Date: Wed, 31 Jan 2007 04:18:12 -0500

Reduced De Montfort University Creative Writing and New Media guest
lecture chat


This is fascinating - I'm always curious how many of
the old IRC commands are retranslated or reinterpreted in these newer
chats 14:52:20
No problem - let me knowwhen to start 29-Jan-2007
14:52:29
***MUZAK** 14:52:53

MUZAK 14:53:02
MUZAK 14:53:07
heh! 14:53:11
:

music... 14:53:22

music

14:53:52 hello 14:53:57 where are we now? 14:54:13 here we are then...
14:54:39 now we are one 14:54:45 one 14:55:11 going out and coming back in
- 14:55:28 left the session 14:55:34 joined the session 14:55:46 left the
session 14:55:51 joined the session 14:57:21 displayed the following URL:
http://www.asondheim.org/net1.txt 14:57:45 Alan 14:57:48 Some of them are
working! I've been playing around with html tags and couldn't get out of
bold! 14:58:10 But Im not in bold now -are you? There's no bold at this
end? 14:58:26 This is wonderfully strange... 14:58:42 - you're bold?
14:58:48 Hi everyone! 14:58:52 Must be the diluted blood... 14:59:16 Well,
I've got the URL up - yes, it's difficult, you have to use the slider.
15:00:12 I'll try and be spare. 15:00:17 Wow! Stumbling over Brooklyn -
15:00:35 Ok I'm ready whenever anyone else is - 29-Jan-2007 15:01:20 Can
you scroll the text I've put up? 29-Jan-2007 15:01:34 It's just the first
file in the Internet Text, which I've been writing for fourteen years;
I'll switch to an 'examples' text in a bit 15:02:01 Ok, thanks 15:02:05
Why don't you start with questions and we'll see where it goes - 15:02:26
Hi - 15:02:41 Yes of course 15:02:53 It's odd because those seem like
different operations - I'd say something close to obsessive compulsive
behavior combined with a real wonder about the world 15:03:24 I can't not
work 15:03:43 Too much neurosis on this end - which then becomes part of
the content - 15:04:18 Well, what gets rid of the "I self Me" - which is
narcissism - is the world itself - 15:04:36 the protocols etc. - 15:04:43
I'm not sure - I do all my writing online - possibly 5 hours a day -
15:05:00 god no 15:05:05 the protocols - coding - 15:05:24 I'm not
struggling with that. 15:05:31 It's a hideous anti-semitic tract -
29-Jan-2007 15:05:49 The protocols reference code and the breakdown of
code 15:06:04 it's amazing I could stop there - 15:06:20 and it's between
code and its breakdown that I'm interested in - that 'liminal' space
15:06:40 which is partly interpretable in a classical sense (hermeneutics)
and partly not 15:06:58 She disappeared a while ago; I didn't want to
write into the character any more. I felt I had done all I could - and
with Julu, Jennifer, Travis, Alan, etc. 15:07:28 The space-between code -
what underlies writing here and the surface itself. 15:07:59 I started
calling this 'codework' which has taken on a life of its own. 15:08:17 So
the subtext so to speak ruptures the text which collapses the subtext etc.
15:08:34 As if the bones of the tomb of writing were made visible.
15:08:52 - as if the bones had some sort of presence in the world without
the flesh of writing (which in a way is a kind of etiquette) 15:09:14 So
that the writing in a way is 'lurid' - cutting through in other ways.
15:09:37 As in the 'Anita Berber' pieces that I've put up at the blog -
15:09:57 Mistakes in print, and in the traditional Tanach, five books, all
those misplaced letters, etc. 15:10:18 displayed the following URL:
http://nikuko.blogspot.com 15:10:32 There's the "skeleton" of a piece of
writing - which started with a short piece paralleling Berber's and
Droste's own writing,and then expanded it using the 'dict' command -
29-Jan-2007 15:11:20 which gives you a huge list of synonyms. The first
entry is the skeleton - the entry immediately following is the piece
itself. 15:11:46 Which is a kind of overflowing of synonyms, burying the
original text - 15:12:04 and there's a parallel with Berber's life here,
at least for me, and also a sense of over-accumulation, "surplus" 15:12:33
- a surplus which goes nowhere. 15:12:41 If you click on the link you
might get the .mp3 file which is made from tabla playing heavily filtered
- a kind of stuttering/heartbeat that again parallels the text 29-Jan-2007
15:13:43 How so? 15:13:46 This isn't my 'best' tabla work, but I thought
it interesting to put up - 15:14:28 I wonder what happened; I'm always
afraid of clicking on links here - at one point everything closed down.
29-Jan-2007 15:15:01 No problem 15:15:04 The first bit - the short bit -
is a poem... 15:15:30 There are better tabla pieces here! I think
something called metrical.mp3 is one of them at the same site -
29-Jan-2007 15:15:53 Think of the rest as both an expansion and a
suffocation of meaning - meaning flying off 15:16:11 in so many directions
that nothing coheres... 15:16:20 It a strange interface with a mysterious
life of its own. When I was using html tagsa bit ago, everything was going
a bit awry - 15:16:57 two bits in that sentence will get you a quarter
(bad pun) 15:17:13 yes, but you might want to ask away here? When I enter
a URL then the box closes - 15:18:06 displayed the following URL:
http://www.asondheim.org/examples.txt 15:18:20 You ask about code poetry?
15:18:38 There are so many terms - I mentioned 'codework' because it seems
the most genearl; for me, the rest - e-poetry for example, electronic
poetry, new media poetry, etc. - all create genres/canons 15:19:14 which
just about close everything down in a classical form/at - in other words,
the usual politics and decisions make themselves felt. 15:19:39 If you
think of say Lautreamont - what he was doing hadn't been done before
(think ofthe space - again liminal) between Poesis and Maldoror and how
that operates) - and that is fantastic! 15:20:16 But if had to attent a
conference on his own work, that would have been something else...
15:20:33 What I've put up here - and you do have to shuttle back and forth
- is an example of a 'standard paragraph' - the "Normal" - and then
various manipulations ranging from simple to complex... 15:21:16 There's
also a few code snippets (most of which I've asked other people to write,
or found elsewhere etc.) 29-Jan-2007 15:21:36 I tend to write in Unix or
Linux - I've been doing that for a dozen years now - 15:21:54 which allows
me to use all sorts of sophisticated text manipulation tools and script
languages 15:22:13 Just briefly - the first is Normal, then 'Back" takes
each line and reverses the words, not the letters... 29-Jan-2007 15:22:43
Rev reverses everything 15:22:55 Tac reverses the line order 15:23:08 tr
A-Z a-z just gets rid of the capitals 29-Jan-2007 15:23:20 transposition
does group substitutions 29-Jan-2007 15:23:33 substitution is simpler but
similar 29-Jan-2007 15:23:43 Pig-Latin is a program that comes w/ linux
and turns everything into pig-latin! 15:24:03 Punched Cards is another
linux program that turns phrases into imitation punch-cards which were
used in the 50s and 60s 15:24:32 Eliminate which was written by Florian
Cramer for me just eliminaes any duplicate works in a piece 15:24:55 so
that "the dog and the cat" becomes "the dog and cat" for example. 15:25:12
Elimx is one I wrote from Florian's that makes a mess of "eliminate" and
creates a kind of poetry out of it which reminds me of John Giorno or
William Carlos Wiliams 15:25:53 Cramer made a program that eliminates
duplicate words. 15:26:09 The program is above. It counts different words
for example as "cat" and "cat," - the comma makes it another word.
15:26:40 The "mathesis" program I love - Jim Reith wrote it for me - and
it creates a "filter" for a text - 15:27:08 like a photoshop filter.
15:27:14 You can enter a mathematical function (the very first line) and
it pulls out words from an "array" that match points of the function. The
details don't matter here; the results, though, are something that would
be very difficult to get otherwise 29-Jan-2007 15:28:00 GoogleScrape - is
just using the Google program (API and WSDL - forget what the
abbreviations stand for) to create files which can be "scraped" - turned
into texts. I think this is what the flarf group does - 15:29:15 It's just
a more sophisticated way of using google results as a basis for literature
- 15:29:33 Then there's the "Simple perl program results" - which is based
on a program I wrote years ago that's interactive and allows me to 'write
into' it - it then rearranges things in somewhat technical ways - 15:30:23
Yes of course, that would be a lot better than this blithering on my part!
15:30:33 Yes to both, that was also a while ago. Shinto fascinated me and
still does to some extent - a kind of animism and heavy mythology that
exists coherently with high technology. And the language (I can't read it
in the original) is so arcane - 29-Jan-2007 15:32:13 Not so much; I've
been very moved by Red Pine's translations of Chinese poets, mostly of
Zen/Taoist outlook like Cold Mountain (Han Shan) - the spaces that these
poems create - and the kind of language used by, say, Dogen in Japanese
Zen 29-Jan-2007 15:33:02 because I can't get myself "around it" - which is
wonderful. 15:33:15 On the other hand, I could never 'submit' to Zen or to
that sort of discipline - I'd be interested in wild Zen, wild Buddhism,
without training, kind of yamabushi stuff without the community 15:34:02
Well, that's complex. I don't have a traditional relationship to Shinto or
to Japanese culture - 15:34:29 and am alienated by, say, Mishima, by
whale-hunting, by what happened at Nanking, etc., all of which relates (I
think) to State Shinto. but that's really another topic... If this is the
Mu you are speaking of then yes, I do (for some reason I started thnking
of 'the continent of Mu" 15:35:37 The one book that stays with me, now, is
the Flower Sutra, possibly the full translation of the Tibetan Book of the
Dead as well. 15:36:18 These are openings for me, and the sutra is
incredible. 15:36:29 By the way (while waiting) the Yipes! text is made
from some of the rules above. 15:37:13 And the "Using Chat" was made by
recording one of thesesessions by myself. 15:37:30 ok 15:37:32 Ok - but
they're not appearing here - 29-Jan-2007 15:38:10 One second 15:38:24 Ah I
see - for me in relation to D Turner's second question - 15:38:55 about
Youtube and so forth - the work skitters among all of these. I do laptop
performance and actually musical performance in rl (the latter I'm dubious
about) and video/audio/dance/image are all part of this; 15:39:31 I also
work with dancers in Geneva, Switzerland, and this has gone back and forth
with my other work. 15:39:51 Yes, the meaning shifts in each context, but
the concerns are pretty consistent. 15:40:05 Edting in relation to suprlus
- that depends on what I'm working on; with vidoe I tend to pare things
down greatly, especially for the web - 15:40:36 but I prefer also to work
on an idea, get through with it, and move on, rather than finesse it; the
latter in a way is too easy, I know where things are going, so does the
audience - 15:41:06 Code and text interact for me; sometimes the structure
is evident, sometimes it isn't. 15:41:46 When I'm working with software (I
work at the Virtual Environments Lab at West Virginia University at
times), I try to take the software 15:42:16 to some sort of limit - seeing
what happens at the edge. I did a piece in Second Life where the
character/s try to escape and keep coming up against artificial barriers
of the edge of the mapping 15:42:49 I work in both darknet and a/v - the
presentation in some ways 'fills out the form' - whatever is available...
29-Jan-2007 15:43:20 Text-based work allows me to think the
hardest/clearest in a way - it's unforgiving 15:43:55 I write a great deal
of theory, and it's so easy to slide into nonsense... 15:44:10 Sometimes
it matters, most of the time it doesn't - if the code is present, one can
usually get some idea of the structure in it 15:44:33 whether or not one
understands it fully. There are times I don't understand it fully.
15:44:49 I did some work in visual basic (you can download the exe.tar and
open it on a PC - they'reexecutables) - and I can't tell you where the
effects are from. 15:45:22 Exactly like lace, and just as ephemeral...
15:45:33 It makes it seem as if the world is both obdurate, inert, and
interpretable, transparent. 15:46:09 I think of Jacques Lacan in this
regard - reading his text is a kind of psychoanalytical working-through
itself 29-Jan-2007 15:46:34 But of course I may be fooling myself.
29-Jan-2007 15:46:47 There are also political concerns here - trying to
scrape away at etiquette - I relate this to the usual obfuscation in our
government's policies. 15:47:27 Which effects in the films? And you should
sometime see the originals - the compression makes a mess out of them -
15:47:47 There are avatars that are constructed from motion capture
equipment 15:48:08 and images from laser scanning equipment (big lasers)
15:48:23 I'm not sure which this is! I think that's the laser. 15:48:34
The Wolf piece - that's using motion capture and feeding it into Poser,
which models figures - then distorting the files so the figures literally
break down. 15:49:02 The bones of the wolf come through. 29-Jan-2007
15:49:18 Poser is a 3d mannequin modeling program. 29-Jan-2007 15:49:28
Yes, Bellmer fascinates me, but thenI worry - in my own work as well -
about the gender implicatons of al of this - 15:49:53 It's separate, it's
faster than Max I think - the mannequins are already formed to be
manipulated. 15:50:18 A lot of teen-age boys make 'ideal' girlfriends with
the stuff. 15:50:33 I think my work walks an edge of being lurid and
almost violent almost overtly sexual, but not quite (this is the video
work, not the writing or sound pieces) 15:51:28 I do think at least in the
US these images are the kind of imaginary one lives within 15:51:50 There
was a book years ago which talked about Jewish (and one can apply this to
any minority that feels beleagured) 15:52:25 culture as breaking down the
'etiquette' of middle or upper class Anglo-American culture - 15:52:48 for
example Freud scraping at the psyche, Marx at classical economics,
Witgenstein at language itself, etc. 29-Jan-2007 15:53:20 Thank you!
15:53:28 And these people were - again perhaps like codework - 15:53:39
partially-assimilated Jews, but not 'really' assimilated - so they existed
- again - in the liminal space which they recreated for themselves.
15:54:06 Einstein as well. 15:54:10 This is obviously a gross
over-simplification but it started me thinking... 15:54:27 You have the
same thing, say, in the blues, with people like Patton 'between' African
and 'white' rhythmic/tonal structures. 15:55:07 Ok - 15:55:12 Whew. I'm
not sure 9something else opened up here, sorry).. 15:55:55 When I'm
surprised by the result, it's a success, no matter how awkward. 15:56:10
when I know 'what I'm doing' - it may well be a failure. 15:56:21 I coined
the term 'defuge' to reference those moments which are akin to disgust
15:56:43 for example when you try to read a novel several times 15:56:56
and the writing itself becomes distasteful, 'decathected,' unworkable.
15:57:14 The same thing happens with pornography, but that's another
issue. 15:57:28 - if pornography were 'ideal' - one image would do it all
- but that's not the case. instead, the industry is fueled by continued
transmission. The same thing of course in the entertainment industry, etc.
15:58:04 In sports it's another related issue - one wants one's team to
win, but if it's a massacre all the time, the 'sport' disappears. 15:58:34
So there's a kind of disinvestment at work here, and that also occurs in
my writing I think when I'm too sure of myself, 'filling out that form'
again. 15:59:04 Such as what? 15:59:28 Yes, lots of time. 15:59:52 times
16:00:00 I think it depends. I haven't been thrown out of anything at all.
But there's controversy definitely - the worst was probably on nettime-l
which went on for an entire month. I left the list but came back later.
16:01:00 I also cross-post a lot which bothers people. 16:01:07 The sexual
content of some of the work bothers people. 16:01:19 And at my end I have
little patience for what I think of as the right-wing which gets me into
trouble; I just start blustering. 16:01:41 I don't know, some tame, some
not tame - it depends on how it's defined... I don't mean to offend
anyone, but most people don't I think. 16:02:19 AI? It's only a matter of
time... 16:02:53 "don't I think" - I'm not sure where this typo was
going... 16:03:19 No problem - 16:03:24 I'll be on the board, except for
Tuesday/Wednesday, when I'll be on but not that much (traveling). 16:03:55
With my work? Just to be able to keep doing it. And with technical things
like music (trying to learn to play the erhu now) - just doing a better
job 16:04:17 I'm terrible at programming, okay with borrowing or asking
for help. 16:04:35 I want to explore more 'body-avatar' issues in Second
Life, but I'm not sure i'll get to that... 16:04:55 I feel exactly the
same way- 16:05:23 for me, at least the aesthetics of coding... 16:05:50
Well, she may return, but there are other things - working with live
dancers (who are fairly extreme and we shot in the Alps and so forth) has
been wonderful 16:06:32 The 'parables' (they're in the book .echo)
29-Jan-2007 16:06:57 I don't thin I need an editor but I might have
tobother people less! 16:07:11 The dancers are like live avatars yes -
29-Jan-2007 16:07:18 In fact some of the work they do is imitating avatars
exactly as much as possible - 16:07:32 When you getto something like the
Wolf, it'sdifficult. 16:07:43 How to who feel about? 16:07:53 - 16:08:32
We tend to inspire each other. I can't do much physical (except music) and
the dancers are incredibly athletic. 16:08:58 I agree re: Butoh, I
haven't, but would like to work with Butoh dancers of course 16:09:17 The
Cunningham technique is very complex, so I can explore pretty much what I
want... 16:09:51 Or I'm the material for the dancers; it's really back and
forth. 16:10:09 At times I'm not sure who is doing what with whom or
whether it's ultimately real or virtual 16:10:25 I'll be on Joanna. -
16:10:34 I can stay for a few more minutes if there are any questions -
16:10:53 Oh someone asked why the webpage is a directory? 16:11:03 That's
the simplest way I can present the materials; I'm not good at design; when
I send out texts, they usually include URLs. 16:11:27 The Trace materials
are different - they were done with Simon Mills and are fully
interfaced... 16:11:51 Good night! - 16:11:56 Take care - 16:12:05 There
are six left; before I leave, are there any other questions? I'll check
the discussion board later 29-Jan-2007 16:12:26 down to two! 16:12:34
board with more 16:12:41 Yes 16:12:56 No problem; I'm about to sign out
unless there's a question - we're really down to you and Christine who
might have left... 16:13:27 I'll be on the discussion board later this
afternoon. 16:13:59 , please send the recording if you can! 16:14:08 Well,
if there's anything else... 16:14:17 Oh, good 16:14:32 Thanks - 16:14:40
Thank you as well - I'm constantly worrying about the quality of these
answers... 16:14:56 - bye - 16:14:59 left the session 16:15:08 joined the
session 16:15:17 left the session 16:15:19

skeleton Anita Berber

murder.
morphine.
mucous.
murmured. voices.
mayhem. vortex.
misery. blood.
murder.
muck. fuck. naked.
murder.

2 pico zz 3 dict murder 4 dict murder | more 5 pico zz 6 dict morphine 7
fg 8 dict mucous 9 dict mucous |more 10 fg 11 dict murmur 12 fg 13 dict
voice | more 14 fg 15 dict mayhem 16 dict mayhem | more 17 fg 18 dict
vortex 19 fg 20 dict misery | more 21 fg 22 dict blood 23 dict blood |
more 24 fg 25 dict muck 26 fg 27 dict fuck 28 dict fuck | more 29 dict
fuck | more 30 fg 31 dict naked 32 dict naked | more 33 fg 34 sort zz > yy
35 pico yy 37 sed 's/ //g' yy > zz 38 pico zz 39 sort -k 4.3 zz > yy 41
pico yy 43 sort -k 3.2 yy > zz; pico zz 44 perl a/eliminate.pl <> yy;
pico yy 45 sed 's/[\.,;{}]//g' yy > zz 46 pico zz 50 new zz; cat oz.txt zz
> ding; mv ding oz.txt; m

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

===
===
===

throat Anita Berber

murder.
mucous.
murmured. voices.
mayhem. vortex.
morphine.
misery. blood.
murder.
muck. fuck. naked.
murder.
murder mucous murmured voices mayhem vortex morphine misery blood
muck fuck naked bonk] OK weakening wreck yelp yowl homicide v :
have sexual intercourse with "This student sleeps with derivation
descent Amytal Amytal pill Demerol Dolophine H Luminal adherence
Rh-type Rhesus factor acute leukemia affiliation agnate carnage
commit a gaffe cool decapitate decimation Letterer-Siwe bed have
go at it bang get it on away Schmerz ache aches and pains
aching heart adversity rub out ruin mandrake admiration agency
agent air allophone alto alveolar crow affliction agony agony of
mind angst anguish anxiety bale agnation alliance ancestry anemia
angiohemophilia anima undressed color common come out with comic
bass communicate consonant hum stringy lubricous as mucous
substance abate abolish sadness sordidness animal kingdom animating
force antibody antigen apico-dental approbation approval aria
singer speak incoherently annihilate asphyxiate assassinate
assassination air grievance aspiration assert assimilation atone
spiral spout spurt stew stir blunder blunder away into on upon
purging put patricide play havoc polish off purge extermination
Australian ballot Hare system Heldentenor Meistersinger attune aye
baritenor baritone basso basso buffo aspirate bark bated breath
bawl articulate articulation undraped drone emit endorsement
enfranchisement enunciate continuo ostinato profundo gangrene
garbage glop boulevardier bassus bilabial blessing blues bourdon
breathe aristocracy aristocraticalness bitterness bleeding broken
biorhythm birth blade blood bank muttering outcry pant pipe blue
devil heaven bloodmobile bloodshed bloodstream blood litter loiter
boggle botch bumble bump bumping-off bungle butcher blubber boom
bray bankruptcy breakage breakdown chaos collapse commotion lie
with brand breath life breed exhalation flute fret fret brood
brotherhood brothership buck cast caste category muck up counting
voice buzz buzzing cackle chant collateral collateral relative
velvet calmative chloral hydrate codeine chest chime cacuminal
canary cantatrice canto cantor underbreath undercurrent burden
calamity care group grouping picture vote cerebral chance chanter
chantress check goofball hard stuff continuant chirp clamor
complain complaining complaint coo crab circulation clan clansman
claret malcontent melancholia blunt clarified clear Tuinal Tuinal
alcohol amobarbital sodium Luminal cleared colorless conspicuous
denuded detectable dextran clotheshorse cognate cognation black
blue angel croak cirrus coil condensation trail contrail corkscrew
chord chorus coloratura coloratura soprano organic fertilizer
butchery connection connections consanguinean cantante discernible
codeine cough syrup depressant depressor dolly downer muddle
consanguinity cousinhood cousinship coxcomb cyclic heads crooner
cumulative voting deciding swirling tendril counterflux curl
curlicue mumble mumbling murmuration murmuring crushing curse
cynic wheel whirl whirlpool whirlwind whorl cripple crippling
damage destruction aplastic apparentation decision declare deep
deliver dental descant diphthong ordeal dampener damper dejection
depression depth misery caroler casting Hand-Schuller-Christian
disease disaster discomfort discontent native buff disclosed
discovered distilled evident exposed dilapidation disablement
dismember inroad loss maiming mischief dissimilation diva division
dramatic drone exposed to view disturbance dizzy round ebullience
ebullition eddy Cassandra displeasure distress dolor beef bellow
bellyache bitch blare blat count donor donor center contralto
convey electrocute eliminate elimination destroy do in dust drift
droppings dung dust exterminate eradicate eradication execute
effervescence embroilment evolute exhaust feery-fary ferment
enrichener entangle excrement open outcropping overt explosive
express expression syndrome Rh Rh-negative Rh-positive bring
bare-ass bared fagot falsetto favor favorable figured faux pas
finish flounder foul play fratricide extinguish flap flurry
fluster flutter barefaced beholdable blank blatant beverage
biological clock formulate forum franchise give give glottal
dressing fumble garrote genocide get rid of guillotine hang fume
fuss gabble gasp wet blanket woe wretchedness hardship fussiness
gulf gurge gyre helix tongue utterance glide disclose flagrant
free glaring gymnosophical fermentation fidgetiness fit involute
extremity gloom gloomy Gus grief grimness grouch grump goo gook
goop grime grind grub feculence filth fool heartache heartfelt
heartgrief heavy gibber gossip grapevine gripe groan grouse
grousing confusion crack-up platelet growl grumble grumbling grunt
hearsay hiss holler howl encroachment fracas harm havoc hobbling
bracket braining branch everyone in her dorm" "Adam knew Eve" "Were
you ever fling heroin hop horse hypnotic junk kink maelstrom
pell-mell rainbow red hubbub hullabaloo hurly-burly hurry
hurry-scurry liquidate ice infanticide kill killing knock lay low
impairment incapacitation infringement injury unassisted unblended
stage whisper still small yellow yellow jacket jeremiad keen kick
lament lilt little rat race reel joylessness killjoy lamentation
languishment malaise cantus cantus laid lodge low maffle maunder
moan mouth despondency destitution louse manure mess mess around
beau liquidation lumber lynch mangle manslaughter mar massacre
matter furfur privation prophet doom prostration barbiturate
meperidine methadone morphia narcotic nightcap melancholy
mirthlessness misfortune detriment devastation mire mope mosey
dandruff debris decay dirt dirty dirty mucker mucky mucus mud
muddy murk matricide miscue bloody murder blot be all thumbs behead
pressure relation muff murdering mutilate parricide liable
manifest naturistic neat nonimmune noticeable nude scag
neutropenia nudist observable obvious open as day all slimy ropy
or opiate opium pacifier pain killer paregoric pen yan
phenobarbital ringlet roll ruffle scramble pain pang passion
penury pessimist pining poverty toil trash palpable patent peeled
hanging evidence full mussitate mutter phenobarbital poppy purple
quietener Seconal Seconal dandy dealing death deme denomination
figuratus planus canvass canvassing twist unquiet uproar perplex
phosphate plod pus putrid suffering suicidal despair perturbation
pirouette pother desolation desperation plain pure purified raw
recognizable countercurrent counterflow plaint planctus purr
knockout drops laudanum liquor lotus lullaby untinged untrimmed
down regicide removal remove root refluence reflux regurgitation
restlessness raise register relationship M Mickey Finn Nembutal
Nembutal repine roar rumble rumbling mutilation ruination Beau
Brummel Christmas secobarbital sedative shit sleep-bringer humming
jabber intercourse serum substitute bloodletting bloodline scurf
scuz sewage guano gum gumbo gunk idle linger shriek sibilate
sigh acceptance accompaniment active active scrag slaughter slay
slaying slip smother analgesic sleep-inducer sleep-producer sleeper
sleeping draught slab slave slime slob slog slop slosh sludge
slum class clinical rumor scold scream screech scuttlebutt smudge
smut snarl snot soot plain sight puris snort sob soft sough
unmixed unobstructed unornamented night soil nitrate nitrogen
obscenity offal ooze ordure snuff sororicide spoil strangle
stumble thuggee thuggery screw scroll spasm spin ravel rot
rubbish screw scum sorrowing sourpuss spoilsport squalor stitch
apico-alveolar splutter sputter squall squawk squeal disorder
disrepair showing simple stark carking catastrophe cheerlessness
sorrow stark-naked straight stripped susceptible seen flutteriness
susurrate susurration susurrus slush smirch smoke smooch stream
surge sweat swirl sordes splosh squash stroll superphosphate
swill tangle sex know do be intimate naturalibus the
altogether insight smack sodium thiopental somnifacient soother
breathy waste waste time absolute apparent au naturel bald bare
cry dolorous tirade drawl droning exclaim character chronic throe
trial tribulation trouble ruinousness sabotage scathe to-do tumult
turbulence turmoil turn twirl perceivable perceptible trumpet
twang ululation intimate this man?" [syn: roll unadorned
unadulterated unaided unalloyed unarrayed hurt hurting unclad
unclassified unclogged unclosed unclothed unclouded uncolored
uncombined uncomplicated uncompounded unconcealed uncorrupted
uncovered undecked humorlessness indigence infelicity infestivity
undecorated undeniable undiluted undisguised unembellished
unfortified unfurbished ungarnished twinge uncheerfulness
unhappiness unjoyfulness unmirthfulness unhidden unleavened
unmingled unmistakable unmitigated sing snap unprotected
unrestricted unsheathed unsophisticated unstopped thuggism trip
uproot uxoricide wipe wiping sickening spoiling violence vapor
volute volution wake wash soothing soporific tar glottalization
graveyard ground guttural cell undertone wail wail warble swallow
take talk thunder epenthetic vowel esteem yeastiness whimper whine
whispering whistle yap yawp yell tranquilizer turps white
anesthetic anodyne barb barbiturate off screw jazz eff
hump rectified revealed seeable sheer hay love arterial atman
bane bathmism beating countenance countertenor make out love
sleep


===
===
===

I'm not sure how to approach this blog for someone coming to it for the first time. One thing - I'd suggest going to the examples text below - you'd have to scroll down of course. There's also a philosophy text further down. You might also want to connect directly to http://www.asondheim.org/
and look about; since the URL leads to a directory, you should be able to find the most recent posts (on my computers I just click twice on 'date modified'). The .txt files are of two types - those from the 'internet text' which I've been continuously writing - for the most part these are of the form ??.txt (for example ob.txt) or, some of the earlier ones - Net??.txt - and those which are stand-alone files such as nature.txt or cancer.txt. Most of the latter have been published elsewhere.

The graphics are almost all jpgs and easy to view; the video is mostly .mp4 which uses the latest H 264 compression; you might need to update your Quicktime to view it. I've also noticed that some Mac people find the .mp4 files only appear as characters on the screen; if this is the case, download them, save them as .mp4, and drag to Quicktime. I believe there are ways to set the permissions to have this done automatically in Safari. The audio files are almost all .mp3 and recently I've been saving them with less compression, less artifacts. There's an exe.tar which contains visual basic executables; you have to untar the file to get at them.

One way to proceed would be to use ftp and download, say, all the text files with the .txt extension. If you download the entire site, it's about 1.2 gigabytes, which actually isn't terrible and has all my writing from the past 14 years, a great deal of my earlier articles, some books, and audio/video/photo representative of the past 14 years as well. If you have questions, contact me at sondheim@panix.com .

you may have seen this already - it's signature -
for an online discussion tomorrow - alan

http://www.youtube.com/watch?v=v2Z7o1K3utg
WolfTC shortened vesion
http://www.asondheim.org/wolf.mov
still shortened but mp4 and clearer

Ground zero (second and almost complete version - comments welcome)


Zero is ground down; the ground has no depth; the ground is flattened;
ground is always already charnel-hus; ground is always killing-field;
ground is replete, fecund, historic; history is flattened; ground is
characterized by the _trail_; the trail crosses the ground; the ground is
obdurate, inert, among and within the trail. The ground trails the trail;
the trail trails the ground.

Ground is space, now this is space, now this is time, this was time;
ground is, this is time now, this is space there.

Ground zero is the ground of the wild, the trail of the wild, its call or
calling, kill or culling. Ground zero is the table-tabulation of the
ground, part-objects of plants, animals, organic debris; ground is always
already debris. The ground does not suffer: the suffering of the ground is
our suffering: the ground is contaminated with our suffering.

Our suffering is the suffering of the ground - which is not the suffering
of the ground - which does not suffer - our suffering is the table-
tabulation, the unknown, unaccounted, unaccountable, unaccounted-for basis
of data, the blurring of data: all this construct of the human upon
absolutely nothing.

It is here that the wild parts the Wild, that the Wild decomposes - not on
the technological, on the subsequent extinctions, on the devolving of
extinctions - but on ground zero, on table-tabulations - from the begin-
ning an established fact.

From here the strategy is the move to the tabled, the move which is a
history of the process of tabling: the recognition, not of the Wild, but
of its loss inherent within the Wild. Which isn't to say a foregone
conclusion, but a technology gone wild, infected, infecting.

Now what remains: ground zero already charnel-hus, slaughtered animals,
what shall one do now? The question parallels standard 'what is to be
done?' - to which there is no answer. Ground zero - not the Ground Zero of
9/11 - but the ground zero of the trail, the trace - must be absolutely
understood and understood absolutely: that the Wild has always been
sundered to the extent that human languaging and culture have operated
through the _trajectory of the hand-ax_ - from stone through reification
to ax, from ax through exchange to ax. The trajectory refers to the
_skittering_ of the trail across ground zero. The skittering is scythe and
dominion, the distinction that makes a distinction: live and dead, hunter
and prey, herd and cull, grain and territory.

Once there is travel, tool, reification, ground zero is both relinquish-
ment and harboring. The violence of writing is here within table-
tabulation, the sintering of ground zero, the remeasurement of trail, the
contestation of trail and table.

Why is any of this a matter of concern? Because the Wild continues to be
romanticized, farmed-out, mystified; the sublime itself is the Wild placed
beyond reach, the distance of a troubling absolute. I believe one must
begin otherwise - with Holocaust, with disappearance. This needs more than
text or voice, more than lip service. It's useless to pretend that the
issue is "management" or "wildlife corridor" or "dark matter" or "natural
selection" or even "selection" given the fold-catastrophic (re: Thom)
nature of extinction. The horror inheres to flattening, to trail. It is
not an addition, not techne, not technology. As population increases, it
is simply coming into greater view. The issue is a fundamental geopolit-
ical one. The only solutions may well be enclaves, data-bases, DNA banks,
regions within hunting or poaching are punishable by death. This is far
too little too late. It is the best chance there is. It does not address
the future collapse of culture world-wide as pollution and climate rampage
- these will happen. It does address the the end of things (end of the
Wild, end of megafauna, end of variety, end of coastal culture), and that
is all we can hope for.

ii

It is not a question of apocalypse; it has always been a question of
apocalypse; humans have read the trails, walked and traced them, from the
beginning, from the beginning of organism. Every organism has culture. The
question becomes "how are we with apocalypse"; "how are we among the
apocalyptic." For this condition, this state-of-affairs, this desire,
looms closer, as if the apocalyptic announced itself.

I read far too often that humans have cried apocalyptic far too often - but
for a moment, put yourself in the position of a polar bear, or black
rhino, or bonobo: Consider these, as well, crying apocalyptic, until the
last of the them disappears.

It is not, again, "what is to be done," but "what is the doing." And it is
insufficient to abjure the doing, as in the notion there can be no lyric
poetry, perhaps no poetry, after the Holocaust, that other holocaust that
continues in yet other forms. This bypasses, not only doing, but thinking
that may yet reveal another dawn in the midst of dusk. One might say in
return, all dawns are ruptured. The day is ruptured by the night. What
remains, what is never ruptured: ground zero - one might say the substance
of ground zero, but here there is no divisibility; one fails and falters
with the other.

iii

Ground zero is the ground of debris, spew, emission - the ground that
erases traces, derails trails. It is never so simple as inscription, but a
confluence of inscriptions, spatio-temporal strata, cross-purposeless. The
fossil record is the miniscule surface of the world appearing as depth.
But there is enough present to indicate that today something is wrong,
incoherent - an environment that changes faster than adaptation, fit only
for generalists - species, themselves, that might be in trouble later on.

The artificial (zoo, museum, housing development) requires energy and
continuous maintenance. It is a strange attractor of finance; without
money, the budget of organism falls apart. It is susceptible to world
politics, to a world with rapidly decreasing resources. The Wild must be
seen against this background. The Wild and its species have disappeared -
which means the cultures of these species have disappeared - which means,
further, that we are dealing with organisms divested of spatial and
temporal history. There are no neighborhoods, no learned behaviors, that
are not contaminated by humans - both within the artificial, and in the
remnant parks and "wildernesses" on a planet experience an information
implosion, population explosion.

Think of the artificial as organism banking, and continuous maintenance as
the lineage of organisms translated to the lineage of human beings, in the
future perhaps other technologies. The point is this: these lineages are
disrupted as well, are broken - and a single break results in permanent
loss. Kill the zoo, kill the species. Develop a plot of land harboring an
irreplaceable biome, and the biome is gone forever. It's a no-win situation
- environmentalists hold out with man/woman-years, and the biome seems
safe - but one victory of development, and everything is lost. This is an
example of the "fragility of good things" in catastrophe theory - if
everything goes right, good things happen - but there are many more -
astronomically many more - things that can "go wrong" - and any of them
permanently eliminate the catastrophic peak of "goodness." In this sense
"goodness" might be defined as _any_ desired state-of-affairs; there's no
ethos implied.

A "world of generalists" will never be the end of the story, as generalist
species compete with one another, construct new strategies, fill new
ecological niches. Competition continues on a planet of rapidly depleting
resources. There _is_ an end in sight, as variety ultimately decreases
exponentially.

Culture suffers as well. Projects disappear as coastlines are inundated,
fresh water and fossil fuels are at a premium, and replacement fuels
create vast changes in biomes themselves. Gasoline replacement comes at a
price - again, of ecological niches, cultures, even an acceptable air
quality level. Couple this with population pressure (we're not yet at the
9-10 billion peak expected), and one has a world in which criminal
activity is necessary for survival. Poaching will be long gone - there
will be nothing left to poach (I think of the denuded hills around Ciudad
Juarez already as an example). What we still consider, ever more tenu-
ously, the "safe" internet, will exist locally at best, most probably used
for gang/terror networking. The simplicity and spread of nuclear arms only
adds to the mess.

Here is the ground zero of debris, detritus, effluvia: when there is no
return to and from the Wild, when the "natural" becomes a literally mean-
ingless term, when histories are absorbed and annihilated.

It is at this point that one must start, politically, ecologically, phen-
omenologically, if there is any hope - not of transformation - but of
functional enclaving. The world has become a mobius-strip Auschwitz,
encompassing everything - where we are inmates and guards, where there is
no outside. The image itself - the reality of this metaphor - is still
only on the horizon, but the reality of its referent is upon us.


---

WHAT we're doing now on Wed Jan 24 23:43:56 EST 2007

87 WHAT ftpd: ftpd: (pine-4.64) ssh -tcsh /usr/local/bin/pine (pine-4.64)
emacs (pine-4.64) irc -tcsh irc -ksh -bash -tcsh scrollz
/usr/local/bin/ksh irc irc ssh ssh ssh (pine-4.64) ssh ssh ssh irc -ksh
emacs -zsh -tcsh -bash -ksh -tcsh -ksh irc -tcsh /usr/local/bin/tin lynx
(pine-4.64) -ksh -ksh -ksh more (pine-4.64) (pine-4.64) trn3
/usr/local/bin/scree -tcsh -ksh -ksh emacs (pine-4.64) -bash -tcsh -zsh w
(pine-4.64) (pine-4.64) (pine-4.64) -bash mutt vim -bash -tcsh -tcsh mutt
-ksh -tcsh (pine-4.64) -tcsh -ksh -tcsh pine tail /usr/local/bin/scree
-zsh -tcsh -zsh /usr/local/bin/pine -ksh93 -zsh pine (pine-4.64) -tcsh
/usr/local/bin/pine -ksh

The field recording dedicated to Michael Snow

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

This is dedicated to Michael Snow, who taught me everything
an original field recording. The instrument is unusual.
Here for you is a new and different field recording
remove '/net/u/6/s/sondheim/.procmail/log'? y
k1% tail -20 oz.txt
Here for you is a new and different field recording
who is singing in a new and unusual way. If that is the case,
I had to know about field recordings. Field recordings
who made them come alive for me and I owe him gratitude.
You know, field recordings are both easy and difficult.
Without field recordings, past civilizations and tribes
to do. One might for example come across a very old person
and tuned unusually. I have not come across this before,
with the mysteries of humans and their various ways of life
are the very stuff of human culture and its explorations.
This is an amazing opportunity to hear
and make something that others may hear and sing and make,
a glory all their own, since they are replete, fecund,
of an older person playing an unusual instrument.
I love the field recordings and it was Michael Snow.
It should also be said that field recordings have
since the person can sing into the field recording
a kind of wooden stringed lute I had not come across before,
might never have found the light of technological day.
A field recording proves useful and exciting

VirtualBody

http://www.youtube.com/watch?v=kbapIr8K_Ls

This is the final solution of the virtual body, the solution down to the
bone where the flesh is irrelevant, the muscular body of atrophied
muscles, the wired body switched off, the wired body switched on - this is
the perfect perfected pure virtual body, the aerial body of antenna and
ground

this is the shattered body, body shattered against itself, body of songs
and delights, unspeaking and unspeakable body

it might be said that sex, for me, was only a detour, that this body has
been the construct-construction of years - the rendering of these few
moments left (of the shattered body, the final solution) taking only a
matter of twenty hours or twelve-hundred minutes for perfect production,
frame by frame, image by image, the coalescence of nature-culture like
none other, the immanent shattered by the imminent

only the necessity of knowing the absence of sex and all desire, the
useless remnant of violence crawling out of our civilization - only this
necessity is a reminder of the interior of pollution incohering, stripped
from life and limb, corpuscule and tissue

nothing is in favor of the light 'here,' nothing is 'here' nor was nor
would have been (nothing exemplary anyway)

The Text of the Procurer:

:lives always has fuzzy boundaries where the limited exigencies of life
are:landscape of death. Hannibal's elephants haunt the Alps. Where
nothing:Every organism is an organism of and by slaughter, every
landscape, a:have robbed the experience of another. Memories always teeter
on the verge:to, almost a denial that only Rilke was capable of. Actually
climbing to:

http://www.youtube.com/watch?v=kbapIr8K_Ls

Devour the bluff, the church, the grave, seems an impossible memory now,
as if I Brought Forth through lives always has fuzzy boundaries where the
limited exigencies of life are!

landscape of death.
nothing
the haunted. of landscape, the landscape of death.
where nothing of the landscape of death.
where nothing lives and nothing is the landscape of death.

The Recognition.
slaughter.verge.
the saturation. the dead-sex link with death and pain.
the dead linkage.

(This is for a discussion group and may be of interest otherwise as well.)
(Thanks to Florian Cramer and Jim Reith and others who helped with programming.)



Text Manipulation Examples


trAce http://tracearchive.ntu.ac.uk/writers/sondheim/
-- scroll through texts
trAce Lost Project http://tracearchive.ntu.ac.uk/lost/

Normal

Every organism is an organism of and by slaughter, every landscape, a
landscape of death. Hannibal's elephants haunt the Alps. Where nothing
lives always has fuzzy boundaries where the limited exigencies of life are
contested. I think of the unholy matri-patrimony of aM and what it has led
to, almost a denial that only Rilke was capable of. Actually climbing to
the bluff, the church, the grave, seems an impossible memory now, as if I
have robbed the experience of another. Memories always teeter on the verge
of recognition.

Back through awk
{
for ( i = NF; i >= 1; i-- )
printf "%s ", $i;
printf "\n";
}

a landscape, every slaughter, by and of organism an is organism Every
nothing Where Alps. the haunt elephants Hannibal's death. of landscape
are life of exigencies limited the where boundaries fuzzy has always lives
led has it what and aM of matri-patrimony unholy the of think I contested.
to climbing Actually of. capable was Rilke only that denial a almost to,
I if as now, memory impossible an seems grave, the church, the bluff, the
verge the on teeter always Memories another. of experience the robbed have
recognition. of

Rev

a ,epacsdnal yreve ,rethguals yb dna fo msinagro na si msinagro yrevE
gnihton erehW .splA eht tnuah stnahpele s'labinnaH .htaed fo epacsdnal
era efil fo seicnegixe detimil eht erehw seiradnuob yzzuf sah syawla sevil
del sah ti tahw dna Ma fo ynomirtap-irtam ylohnu eht fo kniht I .detsetnoc
ot gnibmilc yllautcA .fo elbapac saw ekliR ylno taht lained a tsomla ,ot
I fi sa ,won yromem elbissopmi na smees ,evarg eht ,hcruhc eht ,ffulb eht
egrev eht no reteet syawla seiromeM .rehtona fo ecneirepxe eht debbor evah
.noitingocer fo

Tac through vi :g/^/mo0

of recognition.
have robbed the experience of another. Memories always teeter on the verge
the bluff, the church, the grave, seems an impossible memory now, as if I
to, almost a denial that only Rilke was capable of. Actually climbing to
contested. I think of the unholy matri-patrimony of aM and what it has led
lives always has fuzzy boundaries where the limited exigencies of life are
landscape of death. Hannibal's elephants haunt the Alps. Where nothing
Every organism is an organism of and by slaughter, every landscape, a

tr A-Z a-z

every organism is an organism of and by slaughter, every landscape, a
landscape of death. hannibal's elephants haunt the alps. where nothing
lives always has fuzzy boundaries where the limited exigencies of life are
contested. i think of the unholy matri-patrimony of am and what it has led
to, almost a denial that only rilke was capable of. actually climbing to
the bluff, the church, the grave, seems an impossible memory now, as if i
have robbed the experience of another. memories always teeter on the verge
of recognition.

tr transposition

Evory orqknssm ss kn orqknssm op knn ly slkuqrtor, ovory lknnsmkpo, k
lknnsmkpo op noktr. Hknnslkl's oloprknts rkunt tro Alps. Wroro notrsnq
lsvos klwkys rks puzzy lounnkrsos wroro tro lsmston oxsqonmsos op lspo kro
montoston. I trsnk op tro unroly mktrs-pktrsmony op kM knn wrkt st rks lon
to, klmost k nonskl trkt only Rslko wks mkpkllo op. Amtuklly mlsmlsnq to
tro llupp, tro mrurmr, tro qrkvo, sooms kn smposssllo momory now, ks sp I
rkvo rollon tro oxporsonmo op knotror. Momorsos klwkys tootor on tro vorqo
op romoqnstson.

substitution

Evory orgonosm os on orgonosm of ond by slooghtor, ovory londscopo, o
londscopo of dooth. Honnobol's olophonts hoont tho Alps. Whoro nothong
lovos olwoys hos fozzy boondoroos whoro tho lomotod oxogoncoos of lofo oro
contostod. I thonk of tho onholy motro-potromony of oM ond whot ot hos lod
to, olmost o donool thot only Rolko wos copoblo of. Actoolly clombong to
tho bloff, tho chorch, tho grovo, sooms on ompossoblo momory now, os of I
hovo robbod tho oxporoonco of onothor. Momoroos olwoys tootor on tho vorgo
of rocognotoon.

Pig-Latin

Everyway organismway isway anway organismway ofway andway ybay
aughterslay, everyway andscapelay, away andscapelay ofway eathday.
Annibalhay'say elephantsway aunthay ethay Alpsway. Erewhay othingnay
iveslay alwaysway ashay uzzyfay oundariesbay erewhay ethay imitedlay
exigenciesway ofway ifelay areway ontestedcay. IWAY inkthay ofway ethay
unholyway atrimay-atrimonypay ofway aMway andway atwhay itway ashay edlay
otay, almostway away enialday atthay onlyway Ilkeray asway apablecay
ofway. Actuallyway imbingclay otay ethay uffblay, ethay urchchay, ethay
avegray, eemssay anway impossibleway emorymay ownay, asway ifway IWAY
avehay obbedray ethay experienceway ofway anotherway. Emoriesmay alwaysway
eetertay onway ethay ergevay ofway ecognitionray.

Punched Cards
___________
| o .o o|
| ooo .oo |
| oo .o o|
| ooo . o |
| oooo. o|
| o . |
| oo o.ooo|
| ooo . o |
| oo .ooo|
| oo . o|
| oo o.oo |
| oo o. o|
| ooo . oo|
| oo o.o o|
| o . |
| oo o. o|
| ooo . oo|
| o . |
| oo . o|
| oo o.oo |
| o . |
| oo o.ooo|
| ooo . o |
| oo .ooo|
| oo . o|
| oo o.oo |
| oo o. o|
| ooo . oo|
| oo o.o o|
| o . |
| oo o.ooo|
| oo .oo |
| o . |
| oo . o|
| oo o.oo |
| oo .o |
| o . |
...

Eliminate

#!/usr/local/bin/perl5
while () {
@words = split /[\s]+/, $_;
@spaces = split /[\S]+/, $_;
for ($x=0; $x <= $#words; $x++) { $word_count{$words[$x]}++; if ($word_count{$words[$x]} == 1) {print $words[$x],$spaces[$x+1]} } } Every organism is an of and by slaughter, every landscape, a landscape death. Hannibal's elephants haunt the Alps. Where nothing lives always has fuzzy boundaries where limited exigencies life are contested. I think unholy matri-patrimony aM what it led to, almost denial that only Rilke was capable of. Actually climbing to bluff, church, grave, seems impossible memory now, as if have robbed experience another. Memories teeter on verge recognition. Elimx.pl #!/usr/local/bin/perl5 while () {
@words = split /[\s]+/, $_;
@spaces = split /[\S]+/, $_;
for ($x=0; $x <= $#words; $x++) { $word_count{$words[$x]}++; if ($word_count{$words[$x]} == 1) {print $words[$x],$spaces[$x+1],$words[$x-8],"\n"} } } Every organism organism of is and an by of every and landscape, by a slaughter, Every every organism landscape, is a an landscape death. death. elephants Hannibal's haunt elephants the haunt Alps. the Where Alps. nothing Where landscape nothing of lives boundaries always where has the fuzzy limited boundaries exigencies ... Mathesis &parse_file_into_words("zz", 4000, " \$i/4 - 10 * sin(\$i * 20)"); sub parse_file_into_words { print "\n"; #blank line my ($extract_filename, $iterations, $formula) = @_; open(IN, "< $extract_filename") or die("can't open $extract_filename: $!"); my $line, $i, $index; my $full_file = ""; while ($line = )
{
chomp($line);
$full_file = join " ", $full_file, $line;
}
close(IN);
my @words = split(/\s+/, $full_file);
for ($i=1; $i<=$iterations; $i++) { $index = word_index($i, $formula)-1; print "$words[$index] "; } print "\n"; #blank line } sub word_index { my $ret_val; my ($i, $formula) = @_; $ret_val = eval($formula); return int $ret_val; } another. always organism slaughter, organism on another. recognition. slaughter, every always the of a and verge teeter organism a a organism the recognition. slaughter, death. slaughter, recognition. verge of death. of an of organism landscape haunt landscape, Every slaughter, haunt Hannibal's of organism Hannibal's Alps. landscape is is landscape Where the by is slaughter, Alps. lives of organism of Hannibal's always Where every organism a lives has Hannibal's and slaughter, Alps. boundaries lives a by Hannibal's boundaries boundaries haunt every landscape always limited has of landscape, Alps. limited limited Alps. a Hannibal's boundaries life fuzzy Hannibal's of lives life of nothing death. Alps. exigencies contested. where haunt elephants boundaries I are always haunt lives are of limited Alps. Alps. exigencies the I fuzzy Alps. boundaries of unholy of lives always are of of where lives limited matri-patrimony aM are has boundaries of what unholy limited fuzzy are and what I where limited matri-patrimony led of of the think led led of limited are what almost and are of matri-patrimony a almost unholy life think led that it I contested. what only denial of contested. matri-patrimony denial was led of of led capable only aM of and Rilke of. almost matri-patrimony matri-patrimony denial climbing was what matri-patrimony led Actually to denial aM what was bluff, of. has and denial the bluff, only what led Actually church, climbing to, has Rilke church, church, Rilke led denial bluff, seems the denial almost Actually seems grave, capable almost Rilke the memory the only that the now, impossible Actually that Actually impossible as the was was the I now, to was the as have seems of. Actually impossible the if bluff, Actually the have the an to bluff, as of have church, to an of another. memory bluff, the robbed always the grave, the as always always as the an of the of an grave, robbed the on I seems as teeter recognition. Memories now, memory of recognition. verge robbed memory have verge teeter if if teeter recognition. experience if of on have robbed verge another. have always verge the of always experience verge recognition. another. teeter on Memories always verge verge on the recognition. of recognition. GoogleScrape (raw) "landscape of sex and death" true In Kevin Pattersons fictional debut, Country of Cold: Stories of Sex and Death, landscapes of physical and emotional extremes are traversed by a group of ... Pattersons fictional debut, Country of Cold: Stories of Sex and Death, landscapes of physical and emotional extremes are traversed by a group of ... Sex harassment cases tread rough landscape ... Gamow said he had not engaged in sex with Ruehlman. Liquor store rampage ends in death ... true pop ought to offer a deeply alluring landscape, both actual and symbolic, You - the Sex Pistols, the Clash, or any of those other Golden Age ... significance do other landscapes, like the desert and the English countryside, Can you find other places in the novel where sex and death are ... 03&view=rg 28k true What significance do other landscapes, like the desert and the English countryside, Does it seem to you that Almasy links sex with death and pain? ... ew=rg 26k true What significance do other landscapes, like the desert and the English countryside, Can you find other places in the novel where sex and death are ... 132k true This singular book follows a mad, tumultuous landscape without remorse or Gilmore obsesses on a relentless panorama of sex, violence and death in five ... the authors note, Cerda s Aftermath and Buttgereit s Nekromantik (1 and 2) may signal a saturation point for sex and death, but without these films there ... 93?OpenDocument 19k true Respect for the opposite sex and the Christian interpretation of death when deciding on the research method for the Swiss wish landscape study, landscape of sex and death Simple perl program results: Give a name to your hunger! This Every organism is an organism of and by slaughter, every landscape, a speeds endlessly through the body - Your squeezed is the currency of your drug - Ah... Your lost-body-skins are your juice? I love these feelings, Every organism is an organism of and by slaughter, every landscape, a ... for ecstasy me in your juice! What do you call your the squeezed? Your drugs - list them... one by one, each on a line alone, typing Control-d when done. My the bluff, the church, the grave, seems an impossible memory now, as if I is yours... lives always has fuzzy boundaries where the limited exigencies of life are calls forth cock on, eating, core-dumping. inside the heavens, lives always has fuzzy boundaries where the limited exigencies of life are is , 039], landscape of death. Hannibal's elephants haunt the Alps. Where nothing? ... on is contested. I think of the unholy matri-patrimony of aM and what it has led here, it's on? Are you properly compiling lives always has fuzzy boundaries where the limited exigencies of life are? For 1 the days, I have been junkie Julu ... and it has taken you just 0.133 minutes turning on ... =====

Moving Her Body in Second Life

oday I revisited Second Life and gave new Life to my Avatar and now Her
Body moves just like I would move if I had a File called God.

God makes Dojoji move and God infuses Her with Life new-born, glorious
Life, lovely in Conception and Deed. I cannot say enough about Her
Appearance, but it will remain with me until the Rapture, when she will
lead the Procession of Salvation, Holiest among the Holy, Saved among the
Saved, New-Born among the New-Born.

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

Yes, and Delicious with the Sweetness of the Nectar of the Lord. I would
love Her Strong, were it not for my Love of God; I would worship Her, were
it not for Strong Salvation. She shall Ascend to the Holy of Holies; She
will draw me up; I will not be far behind. For She accords me the Grace of
Creation, just as I accord her the Wager of Sin.

Together we shudder at the very Sight of the Eternal, We Love each Other
so very much!

big loss sutra


i make over people, i move, make each touchable. other. i touch. all sutra
resistance. resistance. they are other. refuse moon-bay, moon-bay.
avatars, (digital) within the sublime; the digital is sublime, infinite
there {avatars are backed, at the back of infinite space}.

http://www.youtube.com/watch?v=k6ZHEw2mKX0

[apologies, deleted http://www.asondheim.org/riverswanted.mp4
i needed the space.]

the cutting, the flesh, the sound. This trauma has stayed with me my
loved the feel and the sound and... I wrote like crazy this year, it was
in music/soundwork.
planes above us - the _sound_ of it?). I envied their clear and evident
this slow piece... maud gone / asunder, foofwa distraught, exultant,
untouchables all over again
i make my people move all over each other. i make my people touchable.
this sutra a sutra of resistance. they refuse the other. moon-bay.
{avatars back at it; within the (digital) sublime, there is infinite
space. or so they thought. until the other.}

the sound. cutting, This flesh, has sound. trauma has stayed cutting, with
the flesh, I feel like a crazy sound, and... I
was written, loved like the crazy feel and sound - it was
in music/soundwork.

planes above it? I - envied _sound_ clear of and evident - envied above us
clear and evident, a slow _sound,_ a maud piece... a gone maud / gone
asunder, / foofwa asunder, distraught, foofwa exultant, distraught, this
exultant, slow untouchables all over again

i make over people, i move, make each touchable. other. i touch. all sutra
resistance. resistance. they are other. refuse moon-bay, moon-bay.
avatars, (digital) within the sublime; the digital is sublime, infinite
there {avatars are backed, at the back of infinite space}.


erhu

the digital is sublime, infinite {avatars are backed, at the back of
infinite space}

digital {0,1} constitutes a spectrum degree zero; if one is below, 0
is above; if 0 is below, 1 is above. since nothing exists between one
and the other, nothing from one is attainable by the other; one and
the other are mutually sublime. the backs of avatars are against the
wall of digital space; there's nowhere left to go.

understand this and you understand the phenomenology of the digital-
in-relation, the analog-in-relation.

http://www.asondheim.org/erhu.wav chinese erhu with echo and filtering
beautiful music

http://www.asondheim.org/godandnumbers.mp3 shortwave numbers station
colliding with religious preaching, filtered transmission
beautiful sound


Foofwa - This is an open letter of sorts. I've been working with materials
from Geneva for over two months now, not including the third trip itself.
In the irreality of the image - an image the opposite of the punctum, an
image surrounded by an imaginary gnawing at the surface content - I've
lost myself, almost become sick. Distance in time and distance in space
are both inherently obdurate, unbreachable; there are no jump cuts in the
real, and if I've made an error in video for example, it remains an error,
cut off from the source. It's not only the affaire-Maud (aM forthwith),
but the very notion that such affaires now, are at a distance; they are a
constancy. The Alps, the Aletsch glacier, retreat into the format of a
picture book, and with every step of that retreat, something is lost
within the haptic; touch has disappeared, replaced by "communication"
which already foreshadows the permanency of distance.

There is something else, however, which is the defuge or decathecting,
which began with aM but continued as time advanced. Every video I made
with the Geneva or Alps material involved a yanking-back; I couldn't
return to the measure of the real, for example, that the four of us most
likely felt in the grange. This relates to memory in general - in this
case, differentiated (in the sense of a formal operation upon internal
time consciousness) and exacerbated; to crawl back would be to be torn to
shreds upon the spikes of events, words, adjectives, vowels. Yet it has
been a long time since I've been so close to the bone with a subject, in
particular one so close itself to the sublime.

I'm tired of naked bodies and after aM, they become a kind of litter
reminiscent of war. And all the movements such bodies might made, from
falling and failing to flying and fleeing - spanning the continuum from
suicide to death - just so - not tiredness, no, certainly not arousal, not
disinterest - perhaps the flight of something which never really
approached. Day after day I've looked through image after image, tape
after tape, as if some secret would arise through special effects of even
juxtaposition; what occurred instead was an internal mapping of every step
all of us took physically and psychologically through that, and every
other, landscape.

Every organism is an organism of and by slaughter, every landscape, a
landscape of death. Hannibal's elephants haunt the Alps. Where nothing
lives always has fuzzy boundaries where the limited exigencies of life are
contested. I think of the unholy matri-patrimony of aM and what it has led
to, almost a denial that only Rilke was capable of. Actually climbing to
the bluff, the church, the grave, seems an impossible memory now, as if I
have robbed the experience of another. Memories always teeter on the verge
of recognition.

So this is to say, and not to say, that the work from Geneva and the Alps
has entered a period of dormancy, one with an almost-consciousness of
waiting. The rocks still gnaw at me; I think of the possibility of climb-
ing between the twin peaks near La Gruyere. That would be an _episode._

So the work continues, wide-awake, and has entered a period of illustra-
tion, as time distances and we become increasingly disinvested of psycho-
logical trauma, if not of psycho-history itself. I manipulate images of a
woman I don't know, have never known, among motions and images of the rest
of us. That this would lead back to Aletsch, through Blatten to Belalp, is
both a dream and an obsession. And we would be there in this false spring,
when the world supports clear skies and a kind of moody warmth that
appears after great exertion. And that one or another would be furiously
creating. And that that, would be that.




M-D

Sometimes supreme happiness comes my way as a fold or potential field
opening up vast possibilities and new horizons. All these languages that
grace my shelves! Fijian, Tahitian, Tibetan, Pali, Sanskrit, Romansch -
the world blooms with new grammars, new structures for organizing the
universe acoustically! Now I also play the erhu, some simple north-
Saharan-like repetitive trance-songs - and harmonicas (I just read a poem
which included a "mouth-organ" in The Ladies' Home Journal Treasury from
1956 - I've mentioned this book before, there's even a reproduction of a
cover by Sargent! And the harmonic minor (C minor) harp from Lee Oskar is
fantastic! I walk down the street making up Yiddish tunes as I go. And
speaking of which - yes, on the short-wave, or upper middle-wave, around
1700, there's Rebs galore, what seems to be a Chassidic station in Yiddish
and Hebrew - and the tunes are fantastic. I just installed a very old
version of Final Cut Pro on my Mac Powerbook, and here it is, burning
madly away, a new piece - it can take it's time, I have other machines,
I'm rattling away on this new laptop which I need for my also new class in
Beginning Filmmaking at Brown! This was through Leslie Thornton - the
class emphasizes digital everything except the camera - in a way it's the
phenomenology of film itself that's at stake! Here's a frame - what do
you want to do with it? The Flower Ornament Sutra keeps my busy at night -
and there are so many wonderful books here - Roberto Harrison's writings
are nothing short of incredible, intense, abstracted, neuro-psychological,
what does that mean?, slightly conceptualized, veering, always fascinating
- and one can always go back to Kristeva's Language, The Unknown - how
young she was then! - which reminds me of my continuous mourning-the-Alps
and that never to be reproduced / revisited trip which produced probably
fifteen or twenty hours of brilliant dance, video, soundwork, even just
pacing the middle of the European continent, such as it is. And then that
unforeseen trip to Rilke's grave in Raron - and the Duino, the Orpheus,
the letters to Merline, and now Erich Heller's The Disinherited Mind,
which I can always recommend as an old friend - here I am on the chapter
about Nietzsche and Rilke! Not really a small world - I've been look for
commentary - it just came along! Just as the wonderful O'Reilly book on
Unicode - I mean really really wonderful! arrived after Sandy told me
about it - I ordered a review copy - it's just the thing of course for
codeworkers or anyone wanting to understand the potential of the graphemic
universe transformed into universals given this-and-that tolerance class
and an always already limited digital space! It's sitting right next to
another review copy - this is PC Music, the easy guide, 3rd edition - and
here I am on the Mac, making new video and audio, and on an old Mac! But
this is what I found for the PC - something called the Taksi Desktop Video
Recorder at Source Forge which promises great things, translating window
into usable footage - as if video were still "footage" - one can imagine
of course that 24 frames a second really implies these rectangles moving
by us one by one - this is far from the truth now. It's all internal, it
can be any way one wants! Unlike Badiou - and I have so much Badiou - and
it reads like stringent iron, that truth that binds just about everything
and then of course veers off into poetry and art - the French are like
that - I think Kristeva's one of the best, not to mention M. Derrida. More
and more I've been listening to disembodied voices on the shortwave - not
the Net - which is so flat, so predictable - shortwave space - radio space
- is deep space, the deepest space - you might or might not hear a signal
- signals and stations come and go - static of all sorts intervenes -
static itself is interesting - and listen to this! I picked up a numbers
station a couple of nights ago - the same comforting female voice, Spanish
numbers - even around the same place on the dial - about 6800 Mhz - that
seems to be like a singles bar for spies - anyone can join in - the code's
unbreakable of course, which just goes to show what one-to-one encryption
can do - I mean both ends have the same code book - there's no structure,
no rhyme or reason - you can't break a structureless code unless you've
got the book or massive processing - and if the book's unique, even that -
the processing - produces nothing. So you're listening to clear imperv-
iousness. The other night, our cat got really sick - for the first time we
sprayed for the larger cockroaches - I hate killing, but they were begin-
ning to swarm - when they were injured, we put them outside, praying for
their revival, karma, just elsewhere - anyway I think the cat caught
something or other - not sure - but she became lethargic, drinking a lot -
there was vomit and diarrhea - she's recovered well now and again purrs
constantly which keeps us going; there are odd words in Sanskrit that
relate to English words like 'middle' or 'calculator' - some languages
from our parochial viewpoint just seem to meander - meanwhile that first
video I did tonight - it was horrifying! apocalyptic! - as if sex and
violence and death and suicide were all entangled in the television image
- and this in less than a minute and a half - I don't dare show it! It's
far too graphic, too disturbing! At least for me - something like the
avatar head pieces I did a while ago - but those were excusable! They went
somewhere, said something! - This is just a dead-end piece; I found Waite
and Dion Fortune on the Kabbalah - ok, I've read the real thing, the
Zohar, know some Hebrew, used to know a bit about the Sephirot and for
that matter used to know some Kabbalists - I mean people who really
studied this stuff, obviously in the original, reminds me of Dogen -
anyway - the Waite and Fortune are something else entirely - it's that
weird British thing that sent ladies to ashrams - maybe the thing Koestler
objected to in The Lotus and the Robot - just checked - the new video came
out amazing - by which I mean that I've never seen anything like it -
that's what keeps me going - when a world opens up like that - so I've
been trading off books, paring them down - unfortunately there's more
equipment around - I can't help that - without money, with all this stuff,
we'll still starve - but the image will be ok. I'm one of those people
with "irons in the fire"! I'm a "hot potato"! I've got "something on my
mind"! I'm forever planning, forever Amber! I've been using the linux
Zaurus 5600 again - it's fairly old as these things go now - small computer
looking like a PDA - but with linux, one can do anything! Speed means
something completely different in linux! Anyway I'm playing scrabble games
and wondering if they somehow do increase neural connectivities - I sure
hope so! PJ O'Rourke was on television today, a three-hour interview - it
was fantastic, memories of Hunter Thompson - they were close - said that
Hunter never figured it out - what to do after 50 - and collapsed - anyway
didn't that whole period collapse? I saw Bobby Seale talking as well and
got Soul on Ice again - just the force of language then - it's already
going to read like history, flattened into non-existence - look at Marx's
Capital or the theses or manifesto or whatever - it all reads like a
whisper - that's happening to the Situationists - culture speeds - the way
we're working now - all this distributivity - it's impossible to relate to
modernism, I mean the telephone, old-time baseball, network television,
the structure of Shakespeare or Hemingway. You can feel the canons passing
in the night! When the caissons go rolling along! It's true what they say
- it's all over before it began - this species - our own - is in full
bloom - I mean in the technical sense - we're the red tide of the planet
itself! Look at the deaths we leave in our wake! Look at the wakes we
don't have for our dead! Who has the time! Hundreds of thousands dead in
Iraq - no time - it's the killing fields - American men and women - the
remnants of the anthem - I hope I can trade some of my cassettes to Steve
Tobin who produced my latest CD - I'm remembering things like the Factory
stuff or Sleep Chamber - just like Ayler but maybe fifteen or twenty years
later than Ayler - there's some kind of absolute there - it's gone now -
you'd think when things reach some sort of climax - Daniel Buren say -
stuff's all over - but the truth is, people like to look at stuff and
listen to stuff and it doesn't really matter whether it's been done before
or not - it's the wonder of the world that's coming through to them, just
like with the shortwave, and with all of the noise of the shortwave as
well. I'm trying to place Grotowski - his poor theater in all senses of
the word ended up at Irvine where he's world-famous - why not? That
Artaud-like anguish seems to have vanished in favor of memory, but what do
I know - I never knew in the first place. People are afraid of sexual work
- it remains some kind of taint - what the three of us did at the Grutli
set up disturbances a couple of magnitudes greater - how to release the
tape - Crepuscule (Twilight) or some such - I can never remember plurals -
for example it's Gruyeres for the area, but it's La Gruyere for the town -
the cheese is incredible; they use robots similar to the new library ones
but in the cheese factory they turn over I think seventy-five pound disks
of the stuff for perfect aging. And it does age perfectly! Gruyere cheese
or raclet cheese are amazing! I'm sure my spelling's a mess again. I never
listen to cultural-political writers unless they're in power. All that
energy in a posteriori analysis. I need someone to say - the bomb's going
off in maybe an hour from now, here's the address, the people that did it,
the reasons why, etc. etc. - and really have this down - not someone from
the group itself - although that would be interesting - yes, maybe that -
all this sudden speculation on/about Islam - our country isn't even pub-
escent - there's not that much sex! - We're like infants with guns! - You
know what a mess that is - even our speech is brutal - we're so drunk with
brutality we don't recognize it - it's not in front of us, or what we
swallow - it's our essence, it's our core, our primatology - and for that
matter everyone else's - but the power and the waste is here. I've got to
get the small Afghani rebab strung up - try ukelele strings? - one of the
catgut broke - if my hearing were better in terms of native pitch, the
erhu would be a piece of cake - it's not, but the rebab at least has three
frets - not much to go on, but something. The ceiling crack in our loft
has been widening; the beams might be broken and among other nightmares I
imagine the whole thing collapsing. We've got a metering device on them.

Hell, 1930

http://www.asondheim.org/hell.mov documents what happens when two dancers
complete the "octopus dance" - long a traditional Switzerland favorite -
dangerously close to a cliff edge overlooking the famed Aletsch Glacier.
Oh they dance, fine enough, but what would happen if the bluff gave way,
the mesa shifted, cliff collapsed? Buried under tons of rubble, jammed
into crevice after crevice, Swiss culture would be the poorer. Let us give
these stellar performers their due, their magnificent bodies carrying the
hallmarks of their trade. Dance is close to prostitution, but since the
Swiss government lavishly spends on the country's cultural heritage, these
two have been rescued from a life of unbelievable perdition. Appalause for
these dancers, who continued in spite of all the obstacles life's thorny
path has thrown into their way. Too bad the woman has left the profession,
such as it is, departed for parts unknown, to start a new life far from
Alpine pastures. Here, then, the remarkable, almost aerial, duets from two
of the most remarkable dancer in recent memory!