to produce, to
perform, to twist the body in such a way, or desire which becomes muted,
mitigated, by a kind of meditation in which the body even for the dancer
becomes something else which is the dancer, and which transports him or
her, accordingly.

What is irritating, elsewhere, to critique, is the muteness of the dance
in relation to all of this which gets back to all of this, to the
beginning, to the inconceivabiity of recuperation, reproduction, for dance
is mute, stet, shtut, nonsense, in a sense, as if that's all, as if
nothing more. The most primary of arts, the body itself within the body,
and the most secondary of arts, that it is dependent upon the body, that
it exists in such-and-such a form only as long as such-and-such a body
exists, the body of that particular dancer in relationship to that partic-
ular choreography, that particular moment in time.

So not only injury inhabits dance, but death as well, the two inextricably
intertwined, one without the other is unthinkable, and both within the
dance remain unthought.



The Absolute Choreography of the Dance of the Dead


[The recording that plays forever is immobilized, inert, in-subject. The
recording that plays one/One forever.]

The body of the dancer lies supine, breathless.
The body of the dancer slipped past consciousness, immobile.
Forever, the body of the dancer, stasis of the body.
Slow irrevocable disappearance of the softer organs of the body.
The pose in situ.

Perfect, recuperable choreography.
For every death of the softer death of the buried body.
An unalterable choreography: an uttered choreography.
For only the choreography of the dead is utterable.

And there is no other of the other of the choreography of the dead.
And there is no other choreography of the dead.



ghosts for lq


earphone connected to a sony minidisk recorder
the recorder takes from the output of the nasa vlf-3 receiver
the ground of the receiver connects to the radiator
the antenna of the receiver connects to the set of five strings
on the alpine zither
the set of five strings is connected to the set of twenty-seven
strings with an additional wire
hum is filtered out at 100 db and hiss is heavily filtered out
echo is added in at least one instance
the ghosts emerge as a result of technological supplication
they are what i do in the evening
they are what is done to me in the evenig
http://www.asondheim.org/vlfy.mp3
http://www.asondheim.org/vlfz.mp3



as god is my witness i am invisible

vanquished every second from the presence of sight
evanescent site and languorous possession
god is my witness and god will lean back
god's breath is visible through eyes shut tight
at the center of every lotus my empty hands
my bony hands my hands of many bones

my hands are insatiable my hands drink the sound of the world
they strangle young peddlers and seize their bread and water
these words write themselves in the sound of an unknown language
the steep road passes through jungles of iridescent flowers
my palms press my eyes my eyes press my palms
unseeing unlooking unsounding the presence of hearing
the presence in the sight of god of an always dying man



During Dreyer for Dreyer

1855-60 Neuner & Hornsteine concert zither

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



dervish

"Why is there a history of dance, a history of the exactitude of vertigo?
Because _the_ truth does not exist. If _the_ truth existed, there would be
a definitive ecstatic dance, a mystical incantation of the event. Doubt-
less this is the conviction of the whirling dervish. But what there are
instead are disparate truths, an aleatory multiple of events of thought."
- Badiou

I hesitate to take on the order of the dervish without due preparation.
However, the detuning of the detuning of truth always exerts itself
through wrist and hand. My meditation is preposterous, at most a few
seconds of inanimate energy. Nonetheless, I will trance you, tranc/itive
among skewed consciousness. Thoughtful, in the midst of form formation
form.

one slides out from one beneath, slides out from beneath-one. one takes
to one the possibility of the sound, evanescent signifier, markov
unchained. always already liminal, music is.

http://www.asondheim.org/dervish1.mp3
http://www.asondheim.org/dervish3.mp3
http://www.asondheim.org/dervish2.mp3

- to be listened to in 1/3/2 order -