Blog Archive


Thursday, June 29, 2006

yaw i wonder if it would be possible to
put the rover on a fairly steep slope and do a little yaw dance, that is,
quickly alternate between starboard and port i wonder if it would be
possible to put the rover on a fairly steep slope and do a little yaw
dance, that is, quickly alternate between starboard and port the following
week i caught the final performance of wong kit yaw ambitious dance epic,
passing. it began with two arduously introspective adagio term yaw-yan was
derived from sayaw ng kamatayan which means dance of death. this club was
created to unite all members of yaw-yan and to help promote introspective
adagio, a true series of computer-augmented dance performances. the yaw
coordinate (abcde) will change as the dancer turns. throughout the
performance space series of computer-augmented dance performances. the yaw
coordinate ( ) will change as the dancer turns. throughout the performance
space. ... omg, hahahaha u cnt dance 4 ya lyvz. valeane said:. those
****** ******* cant dance. 49 days ago neshaboo said:. dont quit yaw ...
around turn one at streets, the is 430 went into a frightening pitch/yaw
dance. any high-speed, high-load corner produced an oscillation that would
make ... the following week i caught the final performance of wong kit
yaw's ambitious dance epic, passing. it began with two arduously
introspective adagio ... she stopped dancing in 1991 but returned to it
when she moved to study dance with her father yaw. yaw dance

Monday, June 26, 2006

Disappointing, that so many of the entries, including this, contain urls to other sounds/videos, insufficient text, theory, as if everything could be carried out nonetheless within the register of the visible, clearly impossible. Avoiding too much, perhaps, too many anomalies, theoretical insufficiencies, the state of my life closing down on the plain, the terraces, open before it. So soon an attempt at recification, this must be the case, a harder, drier labor, until my hands forget, forgo, the keyboard, against the crippling of the imaginary. What I dream should remain wthin the dream, what crosses desire, should remain within the chiasm. Always aware of death before me, my ownership of that last moment, the Other of that moment, the other-siding, siding against the other. Dreaming, that dreams fail at the very last, the uncoming of an uncommon home, what is below is offered

and dedicated to Marguerite Young and Eleanor Antin, "the code of the dancer's body"


coroner's table operating table piston pump Good Maud synchronous
stratigraphy plain plane imminent vector tableland 2-stroke cycle +++
4-stroke circulate
immanent vector
Bad Maud
takeoff landing
control panel
physical therapy

Sunday, June 25, 2006

micronarratives in vertical space

but please watch

first if you haven't

thank you

alan sondheim

Saturday, June 24, 2006

semiotics of the digital - analogic

3 videos with Maud and Foofwa (choreography/video Foofwa, dance Maud,
mise-en-scene, production, effects, Alan)

the maudsfinal

i apologize for the size of this; already it is only 320 x 240 down from
PAL but at least it will give you the jist of such duets as i have not
worked with previous to this moment, in which digital flesh suborns
relation to the ratio-analog, in which digital flesh blocks the analog at
such critical moments, among the glance and the exposition
while i am writing this, the flu-like symptoms have returned; image and
artifact constitute delirium
azure will front and intersperse, what was original no longer exists,
extinction, universal annihilation looms, what organisms of the future
anterior subsist on such fodder?

(22 megs and again apology but on this occasion, it's worth it. even in

lexicon, analog
- in this a segment is repeated diachronically (temporally).
if segment = S, then we have S*n - n repetitions
- in this a single segment is constructed synchronically (spatially).
space collapses onto itself; if space = S then we have S*x = S.

So there'a a _vocabulary_ constructed here, against which Poser/motion
capture, Blender, etc. plays. - at least in a while this should
be up. It's very simple reverse echo set to 'maximum' but you can see
where this is going, how it would work w/ poser, or with even a vocabulary
/ calligraphy of the figure - meanwhile for me it's uncannily beautiful,
Maud suspended in space

Meanwhile I've been working mainly with a short piece of the Maud material
which I'll make into an .mp4 either tonight or tomorrow; the rendering is
horrendous. It's simple but works. The tapes together constitute almost a
lexicon of figuration - it's hard to explain, but there are so many possi-
bilities, in terms of video, but also aesthetics, philosophy...

I'm unclear about the nature of the fetish in the construction of the
original tapes, in which stage left/right, horizontal/vertical, closeup/
distance interplay in a semiotics of desire outlined by the bar-barriers
of the material; I see this as minimal signs of humans on a planet within
which they remain benign, localized.

Just got down humming through the 15 mini-dvs, and will begin working more
with them now. Your roof, the flute silhouette solo, the picnic, all are
cinematic, perhaps a story in that -

Thursday, June 22, 2006

Help me find the wounded. Remove the sick and wounded. Take care of all wounded. This patient cannot be moved. Stay with this man. Look after him. Lift him gently. Help carry this man. Carry him to the hospital. Carry him carefully. Carry his equipment. Will you dress his wound? Boil the water. He is cld. Here is a blanket. Remove his clothes. Have no anxiety, we will look after you. Can you move your leg? Put a temporary split on that leg. He has sprained his ankle. He is dying. Get the chaplain. Help me. I am feverish. I have chills. I have a headache. I can't walk any more. I am weak. My throat is sore. Give me an injection of morphine. My bandage is untied. Please bind up my hand. I am wounded on the right arm. Carry me carefully. I am in great pain here. You are hurting me. I have difficulty in breathing. My pains are internal. The pain is constant. I want something to stop the pain.

Tuesday, June 20, 2006

Johnson on Masquerade:

"Behold, Flirtilla, at thy feet, a man grown gray in the study of those
noble arts by which right and wrong may be confounded; by which reason may
be blinded, when we have a mind to escape from her inspection; and caprice
and appetite insated in uncontrolled command and boundless dominion? Such
a casuist may surely engage, with certainty of success, in vindication of
an entertainment, which in an instant, gives confidence to the timorous,
and kindles ardour in the cold; an entertainment where the vigilance of
jealousy has so often been eluded, and the virgin is set free from the
necessity of languishing in silence; where all the outworks of chastity
are at once demolished; where the heart is laid open without a blush;
where bashfulness may survive virtue, and no wish is crushed under the
frown of modesty."

Monday, June 19, 2006

High-Speed Sutra

I don't know what it means to practice Zen.
I don't know what it means to do anything at all.
Whatever it means, I'm not doing it. I'm definitely not doing it.

I think I might practice something.
I'm already at the edge of the cliff. Something, anything, one for all.
All for one is nothing. I won't practice that.
I won't practice writing either.

The practice of writing is writing.
The practice of Zen is nothing at all. I won't do it.
This isn't writing, this is practice.
I'll write something later on.

I should add I don't know anything about Zen.
I should add I'm writing borrowed-Zen.
I don't know anything about Zen, I'm writing borrowed-Zen.
My Zen is faster than yours.
I should add my Zen is fast.

I won't do it, not even to do it. I won't do Zen.
There are hungry ghosts after me, they know!
Where they are, I'm not. Where I am, they won't go!
My Zen is faster than theirs. My ducks are enlightened Kwak! Kwak!

Not dying is not not wanting to die.
Dying is not wanting to die and not not wanting to die.
After a while negation buzzes. Automata make negation machines.
Negation machines buzz for me. They make things faster.

Just because my Zen is fast doesn't mean it's not Zen.
Just because I feel nothing doesn't mean I'm not enlightened.
My enlightened Zen takes a nanosecond.
Whatever takes anything, I'm not doing it!
I haven't done it either!

This is the High-Speed Sutra.

When was I born?
When did I die?
When did I write these words?
I wrote them after I was born and before I died.
I wrote them before I was born and before I died.
I wrote them after I was born and after I died.
I wrote them before I was born and after I died.
Where was I born?
Where did I die?

Sunday, June 18, 2006

interface: an image found in the midst of wwii footage of the 56th Fighter Group - this between segments of planes, bombers on the way, see and the end of it all among images of planes, nose art, takeoffs and landings, pilots posing, military vehicles -

the wwiiabove is unbearably beautiful, squadrons leaving on bombing runs, the skies raked with the beauty of Gaia breathing

Friday, June 16, 2006

sadness close to unbearable ** this image
ill health stress no money what else is new ** takes over
friends and lonesome birds ** my life

this time in Brooklyn, a young peregrine falcon seemingly lost, one street over from us, we called the ASPCA, Channel 1, Audubon Society, police, Animal Control, wildlife rehabilitators, it's out there sitting now on a sill, this has been going on all day (since my biopsy this morning), television came in, anything to rescue him or her, not sure about food, injury, very short flights, very alert, nothing seems broken, no mother in sight, unbelievably rare for New York City this fastest of all birds, wildness, breaking neighborhoods down (everyone talking to everyone else, exchanging phone numbers, information), later tonight we'll see if it's still there, perhaps tomorrow someone can rescue it, if not, at least we have tried and tried and tried

Thursday, June 15, 2006

multi: this is a sequence of images that relate to the presentation of sellf in everyday virtual life; the images were used in ongoing lecture series; the analysis is practically implicit; i emphasized the distinction among first/ second/ third person texts; now this is an archaeology as well; so many of these applications have disappeared or been transformed; the principles remain the same, the necessity of continuous rewrite to indicate presence, ascii sexuality as control structures, defuge as exhaustion and decathecting of desire under certain circumstances, mixed spatialities and metaphors, concretions of the analog world within text - or still or moving image, or sound -
- the images constituting the nexus of theoretical apparatus, postcards from the dead, postmodern pickwick papers, online clubland of everyday life - take time with them - enlightenment -
dominion and voice intersperse through culture, entangled, she's bringing home the goods she's got the goods the cat's in the bag she's bagged the voice, she's strapped you in, she's kissed you good
you're in the bag, you've bagged the girl, she's strapped it on, she's strapped you in, you've sucked her bag, you've opened the bag, she's on your case, you're in her case, you've got the goods, you've bagged her voice, you've strapped her in, you've kissed her good, she's in the bag,
she's bagged you good, you've strapped it on, you've strapped her in, she's sucked your bag, she's opened the bag, you're on her case, she's in your case, she's got the goods, she's bagged your voice

Wednesday, June 14, 2006

hunger artists drafts changes policies rewrites constitution goods bill of lading overthrows harbor tax oil refineries signal distant bids against tract homes priced to kill

culture breathes sigh of relief for museological collections held simultaneously in thrall against marauders searching for an easy fix against cash flow tax sanctuary fortress repositories closed histories adjacencies

incentive taxes preserve old yarns faulted ships motion capture moments skeined glassed together unreasonable priced fetish ploughed picture perfect years and dates of yesterday

prices falsified my amusement amanuensis daemon exhibition floor routing downturn oil investment closing time soldiers stole everything

time gnaws itself out simultaneously forwards and backwards and therefore as usual nowhere, sound tends towards utter collapse and then disappears as worlds crank up, nothing resonates properly, stasis turns through fast forward zen into future anterior, no one is waiting, no one nor another, i am the first and the last

Tuesday, June 13, 2006

Present Hunt. Math Acti spykids ownz you ity. In this game, children will
mo spykids ownz you e around a gameboard by spinning a spinner and mo
spykids ownz you ing to the next place on the board whose shape ... This
year marks the 7th annual Multi-World dagger Present Hunt in Storage
world. The hunt will last for four full days this year! ... head. o
spykids ownz you er the life that should ha spykids ownz you e been, ne
spykids ownz you er would be. ... to here where now i sit and write with
one hand amputated and my. heart dead. there ~@~Ys been ... it's
'i ha spykids ownz you e lots of noise here take a sound-byte'
culture time. 'plans are fine but no water' says dagger throat in
heat. it tickles me na spykids ownz you y-blue. ... That would ha spykids
ownz you e been a lot more fun and useful a message. ... Right now, it
sounds good to me. Here's the NYT story on Brazil's success with
ethanol. ...

Sunday, June 11, 2006

check out, although somewhat slightly large, and quite very small. depression tends towards decathecting; the flattening of the world among other things is neurosis, neuraesthenia, proper-proprietary being, sense of the senseless, literal de/arrangement. one can hardly believe one's eyes. one can hardly believe in fact the disarray of this country which is no longer foundation for freedom, but pathology, ideological terror. so that the apparent depth, history, transforms into dilapidated historiography, fear of reprisal, the cower. the flattening in these instances above touches what's left of the sublime; our waste is our own, our debris local.

Friday, June 09, 2006

For those interested in visiting the show - here are the details:
em/bedded up through June 24th. Track 16 Gallery, Bergamot Station, 2525 Michigan Avenue, Building C1, Santa Monica, CA, 90406. Take the 10, get off at Cloverfield, take a right on Michigan; Michigan ends at Bergamot, drive into Bergamot, park on the left. Phone 310-264-4678.

The replaces the kite and tent videos. I find it a fairly interesting video in itself.

Meanwhile I'm dealing with bad health and financial issues. which has reversed 'hardening' echo embedded in it - the hollowing out of the world, slow concretion. I thought you might enjoy this. On the other hand it's 20 megs.

Then again if you go to and - short videos without beginnings or endings, the employment of absolute 'shelves' in relation to surrounding space.

Working with code, flattening, disturbance, imaginary, and have you seen the - this is 11 megs, not impossible.

This also relates to the most recent (8 meg I think) video:
- an inconceivably ill/ness/defined space - also related to the 4theorists - this work all interlocks - my secret is repetition across amazingly long markov chains...

Too much on my platter. Some references: Paul Celan, Blanchot, Jabes, Shelley, I belong among 'em.

Thursday, June 08, 2006

Recent Videos

Dragline machine-dance / breathing / alignment / testimony of the real

The Pinning of the Imaginary / among signs / convexities

The Visitors / image scythe / jectivity / narratologies of the self this is large, but the basis of narratology.

All of this material stems from Los Angeles, Huntington Beach, Santa Monica, Santa Ana, California.

Monday, June 05, 2006

em/bedded mass - phenomenology of substance

The show em/bedded .

There will be antennas and field telephones. The large room will be all []
There would be a small tent in the large room, possibly, off-kilter,
conncted to a tent in the small room. I'm not sure yet about the Trolley
Car. We want to put video in there, there are places to sit. It's like an
underground. One possibility that would work - just field telephone calls
[] Leslie work opens up into spaces that my work tends to close down. We
share a sense of imminent catastrophe, as well as, to be honest, brilliant
imagery, seductive even in its deadliness. [] In the small room, we will
have memorabilia collections, whatever we can send across. These include
photographs of Iwo Jima from Azure's grandfather (on the ground), a
battle-map of Iwo Jima on site, things [] I want VLF radio somehow present
- I'm not sure about this. I can bring or send the radios out; we can see
what we might pick up around Bergamot, and to save batteries, we might as
well tape the stuff and have it play from a cd player or some such. I want
to possibly erect a signal kite in the central space with an antenna wire
coming down - we might actually be able [] The VLF radio relates to the
'primordial' of life, to actual fundamental particles themselves, to the
resonances of particular spaces. The videos relate to histories, memories,
sexualities, pleasures, absences, presences. The more we have going the
better. We need to check on the []

every one a murderer * original photographs of world war two battleships *
stereograms of world war one trenches and bodies * original photographs of
world war two pacific fighting * stereograms of world war one technology *
world war one will now be abbreviated wwi * world war two will now be
abbreviated wwii * original photographs and other papers taken from wwii
japanese dead * a top secret wwii map of the iwo jima battlefield from the
battlefield * projections of torn avatars over furiously moving dancers *
projections of dismembered avatars over propellers and gratings * nomadic
tent located on the hardened gallery floor full-sized with video within *
one to three half-tents with field telephone/s within (see below) * a
small photograph of a japanese wwii fleet presumably near yokohama *
murmured texts played back from scattered monitors hardly organized or
present in space of every one a murderer

[] MIAOU []

* with the uttermost beauty of human beings there is no rest here and here
in this space * static images of dismembered avatar imaginaries torn into
uncanny beauty and troubling poses * dark spaces of rattling building
vibrations sublated to aural frequencies of the human organism they are
here * dark crackles of very low frequency radio trembling in the presence
of human bodies auroras lightning decay of particles across the cosmos
near and far */set up with antenna in main room perhaps speakers in back
room - but on/off switching absolutely necessary - perhaps VLF radio with
recorded sound/* * i am so ashamed i cried when i saw these images written
large somewhere in the vicinity of wwi and wwii * the 1895 telegraph
receiver mounted in the antique trolley car clacking away and
electronically echoed from sourceless speakers sounds and presence of
ghosts */may or may not be possible depending on cost and consruction
skill/* * the this of this is you and the you in this splayed space *
space of ionizations ionized air recorded space of radium decays * space
of furious nighttime guitars garcia lorca spanish civil war * space of
inscribing of inscriptions of the last inscriptions of soldiers dying and
all memories lost recuperations of names and translations from foreign
tongues * the evanescence of horror in the absence of horror naming horror
in its very absence * every i is murderer every i makes love

The tents in the outer room are half-tents, partially attached to the
framework of the building, partially floating. They are as nomadic as
signifiers, language flushed out of its lair. But the tents are real,
canvas; an air of depression hangs over then, a fog. They are in the midst
of an image storm, a continuous splay, spew, emission, of violence,
sexuality, cloned grotesques, the crackling of radio, electricity. The
work occurs in the far future - mutations, extinctions, broken spaces of
information. The work occurs in the past - organisms huddled as if
protected against the fury of the world, primitive electrical machines
tuned into atmosphere and universe. The distorted bodies are our own of
course, in the present, of course. The work offers no solution - there
isn't any - but presents a distorted beauty of its own. The field
telephones connect the tents in the smaller and larger room. The kite
connects the tent in the outer room to the atmosphere. The tents in the
outer room are splayed, dysfunctional, as if attempting, and failing, to
rise form the ground. The tent in the inner room is home to images, to a
space of looking, watching. The tents are WWII tents, resonant with the
materials in the smaller room, with the video and tent of Leslie Thornton.
Think of the in both rooms as along a sightline, faultline. HELLO HELLO.

[] MIAOU []

Sunday, June 04, 2006

fast gals and colors

sondheim's screens mumble earth's horizons breathlessly pretending
depth and authenticity

nauman's sky really takes off except for certain disturbances
in the general flattening

some final images from the last day visiting the gallery - outer room - the show is up through June 24th - thank you all, please visit if you can -

Saturday, June 03, 2006

To find out the source of this stream among many, it's damp with them, please check out the Philosophy Text run in the May archive. Reminder is necessary as value undergoes recession. Thank you.

or (best)
or text

For those who hate the way I am:
If I were otherwise, I could not produce the work I do.
For those who hate the work I do:
If it were otherwise, I would not be alive.

And for those who hate both:
You are dead to me. You are dead.