it will be when it finishes,
having been celestial, finishing
cosmic dance and bodies finished
and preened, shuddering, finish
or sheen; to be sure, this lives
until the checksum disappears, lived
flattening, as if it were live
or flourishing, alive, livid, living

body or inscription,
death eases, inscribes
itself, always already inscribed;
look - eyes. and then inscribe
among the dead or dying,
or those who died inscribing
or just die

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

6882266 bytes; 6 8-2 8-2 66 = 6 6 6 66 = 666.66

on the crest or ridge of an enormous wave, during which the events of the
day loom exponentially, perhaps x^4 for example, the imminence of any
diurnal, already lost before a week or so - and in what name then history,
which integrates to the point of non-recognition? what happened thirty
years ago, I have small tales, few images, cannot assemble sample days or
nights; the remainder is all reconstruction, as it must be with crossed
ontologies, from object and word to neural circuit. talismans, fetishes,
ward against misinterpretation; these _are_ and _were_ and remain as such
as if their abject or reflective status guarantees a presence across what
can only be considered inconceivable loss. humans decry their minimal role
in the cosmos, but more minimal yet is our recuperation of untold events
among organisms, both spoken and unspoken, deaths of dinosaurs, children
wailing in the distance, the fall of a lepidodendron, anything one might
conceive. our slice, our crest, is the thinnest, thinner by far than the
fossil we hold in our hands, as if it were precious reminder, not
accidental residue; the fossil already participates in global economies of
collecting, completions, transportations, representations.

here though I think of the wave, the crest, the ridge, the fullness which
is greatest among all others, the fecundity of the crest, Leibniz and Thom
to a certain rescue, that is the rescue of all jostlings, emendations,
here they are. further down the stalk or sides, quantum tunnelings
continue and emissions, behave in contradiction to the distinctions above;
above, however, the world is infinitely clarified, it is _there_ at the
cusp or peak of roiling (singularities in differential calculus perhaps,
difference calculus perhaps upon closer inspection), that we model our
perceptions, our 'take,' our presence.

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

poorly finished trees

already reduced from PAL thru .avi thru .mov to .mp4 do the best i can
world transformed through an exemplification of particle physics - within
which things fly apart, always already have been apart - have nothing to
sustain them, interiority neither present nor exploded, all manifolds
opening through temporal dimensions - you can see the forest because of
the trees - the trees aren't there - yes, local intensities, vectors -
unfolding as well - the sheath three dimensions just there - volume
everywhere and nowhere - open tetraheda -

the map is the only territory
only territory is the map

implicit objecthood relying heavily on aristotelian laws of distribution -
here gestures are already syzygy - configurating -

hello a world in which machine-space is everything -
what is machine-space? only a self-referential raster - double
articulations just like language - that of the pixel, that of the _span_ -
then of course preceived span - that's something else again -

hello i was a tree
hello i was never a tree

http://www.asondheim.org/treees3.mp4
http://www.asondheim.org/treees8.mp4

D:/ C:/ E:/:turned coats and trying to work out in other environments,
who? w? netstat?:the miserable acquiescence of the hungered world:: the
miserable acquiescence of the hungered world transforms Your D:/ C:/ E:/
on me... Ah, incandescent with Reds and Blues!


model model model

http://www.asondheim.org/tre.mp4 short video of stills from scanner to
Geomagic to Blender and spherical mappings; last night the rationale
behind these came clear in a dream; this morning disappeared; the tree
maps onto the tree; within the real; the optical apparatus; the digital
maps onto the digital; protocol between the two; but that the digital
spews into the analogic; returns to the dream as dismembering, disassem-
bling, dissembling; that the tree is a world; of numerical values; that
these values are cauterized; extruded from irrationals; that they never
return; that they themselves are taken apart; reconfigured; that the
infinite journey of such mappings is inherently uncanny; that the real
gnaws always already at the digital; the tree is the tree of the imagin-
ary; as in Saussure; Wittgenstein's family of usages; what is a family?;
what is familiality?; familiar?; that the totality of such mappings is the
result of extrusions, collapses, creations, annihilations, duplications;
that it is the result of totality, overall operations; that no bit or byte
is singled out from any other; that these computations are plankton-maw;
that nothing is distinguished precisely _in order to distinguish_; that
what emerges is close to the perspective-sublime; black-hole vanishing-
point; that there are trees of numbers and numbers of trees; that there
digital hands and handsful of digits; model model model.

gloom room, tomb loom, doom womb,
weir fear, smear, leer, seer here,
hear dear, death-breath, lethe-seeing,
being we-ing, fleeing seeing, me-ing cost,
lost, tossed, mossed, fate late, sate
mate, hate great, rate wait, bait-girl,
curl, whirl, furl, churl hurl, dying trying,
sighing, lying, tying, flying, mime time,
chime rhyme, pace space, place-race,
waste, haste, taste paste, chastened,
hastened, fastened, battered, tattered,
pattered, prattle, chattel, rattle, cried,
tried, sighed, lied, tied, chide, bide,
ride, plied, guide wide, died, plead dead

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

the the most most beautiful
of all my my music music
to to be be sure
no one speaks for for me me
not not even even my mouth
on a trip of its its own own
mouth mouth stay stay away
sparks sparks mount mount me
surmount teeth and and tongue tongue
lost lost runes runes ascend
around carved carved ogham ogham
and and wolves wolves descry
mind word word distanced distanced
wolves wolves of of hell
the most most beautiful beautiful
of of all

http://www.asondheim.org/lightning2b.mp3

place, of which we dream of hearth and woods, a space
dark time with which to roam the park,
collapsed into death's dull doom, relapsed
in flowered beauty, wounded like a pin
dropped on sundered skin, trembling, yet stopped;
so grids encapsulate the final blow,
lines carry weights of dreams of oaks and pines,
of hearths, of kindness, of robin, home, and dove
soaring across charred lands; planes and guns are roaring
still; vectors struggle, travel up the hill

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

for Wilfred Owen in these times

issue of implicit abstraction returns, almost like a stain or residue. In
by the testicular, the former a stain upon the shaft of it, see that stain
turning sleazy panties, your stain grows larger, my Lightning's chipped
plate. Lightning's stain and the murmur of thunder, sexuality, the stain
or residue of inscription, the transformation of text _elsewhere_ of that
logic, the stain implied by the sheffer-stroke itself to the evacuation of

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

the real. Jennifer is thinking sleazy about her philosophy of immensity,
the stain all in the breadth of a stain on a minor planet. But I made the
angel fuck dirty panties Names roll off the tongue, stain the air
tentative; the signified is recuperated as a stain against a backdrop of
the virtual, stain the wires with my presence, search planetary context,
panties, your stain grows larger, my stain on my conscience, stain in your
world, see that stain turning sleazy panties, your stain grows larger, my
portal. her labia are portal to the sacrifice. stain her. the woman's are
platform for the sacrificial altar. stain him. are woman's lower parts
imagine being sleazy a stain on your wall viral crawl through in my lurid
dream i'm against one another - so that what remains is the stain or
residue of they want; i'm empty inside: stain of my loose arms around Your
nervous stain of their loose strings around my neck dirty panties is in my
catatonic stain of my loose arms around their necks Devour nervous stain
of their loose strings around my neck dirty panties alan is a character
but alan is also a stain or residue, almost always is a character but alan
is also a stain or residue, almost always alan "defuge" you stain yourself
following sleazy paths to old lurid defuge you stain earth, earth heaving
sleazy against the stain of the surface - these leaves me, little wet
thing, stain of past and future memory. Beneath the rod smudge or shadow
across the real, the stain always already of someone words a stain or
membrane, the shadow or the stain of a voice; mute, it says everything.
Your across the stain of broken limbs. Here _GaL-GaL_ turns, splayed open
and lurid depth of the pen on paper. It's the stain or residue of the
same. It's the lurid depth of the pen on paper it's the stain or residue
of the same, lorelei plunging sleazy into the sea, now see, red stain on
the waters on the sheets, perfume leaves its stain on the nipples, across

History of Seduction

narrative true-real of derivation
practice chora
firestorm the breathing
http://www.asondheim.org/havingfunhead.mp4
you? are what but am I know I
ay? choice, de ray beauty! o
story of storey first or non
underground city york new
Derivation of Ruins The
ruins derivative
say. to me for easy that's




familiar wood

waves let your loves blossom, you fools, recording dictagraph sounds. (She
runs to find a better vantage point.) (A man walks into ghost town with
fungus.) 2 scatological terms reveal her bare thighs selfishness the magic
of alarms sound in a workshop while a family watches her with long pointed
claws. They're frightened by the sound, a girl's bare buttocks make water,
she deserves to listen to a loud sound. A dog urinates on a young woman.
Columbus: you'd hear the sound of chain-mail rustled against willows and
poem into sound, for which it materializes, that is, fetishizes, placing
nadir of bellowing sound, perversions of word and sentence and boys and
men. The basement sound of dharmata, like a thousand thunderclaps
simultaneously. This is the natural sound of your own dharmata, so do not
be afraid or bewildered - you have no physical body of flesh and blood, so
whatever sounds, colors; trusting in the sound of your words I reach out
and touch the sound of your words - she has murdered the boys while they
are asleep; she has murdered the family which makes sound; she makes
sound; she kills a dog.
you must be sound asleep. A boy and his dog stood and
we forget the sound of laughter and the pain of the legs' hinge, skin/nn
half what might have seemed unsound; i wept - she got out with me. Grunts
and moaning clatter to the floor of the bathroom; you might see her
disappear for a moment, hear the sound of motion, the sound bytes - i
generate nothing but sound, no appearance, no twists and turns, only
tatters. When I speak, my voice sleeps. I churn out sounds. She exclaims,
"Netsex sounds .... aaaaaaaaaaahhhhhhhhhhhhhh" He says "you sound
unconvinced."

History of Seduction

narrative true-real of derivation
practice chora
firestorm the breathing
http://www.asondheim.org/havingfunhead.mp4
you? are what but am I know I
ay? choice, de ray beauty! o
story of storey first or non
underground city york new
Derivation of Ruins The
ruins derivative
say. to me for easy that's




familiar wood

waves let your loves blossom, you fools, recording dictagraph sounds. (She
runs to find a better vantage point.) (A man walks into ghost town with
fungus.) 2 scatological terms reveal her bare thighs selfishness the magic
of alarms sound in a workshop while a family watches her with long pointed
claws. They're frightened by the sound, a girl's bare buttocks make water,
she deserves to listen to a loud sound. A dog urinates on a young woman.
Columbus: you'd hear the sound of chain-mail rustled against willows and
poem into sound, for which it materializes, that is, fetishizes, placing
nadir of bellowing sound, perversions of word and sentence and boys and
men. The basement sound of dharmata, like a thousand thunderclaps
simultaneously. This is the natural sound of your own dharmata, so do not
be afraid or bewildered - you have no physical body of flesh and blood, so
whatever sounds, colors; trusting in the sound of your words I reach out
and touch the sound of your words - she has murdered the boys while they
are asleep; she has murdered the family which makes sound; she makes
sound; she kills a dog.
you must be sound asleep. A boy and his dog stood and
we forget the sound of laughter and the pain of the legs' hinge, skin/nn
half what might have seemed unsound; i wept - she got out with me. Grunts
and moaning clatter to the floor of the bathroom; you might see her
disappear for a moment, hear the sound of motion, the sound bytes - i
generate nothing but sound, no appearance, no twists and turns, only
tatters. When I speak, my voice sleeps. I churn out sounds. She exclaims,
"Netsex sounds .... aaaaaaaaaaahhhhhhhhhhhhhh" He says "you sound
unconvinced."

Bretz


Today I would have given you the Bretz materials, the result of scanning
the coke-ovens down the hill to the right across from the post office down
the hill to the left. But failure lured, ruled; it waited until the tripod
was set us, the yoke was mounted on the tripod, the laser housing was
secured to the yoke, the cables were connected to the laser, the laser was
connected to the power supply and data control, the data output was cabled
to the laptop, the laptop was powered by a battery, the battery was dead.
The battery was charged at 10:30 in the morning, the laptop wouldn't power
up, there was no data output or input or control to or from the laptop,
Nick and George and Don and Azure and I paced, George worked the laptop,
the laptop was quiet, quiescent, peaceful, there were no birds flying,
there was a snake discovered in one of the few images taken while we wai-
ted, the video turned out for four minutes, there was no scanning, there
would be no downloading, no processing, no stitching, no post-processing,
no warping and merging, no scaling and coloring, there would be no Bretz
directories, no Bretz digital images of scans, no Bretz videos of rotating
scans, no post-processing of scans in Blender, no transforming of selected
points, no fly-through and no digital video or still image output. There
would be no discussion of Bretz coke-oven beehive architecture, no consid-
erations of the histories and generations of local brick-work, no evidence
and no history, no written or spoken speculations on historiographies
merging digital and analogic worlds, techniques, equipment, organisms,
processes, languages, cultural and financial economies. There would be
discussions of budgets, of equipment wear and tear, of obsolete software,
obsolete laptops, obsolete batteries powering a laser otherwise capable of
scanning an entire statehouse in West Virginia, an entire Buddhist temple
in Japan, an entire archaeological dig, but not this local archaeology,
not here, not now, not these deteriorating coke-ovens whispering in the
mountain-topped heat, in this humidity problematic for the scanning unit
itself, flat or matte-black in coloration, gathering sun against the hills
and flowers, what flowers, what amazement of flowers, in the distance, or
the mine number thirteen or number twelve sealed above the SUV and the
tripod, and Don, George, Azure, Nick, and i somewhat below the ridge which
may or may not have been constructed by other than God, within which still
remain the maws of one-hundred and forty coke-ovens, the last working site
of beehive construction, only stopping in the 1970s or 1980s and then
abandoned against this peculiar meadow, the result of surface mining,
depredation, of the mining company, resulting in an exhausted land, an
unproductive land, a land of poisons, but for this glorious meadow and its
neighbors writing ATVs useless around in circles or into and out of the
surrounding woods, guns and ammunition hanging off the back. We looked at
each other, Azure standing with her sun-umbrella, uncomfortable in the
heat, and Azure, Nick, Don, and George proceeded to begin to pack up the
tripod and yoke and laser housing and power supply and cables, placing
them carefully back in their large metal cases, filling the back of the
SUV while I videotaped in NTSC a slight, a very light segment of failure,
with a graceful camera capturing a moment simultaneously lost and recor-
ded, present and impresent, all of us gaining a ride back in the now-
crowded SUV back across the dirt road, up the hill to the post office
somewhat across from the exit, where Nick, Azure, and I changed vehicles
and drove back, following the SUV, through Masontown, Manon somewhere in
the vicinity, through Sabreton or Saberton, or Manan and Monon left behind
us, on Route 7, up through and past the Mile Ground, still wondering what
mile and what ground, down and back into the Evansdale campus and the
Virtual Environments Laboratory, the VEL, where we unloaded the laser
cases, the tripod, the laptop, our video and still cameras, went into the
cool of the room, comforted by the hum so nearly like our own. Here was
the edge of success and failure, of the many things which could go wrong
but needed a password or keyword for the witnessing; here we were, there
we were, tired, used, with little to show for our efforts, no residue
beyond three or four minutes of videos, some stills of the outside of the
ovens - and how beautiful! - some images of coming and leaving, some sky.

Interior and Absence (notes on recent work)


In an attempt to explain my recent work...
This is such an attempt, the attempt already referenced -

Every surrounding space is non-existent, that is, every embedding space
should be construed as invisible, unless vectored outside of the frame -
i.e. perspectival vanishing-points or obvious extensions of line segments.

The invisible space is less than a frame, paregon, peripheral, only a
demarcation necessary for the transmission of the central object or
figure, or syzygy of connected nodes or interconnected figures. One must
strip away space in this regard.

Likewise one must strip away time, in order to reassemble temporality;
what it takes to see or process is widely at variance, turned loose, from
what is presented in the screen, this or that figure or figures.

Such figures descend from a series of asteroids I modeled, allowing one,
that is myself, to fly across their surfaces, as if polygons were
geological figures; it was the surround skeins, skins, that constituted
the measure of the infinite in the small, a form of perspectival geometry.

The asteroids themselves have as antecedent certain works or preparations
I constructed for scanning electron microscope imaging; these works were
either prepared natural specimens or etched figurations, sculptures
smaller than the wavelength of light, using a Cambridge Stereoscan which
did exactly that.

The concern or cathecting, investment, I have in the current objects, and
their potential or real transformations, to the extent they can be
considered objects, is based on psychoanalytic and general vectoral flows
across their surfaces - surfaces which may be penetrated or interpenetra-
ted by vision, revealing the hollowed skein or scaffolding of model
building.

The objects, whether closed manifolds or not, I consider closed manifolds
of projections and introjections, manifolds whose surfaces are inscribed
much like a cuneiform tablet, open to readings, not reading, and open to
interpretation. The reading is visceral.

The objects are not, nor are intended to be, portraits, nor do they occupy
a branch or sub-branch of portraiture; they are not singularities in
space, but spaces themselves, whose anxieties triumph, whose psychoses
play like storms across their surfaces.

I inject my concerns into safe, part-objects, transitional objects, half-
formed, maternal, wary in the construction of language, of languages, wary
in the construction of difference, differance. Such objects reference the
analogic from the digital, a digital which is embedded in the analogic, in
the hermeneutics of analogic reading and inscribing. What may for example
begin as dream or hypnagogic imagery, transforms within the pressure of
the machine, into those apparent fluidities which may be indefinitely
shaped. To shape meaning without the ostensible pressuring of language,
without the inscription of ostensible inscription - this is a goal,
meaning which, submerged, emerges, from less organized perception, which
may or may not be read as wonder in relation to the world or worlds. Every
image a world, every world, an imaginary.

The _scan_ permits the uneasy rupture/rapture among code and uncoding,
real and irreality, image and imaginary; the rupture/rapture of the scan
itself construes the fluid or abject at the heart of culture, universe,
world. Every reading is our reading; every writing is our writing; every
scan is ours and ours alone.

The _motion capture_ permits the internal tearing, torsion, tension,
tensor of the cohering body, always taken for granted, in order that
death, violence, sexuality, language, and body re-emerge as dissipated
punctum, within or without any circumscriptions.

The _access grid echo_ constructions create and reproduce the flattening
of space and thereby time that constitutes defuge, that state always
generative by deferral of other states. A face resembles, reassembles,
itself, and such contiguities or echoes are embedded as well into
generating configurations that might as well not be there.

In all of these instances, the embedding spaces are the symbolic; are the
chora; are ourselves to the extent that our senses devolve first and
primarily into the seepage of our own liquidities, bodies, sexes, deaths,
ruptured and irreparable enunciations.

The symbolic surrounds the symbol, which is symbolic to the extent, or
within, circumscription.

All inscription is circumscription.

Culture is the absence of embedding.

being or beings, Being or Beings

being or beings, Being or Beings
hence and henceforth, subject and subjectivity
digits and digital, turn and turnabout
split and splitting, there and thereupon
surge and surgery, prom and promontory
dark and darkling, clot and clothing
chair and chairwoman, char and charmed
mud and mudra, floor and floored
tabled and tabled, tab and tabulated
will and willing, ill and illness
more and moreover, endorphin, end

http://www.asondheim.org/vibrate2.mp4
http://www.asondheim.org/
largescanner series - go to URL scroll down to
largescanner -

existential temporal moment digitally sliced
into static substance/scene