Wednesday, November 29, 2006

an announcement only that some of the urls below may be outdated and some newer work added unfound, if you open you might want to look for newer work, but then how would you know that... no one keeps track... but if you look at or you would find i think texts pertaining to the newer work, complete with urls, cut-and-paste, thank you
Just want to say YAY! This is open again - I haven't been able to access this for a while!
- Alan, glad to be home

Wednesday, November 22, 2006

my world what a world, this is where i live in my igrid. welcome to my living room work room conference room vestibute den home office. you will not sleep or eat or use the toilet mr. man and ms. woman. thank you very much for your attention.

Tuesday, November 21, 2006


curlicue miasma production
it's always there the mechanical movement
of mr. foofwa in the gruyere(s) castle
i forget gruyeres or gruyere just about always
but there's a la gruyere no les gruyeres
so tout gauche les gruyeres!
hurry up!

Years ago, on an abandoned farm in Gruyere, spirits rose.
The landscape was full of joy and community prospered.
Invisible, only the flowers and stones, grange and bird, could see them.
But that was sufficient, no? That was sufficient.

i'm tired this stands on its own
the world's too full of information

thesis: we're at the _peak_ of information, not an upward slope.
after this: deterioration, gangs, spam, hacks, starvations, local wars,
infrastructure collapse...
the cusp is _now._
statistically, this has to be the case: how many are alive now, in
relation to the carrying-capacity of the earth, population increase,

foofwa d'i and isabel(l)(e) tear at the ruins

yes, yes, i can see the future, you can't
it's there in the overturned garden, in the formless vines, twisted
churn, or tarn, only static on the radio, spiders' nets
spanning this or that, wire to pipe, pipe to wire, nothing flows
in the future, numbers one through eight, one through seven
welkin, glimmer, gather, wind, tain
spanning unstation, unplace, settlings and shifting here and there
more of it, grey and green, edged, lessened, unfixed

Sunday, November 19, 2006

oh five! random from the journey through the alps and beyond the alps and beyond and up! for what and where end? each exposed polygon betrayed by pixel, disaster! none of this is real, no one leaves the mind but the body walks quick here and there yes yes yes, so far up it seems! oh hardly breathe! what beyond? where?

cut and paste to be sure << << foofwa d'imobilite azure carter maud liardon sandy baldwin
most of these (videos) r still around
chinese rod arithmetic
some explanation

oh! to believe in the real!
once again I am deceived!

Wednesday, November 08, 2006

the devils in Rilke's church very short

emanations tether flesh to representation
imaginary spreads the paste of the body's uncertain declination
"i decline to accept such images"
"i recline to accept such images"
nothing moves but the trembling of your drum of flesh
we were never stopped, nothing stopped us, not even hell
the hell of burning cocks, burning cunts
but never this ecstasy or indefinite sublime which remains unreachable
o holderlin
o rilke
the shadows of prophecy turn one inside out
shuddering, primitive he said, shuddering she said, trembling
surmounting the drum of flesh, unmounting the drum of flesh
pipe and tabor played simultaneously with hands and mouths
racket played with fingers and mouths
viol d'amore, vial d'amore, vile the mouths of hell
ecstatic the mouths of hell
o rilke
o holderlin
the mouths of hell return us to the remnants of perfect desire

deploy, he said, the devouring powers of light

all natural languages have precisely the same degree of complexity.
'destroy, she said', 'primitive, he said', 'enjoy, he said', 'deploy,
she said.'
to deconstruct is neither to analyze nor to take apart.
you can't argue with an aphorism.
'code' is more than structure, structure is more than substructure,
substructure is more than equivalence, organism is less than code.
throw out everything you know about animal behavior and culture;
humans are just beginning to discover civilization.
our knowledge is not our own.
humans construct the only deliberate, calculated, and universal
everything an enemy, every enemy a thing.
take the man from the woman and kill him.
binary oppositions replace cultural capital with economic capital.
there are dozens of types of war and at any time we are engaged
in at least a quarter of them.
do not ask for whom the bell tolls; ask who made the bell.
an aphorism makes the man.
reality is imaginary's monotonic.
or the romanticism of the real is the classicism of the imaginary.
projection kills and introjection devours.
or introjection suppurates and projection wounds.
murder is wild war.
if i want a word with you, the word i want is 'you.'
give away your sex and there goes your reputation.
give away your reputation and here comes your sex.
public masturbation constructs the truth of the real for audience and
masturbater alike.
faunal extinction takes humans home.
sex kills and slaughter entertains.
eroticism is the neocon of sexual war.
the aphoristic is the final refuge of the defeated.
aphorisms are always otherwise.

devouring waters of li(f)(gh)t

colonized by light
light = colonization of invisible matter
invisible matter = universal organism
organism = colonialization
colony = territorialization
release the light! deterritorialize!

dancer: Filibert Tologo
stage: la Salle des Eaux-Vives, Geneve

throw out everything we know about the future of the human race:
there isn't any, anything recognizable.
throw out everything we know about animal behaviour and culture:
we're blind and will remain so, driving species to extinction.

these are the truths brought to us by dance and culture:
dance and culture brings Signs from Worlds eaten by light.
dance and culture have no territory:
Worlds disappear, tethered to exhausted Signs.

At first I thought this period is the end of prehistory, that history only
begins with the definitive event of the large-scale disappearance of hu-
mans across an earth ruined by nuclear, chemical, and biological warfare.
The future of history is hyperhistory; all other histories meander through
fractured sememes destined to disappear.

Then I thought this period is the beginning of prehistory, towards the
potential of the mute, the moot point, the unacknowledged pivot or hinge,
the elimination of all evidence of the pivot, which after all is spread
across space and time, reaching far behind us for example, extending far
ahead of us for example. This prehistory may be followed by nothing in
terms of familiar inscription; it may be followed by a superfluity of
familiar inscription; it may be all or nothing, open or closed.

But whether or not this is the end or beginning of prehistory, it is the
continuation of the brute, inert, violence of our existence, scabbing and
devouring beyond the carrying-capacity of the earth - it is the continua-
tion or the end of our existence, the violence itself carrying-on, residue
far beyond lifespans, half-lifespans, sintering of the remnants of debris.

throw out, throw out, throw out

three videos, the most beautiful, the sublime, the compelling

below: perhaps an unintended homage to gustave moreau, certainly my most
beautiful work, which comes through, however strangely, in spite of the
necessary compression. taped inside the rilke church, if i may call it
that, in raron, accompanied with the falls at the very tip of the aletsch.
here is spirit at its most sublime, from the upward sweep of the nave, to
the grandiosity of the glacier itself, many thousands of feet below.

below: closeup of the 'tongue' of the aletsch glacier, with modified very
low frequency radio signals taken from the same site. the signals were
contaminated, by local power generation, up there on the bluff. filtering
was difficult because the generators seemed somewhat unstable. i used
extreme hiss reduction, notch filtering, and graphic equalization to
create something 'readable.' i'm fascinated that the glacier moves of
course at a snail's pace or slower - but accompanied these radio signals,
which originate from mostly from cosmic and atmospheric phenomena. radio
emissions (from cosmic and atmomspheric phenomena) - invisible events,
interpreted as sound. again, the sublime, which often appears without the
body of this body of work.

below: foofwa on 'dance is' for a second take in a squat in geneva. this
is more personal than the first 'dance is' and as such it was taped in a
more or less straightforward manner. i find the take quite touching. we
later talked about the graffiti surrounding us; the tags were in english,
and seemed to represent a form of the usual colonization.

Saving, Castle, Brig

ancient castle at Brig / Brieg / Brigue ... the castle walls alas ...
the light ... night-time uneasy time ... the inspiration of Maud
Liardon ... her religious beliefs ... she is Savior, Unsaved ... we,
Apostolic ... true miracle of the walls of caves ... caverns looming
... O listen Immortals! ... unspoken, what one or another ... what
hands ... what holds one against others ... the One at Brieg ... the
Others at Brique ... the One who Saves ... the Others Unsaved ...

Philosophy and Others of Dance, numerous pieces, feedback welcomed


Maud-enunciation of avatars, pre-duet: the occupation of virtual space -
sad pirouette sad dancer lonely dancer left behind magic wand paper stars
in paper skies tiny bows and pas
d'une d'une, I will hide your tiny little URL, almost so real - When the
Role disappears from dance, dance is.

When the dancer disappears, when position and momentum disappear, when
energy and space disappear, when many and one disappear; when eidetic
reduction and the phenomenological stance are flattened, historicized,
demarcated, incapable of reproduction, incapable of recuperation; the
accumulation of the symbolic, dance is disappearance, no longer imminent,
immanent: then paste, defuge, tumescent shuddering of the real. Then
nothing of the real. Then "annihilation to the limit" which is nothing.
Which is nothing at all.

Paragraphs and Chapters:

Below: "dance is" - dance philosophy, not philosophy of dance. Short
analysis and explanation of the dance series in relation to the
virtual/real, analog/digital, and governance/community. There are five
dance-is to date: Foofwa*2, Alan, Maud, Tom where it all started.

I always wonder about dance, participating in choreography or mise-en-
scene, or compositeur, even a bit of movement; I can't dance, am awkward
and far too nervous; I admire dancers but there are very few I relate to.
Foofwa's work is close to performance, sport, theory. But it's a question
of the Sign - which is always already mute; in writing, sign is signifying
- assignation. Dance reads, constructs, deconstructs the world; this is
also a characteristic of culture in general. Dance begins and ends with
the consciousness of the body; why wear clothes? Use props? Why work for
that matter within the institution of the theater? Writing and the gospel
truth -

There is the gospel of dance, its history, which is something else, as in
photography or any other cultural form in these thick times - it's over-
determined, obstructive, overly cognizant of cultural form, of modes of
distribution, of theatrical and terpsichorean politics, of master-disciple
relationships, of the aporia of the knotted student.

There's the gospel of the virtual, its imaginary, elsewhere, as in the
shamanic or production of images in these exfoliated times - it's overtly
misrecognized, smoothed, the incipient production of culture, telecommun-
ications, any moment of being, of absenting relationship, but of techno-
logical construct as well. And of the real, of which the less or more said
the better or the worse.

[[ sed 's/writing/real/g' < The real dances around dance; writing dances
around the real; the real dances around writing; etc. sed 's/dance/X/g'
The real Xs around X; writing Xs around the real; the real Xs around
writing; etc. <> sed 's/real/written/g' etc. |
sed 's/real/"real"/g' | sed 's/real/X/g' -> "X" < digital ="="">
faunal cultural history < inscription < digital ]]

[[ X* ]] perhaps another term than dance, for how should definition
function here? Or perhaps neither performance nor the body. One is left
with abjection, the sublime, real/imaginary; let us call this the "abject
sublime." For we are within this era, this positioning, dulled, imploded,
decathetcted, exhausted, condition of defuge. If defuge relates to
depression, then defuge relates to the real in a manner of none other,
nothing else. And if we do not think dance, we do not think culture, we
begin to think.


Two sound pieces in prealpine church of Pringy (chromatic and 'Weekender'
harmonicas) - - within which the
church signifies the tumescence of the resonator.



pain. avatar.

in pain. if she moves they knew i played with avatars, avatar-abuse: this
avatar dancers - and we can map into entirely new spaces and content - the
occupation of virtual space - parent-child relations, father-avatar avatar
<> analog <> avatar-meats are leashed,
tethered to logical reach of avatars. reach avatars. of and my people! my
avatars! my little maud-enunciation of avatars, pre-duet: making new
avatars on - my, the swords make the avatar angry! azure writhes house.
they knew i played with avatars, front of the house. that they avatars.
that one cannot cum seems to lack coherency. i wish i was home. avatar-
abuse: this is more than familiar to me. i am in the neighborhood manner,
similar to the avatar but the dancer is dancer imitated by a month old,
protocol-driven, hunger for signifiers, azure struggles which is more
than familiar, is more than familiar: they knew i played with avatars.
avatar-abuse: this relates to mother-father relations: primordial thought
of "my avatars avatars." so this is what it looks like from inside - an
avatar. those few knew i played with avatars; all of them are avatars,
but mapped - which in fact indicates the direct murmuring of avatar-meat;
you can hear them directly beneath the swords. avatars have to avoid
swords, their baggage. they speak through a thousand dancers, most of whom
were abused.