b.c. a.d.

Analogical, used by way of analogy
Analogically, in an analogical manner
Analogicalness, the quality of being analogical
Analogize, to explain by way of analogy
Analogous, having analogy
Analogy, resemblance between things

Digit, three fourths of an inch, the twelfth part of the diameter
of the sun or moon; an number expressed by a single figure
Digitated, branched out into divisions like fingers

Electre, a mixed metal
Electrical, Electrick, attractive without magnetism
Electricity, a property in bodies, wherebye, when rubbed, they
draw substances, and emit fire

(Walker's Critical Pronouncing Dictionary, 1823)




Yes, yes, of course.


I am God and when I die God is dead.

(There's little time left to speak to Me.)
(I'm not leaving a forwarding address.)
(Come to think of it.)
(Offerings don't count.)
(Pretty much anything you have to say.)
(Thank you for listening.)


Our Wonderful Picture of the Month!

What happens when the image of a text becomes the archaeology of the text
itself? Let's find out in this wonderful image by Alan Sondheim. He says:
"I took this with a Canon 630 set on flash and automatic. The image is a
shelf in my local bookstore, full of works connected with "theory" and
other intellectual pursuits. But everyone knows that books like knowledge,
decay, and I thought, how can I hasten the process? I experimented with
many filters and pencil bandwidths, finally settling on an ideal transfor-
mation, in which a few of the titles like Doubt are just barely visible. I
hope to continue in this vein; the best thing about digital photography is
that no one needs to see your failures, and there are so many successes!
I'd advise anyone to just keep their eyes open, to shoot what they know,
and to shoot as many images as possible. You'll find that one golden one
in the mountain of dross, but it's always worth waiting for. And with
digital, you can just shoot and shoot and shoot! It costs almost nothing
to make mistakes, but takes a great deal of editing and creative energy to
find that one perfect image, the one that dreams are made of." We are sure
that Alan will continue to make these "perfect images," and we will all
enjoy them. This is a far cry from our Sunset Composition we began with,
just a few months ago! http://www.asondheim.org/thelatest.jpg


Subject: Stress Fracture

View

This is the view from my desk which is neither in Paris nor the Black
Forest; it faces nothing but bleak development, projects, urban wasteland
scheduled for drastic over-development, still opposed by Develop Don't
Destroy Brooklyn (DDDB) in what is increasingly appearing to be a losing
battle. How can one expect literature from such blight, nature pushed out
to the limit, pigeons with missing toes resulting from frostbite, squir-
rels huddled in backyards along with jays and almost invisible mourning
doves? Everything protects itself; humans are the dominant species and
everything, including other humans, is prey.

So don't can't expect literature, only theory crippled by screams and auto
accidents; you can't expect proper grammar and spelling - those literary
matters - in the face of screeching cars and sirens.

http://www.asondheim.org/windowview.jpg





Uselessness of Monoculture


I will call 'monoculture' anything before the advent of the Internet - in
particular artworks, literature, theater, dance, etc. etc. This culture is
characterized by the singular; even when dispersive anatomies are present,
they are always in opposition or subtext to traditional thought. The mono-
lith is always present and accounted-for. The monolith is either station-
ary or process- movement- oriented, always static or dynamic; its elements
cohere, separate, are born to die, to be reborn again. This is the culture
of the traditional university but it is also urban culture, street-corner
culture; it is the culture of history and historiography, of the encyclo-
pedia and the expert and think-tank. Monoculture resolves, whether towards
resolution or irresolution; it is possessed by narratological impulse, by
development and the compass. Monoculture is not necessarily unary; there
is multiplicity and the nomadic, beneath the stars, within it. Monoculture
blinds us to the world; it is the World that is all the case. It is the
culture of gas, liquid, solid, electrostatics, electrodynamics, special
and general relativity; it is the substance of quantum mechanics insofar
as action may be defined as action or verification at a distance. In sum,
it is our sum, our summation, our accountancy of the world and of our-
selves, and it is useless, as the result of an Internet that is neither
singular nor plural, neither present nor absent, neither coherent nor dis-
persed; I will call 'Internet' what has corrupted monoculture, tended
towards its demise. I am not implying that 'Internet' in fact or fiction
signifies anything, that the name means; it may, in fact or fiction, be
characterized imprecisely by insigification, spews, abjections, blurs,
avatars, nothing at all.

For the change that has come about within and without the tangled skein,
holarchy of networkings, is of the plasma or swarm; it is Wolfram's
science, not Hertz's. Thinking through social sites, collaborative facting
and fictioning, wikipediatry, avatars of avatars, bots and phishing, what
comes clear is lack of clarity, lack of clarity's epistemology. This is a
fundamental transform to the extent that anything is fundamental at this
point; it sweeps away, for example, plots and allegories, bureaucracies
and governments, minds and bodies. Think of pre-Internet novels - novels
of modernism or post-modernism, of constructed and conceptual weavings, of
characters or lack of them. And television, theater, cinema, follow suit;
one is locked into farther time, father time, to diegesis, to an unravel-
ing that characterizes experimental film as well. Neither film nor paint-
ing are linear, but both participate in a locking-down of perspective, no
matter what openings, contusions, are on the horizon.

Lacan, Gardner, even Bateson presaged multiplicities; in Wolfram the swarm
is simultaneously organized and disorganized. Lacan never went far enough;
there was that reliance on language, no matter how shifted. It comes down
to this: When I read a novel, I don't recognize myself, the 'times,' any-
thing. When I watch a show on television, there are actors, people, or
animated actors. They're moving through familiar antiquated monolithic
space, proscenium or deep space - it makes no difference; there's always a
perspective. Perspective invades novels, stories, the world of monolithic
writing - on the other hand, try assigning a vanishing-point to MySpace or
even Facebook. Even Second Life, which tends towards classical perspec-
tive, falls apart on the edges where the simulacrum of physics is turned,
churned upside-down. One doesn't recognize (oneself or others) in Second
Life because recognition is already a problem; everything moves within the
aegis of Bell's theorem.

Consider photographic apparatus: begin with camera obscura, that one-to-
one allegory of the real - through Daguerre, view cameras, stationary then
moving then Edgerton. Cameras dissolve into swarming components; now com-
ponents themselves disappear as cameras transform into light-sensitive
holarchies, networked or independent, under whose or what control? The
image ends up everywhere and nowhere at all; no longer is it allegory -
which has long since disappeared - but the stuttering of the fragment
which no longer is in need of suture or extension. You can watch family
trauma, physical and mental abuse, on the morning talk shows, but whose
families? whose abuse? whose perspective? It doesn't need to end up on
YouTube; YouTube provides its own violence, its own parameters of liter-
ally unfathomable streams. Videos are removed if found, if from copy-
righted material; everything gets through, leaks. But leaks from nothing -
the culture, non-monolithic, Internetted, leaks without transmitters,
receivers, leaks without channels, or leaks from traditional channels,
only to be churned back, lost in brackish protocol.

Code, programs, codes, protocols, reference one another, are increasingly
open-sourceless; scratch the surface and no one's there, nor beneath the
surface - all those dead-ending projects on SourceForge ending up maybe
somewhere else, maybe vaporware, the languor of the name. Languages embed
languages; soon they'll be without physical foundation for all intents and
purposes, perfectly floating signifiers shattering against subroutines and
useful or useless misuses. (The world doesn't end either with a bang or
with a whimper; there is no world to end.)

This confusion is on the ground as well - in some places, Harry Potter
really is a witch; children suffer as a result. It doesn't take electron-
ics; it takes nothing more than extinctions, overpopulation, global cli-
mate change, weapon distribution, religious fanaticisms, starvation,
desertification - the unsupportive world. Radiations swirl around the
farthest villages; there are unheard broadcasts, music, news, exhortations
to the perfect religious life, promises of vacated paradises. These places
or spaces are the future of the novel; language dissolves without signifi-
ers, without that place where the sememe holds, however tenuously. It's
here that home is found, in the bombing of the home, categorization of
flora and fauna, ethnic cleansing. Online real explosions transform into
hacking, thousands, millions, of MySpace friends, hundreds of millions of
blogs, billions of Wikipedia pages hardly ever under contestation. Yes,
it's all true. Yes, none of it is.

Monolithic culture prepared the battlefield inhabited only by the wounded.
Monolithic culture developed the technology of multiplicity and the plasma
- a multiplicity of multiplicities, never stationary enough for analysis,
never moving enough for a coherent dynamics to emerge. It's a memory to an
extent, to the extent that memory is encapsulated in fast-forward media
already forgetting what was loosened in the habitus.

This is all electronic, all colonial, all nanobot, this isn't your fath-
er's monoculture, your mother's multiplicity, your father's multiplicity,
your mother's monoculture. Capital seeps everywhere as do heat and water;
island nations are disappearing in the Pacific, Atlantic not far behind.
Think of this as the anxiety of diminishing power; surely, not only is the
world out of control, but control is as well. What happens to feedback in
chaotic domains? One likes to think fecundity, fractal, but in the real
this holds only so long before 'things' bottom out in rust and tumors.
Monoculture is always waiting in the wings; as networks decay and data-
bases turn useless, big iron will descend upon the world. But this is far
in the future, a future so defined that no one will see it, no one will
inhabit it. Instead of now, we are pre-sent, always in a state of arrival;
there are endless tracks, monorails, they go nowhere, sink in dust,
desiccation.

This is all electronic, and as technology miniaturizes, improves, perhaps
these skeins will continue, sheathed, to exist, transmit, transform, no
matter what. Then the scenario simply holds longer. Consider: There are no
species. There is no real life, no organic life, no artificial life, no
patented life, no constructed life. There is network life and one hopes
that the remnants of wilderness (which are not to be deconstructed) remain
that way, that enclaves succeed where management hasn't. Consider: There
are no persons; there are couplings, situations which grow increasingly
small and temporary, imminent decisions. Consider: Immanence has disap-
peared, if it were every anything more than mythos; it's replaced by the
Facebook contact, as enunciations are replaced and replicated by 'What I
am doing now.' Consider the usual: We are all audience; none of us are
watching; we are all watching; there is no 'we.' It's the latter Lacan has
missed; there is nothing to talk about. These essays themselves are thin
sheaves, interspersions; they carry the dim light of the dusk into the
dusk. 'Beyond' means absolutely nothing; time is indicated only by the
stoppage of death. What is a store if not a mouse-click or twitch? What is
a body if not blown to pieces by a car-bomb? On a certain undefined level,
these are identical. Perhaps an economic level. Perhaps in the poetics of
disappearance.

To be in pain, slaughtered, wounded, is two-fold, interior, exterior. The
former stops everything; it is unthinkable, unbearable. It is always other
even when ourselves. The color of time disappears without witness. But
exterior - this requires transmission, a receiver, political economy, some
means of noise control. The receiver must be receptive, must orient itself
towards the message; otherwise the message remains noise, death. The
receiver must have space place for reception, a moment off the network
which in the very real, idiotic inert real, may be what has brought her to
this moment. But the receiver is already dissolving and a hundred-thousand
new novels are being born, and they are not novels, nor histories, but
software biographies perhaps. Rather than monoculture, monolith, let us
say multlathe, uncontrolled or multiply-controlled lathes refashioning,
refiguring, configuring, what we are reading that was once literature.
There is great exhilaration, great promise; multilathing, in its bypassing
any and all absolutes, is always in process of permanent deconstruction.
Think of the school essay, modified, bought, sold, dated, outdated, online
and offline, assembled, reassembled, spell-checked, recreated, plagiar-
ized, written on demand, printed on demand, behind wikipediatry, related
to class, gender, sex, race, nation, religion, handedness, all or none.
Think of the essay reader, the recipient, following through with programs
designed to weed out the copy which is always already a copy, hacking his
way through the sememe looking for miscreants, passing results to and from
university and institutional databases, listening softly to the YouTube
song, exchange of draft letter on Gmail, or just listening to Ipod Itunes
with her Ii. The whole world is steganographic, embedded, uninterpretable,
piecemeal, exchanged.

So for better or worse monoculture is dead; it grew on foreign soil, is in
the process of recession. To what? To the corners of vulnerable data-bases
and technologies, conservationists, those disappearing from the present.
The future were there, pre-sent, and it's why novels and paintings and
just about anything before 1985, say - _not_ 1968 - is inconceivably
quaint, something for school credit, nothing more. We need an ethnography
of our own pasts presented as disappearing cultures or archaeologies
written in the unreadable, spoken in the unspeakable; it is here that our
bodies once reproduced and never reproduced in the continuing acceleration
of images - of someone or other or no one at all.

(I'm not good enough; I'm not smart enough: You may think this is tempora-
ry or not-me, not-I, that this is elsewhere, of an other, an other genera-
tion, place space, time, time before death. This is not the bicylist who
was injured on the corner of Fifth and Bergen three days ago, but this is
her/our interior, her/our political economy, what comes about in the midst
of architecture and physics. I want to talk about the pleasure of novel-
reading, Harry Potter and other accelerants, and their fan- and enclave-
existence. I want to talk about radiations and dusts and their dispersions
and what they carry from prions to nanogarbage to pollutions to sex to
early deaths from bullets and asthma. I want to talk about mash, I want to
perform djay vjay Vday vdday. I want to be you or someone. Rimbaud knew he
was splitting up. The last of the obscene has passed, the obscene is al-
ways passing: the ob-hack fractured and visible. The last of the discourse
too.)



Nagarjuna 1 2 3

You are singing no space, place, spatial distinctions cumber observation,
the annihilated self. How so. Speak no speech, to be spoken to, undisting-
uished distinction, in zazen in walking meditation, hearing is the space
of the heard. My bones are ornaments, my neck Buddha's, my eyes Nagarju-
na's. Pratyahara, withdrawal, without rasa, flavor, fervour. Breathing is
the body's violence, meditate your corpse, you have it, you are singing no
home, no home singing, you are singing no home singing, you are singing no
home singing no home singing, you are singing no home singing
http://www.asondheim.org/buddha.mp3



Bhaga


"Two lives there certainly are not; -- nevertheless an extra body is
visible, by reason of the Shadow-Sickness."

" Naga-tabi no
Oto wo shitaite
Mi futatsu ni
Naru wa onna no
Saru rikombyo. "

( Lafcadio Hearn )

What is foretold by gong is foreshadowed by memory of its telling.
True, but emergence she said.
She said true, but emergence.

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



notes on code:

study of huddling http://www.asondheim.org/huddled.mp4

Major modality:
Relationship between modeling and codework:
mapping within the subtext/substructure of the metric.
Visual modeling: Visual as thetic - modality of happenstance (i.e.
modeling becomes dependent on the physiology of visual bandwidth).
Aural modeling: Visual with similar field, different spatial modality.

How is the thetic (is that the correct word?) in relation to ideality?
Does political economy depend on visual/aural physiology?

Scanning as doubled text: coded software / parameterization of the real
tending towards results which are residue (separate the results from the
structure). But within the phenomenology of the real, the results and
structure are inextricably tangled.

Motion capture (mocap) - see scanning. In scanning, the static object is
standard; in motion capture, the dynamic object. Think perhaps of the
latter in terms of a second-order differential - doubled modeling of
changes (1. through mocap; 2. through 'accelerated modeling').

The results: the 'code carapace' or chiten - Barrier/revelation code.
(Older work: The relation of consciousness to structured systems: what are
the manifestations of those systems?) Code as armor.

Seeing and hearing seem 'tawdry,' unable to sustain the abstracted or
philosophical weight placed upon them. To see or hear text philosophically
churns on transparency; everything else stumbles. We turn to writing
because it gets away from us to the extent that it's also reflective of
deep abstraction, alien-code (all code is alien).

All code is alien because it calls from elsewhere - or rather, doesn't
call at all; it's as if someone created it, it's as if it wasn't created,
not a bit of it.

Which is the fundamental phenomenological status of code: some of it is
created, but some of it isn't.



What was here -


Second Life residue / theory, Sandy Baldwin, Alan Sondheim:
On avatars and avatar escapes, July 26 performance -
duplication eliminated -

[13:23] Gesture is missing from database.
Eifachfilm Vacirca Online
sandy Taifun [13:29] Taifun: My avatars! little people!
I have moved into the interior of avatars...
avatars speak with a thousand voices. Mon poupees.
DO WE NOT BREATHE AS ONE PERSON? ARE HUMAN?
murmur constantly, you can hear them just beneath surface, in my heart,
gasps air, dolls
[13:30] They run around everywhere, underfoot. will play song, aire,
jig or rondelay!
vectored human
define an avatar as organism which infinitely repairable
not
within and without semi-geodesic space paralleling
i'm becoming avatar-man dream-woman.
natyasatrotpatti: mythical origin work
You begin to understand that all are bots expert systems some symptoms
am
preksagrhalasksana: characteristicis playhouse its different parts
You: ==/222
Well, there's no more it, his writing discourse itself getting stale.
He's taken bend
trundles bundles towards future; we're there carrying than our share
avatar's, where there, so heard
Just like those pirouettes, if were body at center them. Her skirt kept
flying up, was nothing
SQUEAK forever now hold your peace; this life, do lease on any other,
left,
rangadevatapujana: worship deities connected stage
upangavidhana: gestures minor limbs such eyes eyballs eyebrows nose
cheeks lower lip chin mouth
fifty industrialized nations incincerated 250000 Iraqis ARMED POLITICS
ANNIHILIZATION science baby, camera absurd linkage VOLUPTUOUS SHOCK
VIGOR BODY FRAME "TREE" "SEA" "SKY" "I" GO AWAY red pepper boiling
vinegar teach marks PHILOSOPHY OF VIRTUAL BEDROOM AVATAR immortal
sacred heater language train pet
ritual-objects-insignia-power-substitute-spiritual-satellite-enchanted-l
ove-exposure-regulative-transaction-corruption-norm
acquire baody others - blood milk urine shit face value social
universal perversion contract law coordinate field
rudding odors sweat vaginal semen ova decompositions bacteria
vegetation hummingbirds sparrows flies mites "i detest her because i
know well" imitate her" curse felt"
OOH AHH YOU AAH YOUR YOURS ARMS criminalization society = transactions
portions feed decay protodocument libertinage rules for outcries
screams unnatural acts after-image liquefy vaporize crime shortcircuit
dissipate thickness passion trigger calculate
sinews muscles mecoming glands libs blotting out muscular enervations
loose wet chest become
semiotic comic witness extreme pleasure speech reduction crushed
conspiracy integral monsters torso split big brains
cipher OUTRAGE THE NORM ASSAULT SUCH EQUILIBRIUM BLAZE SCREAM solitude
essential limit stranger shout
metallize starched nurse uniform wanton hands liquify atmospheric
electricity markers lust muddies turgid light idols
vaseline-coated lens streets orchid limb thrust meter possessive
handgun GIMME SAY AM DYING remaining suspended fondly animal fur
feathers root dank hummus flake caress fabric come silk leather seesaw
horse hump transact mire ossify
slime
fluminescens
hardness bones rods collapse secretions belly giggling jelly swamps
fetishize solidify sweating gleaming belts boots powdered
male milk-sap LIFE FLUID EXCESS BLOOD PUMP fluid conduity neuter
identity self hunt economy dyad eat wife-force co-
[13:31] phallocratic mach bullshit rights WIT NONSENSE RICOCHET HEART
CLANDESTINE NIBBLES ocean illuminated plastic box motor, tiny
heels depilated legs job musculature buildt gym scar liquid hand
movement want man woman PEFORATED LOBES EARS HIS NOSTRILS TUSKS BEAKS
CLAWS PLUMES SHELLS PATHS FEAST
hillbill
monoculture
SURFACE! SEX! SHADOWS! ELEMENTS! PINK MUFFINS! COUCH EARTH! DUCK LIPS!
MANDRAKES!
small creature half-hidden seaweed brown drag undertow hermit crab
shell smelled moist ebb doorway
[13:32] corpse color remains when their unreality has been demonstrated
becomes eye longer stimulation retina world declares odorless song wind
trees
remediations, mediations, projectivities, introjectivities,
phenomenologies, histories, mechanics, Extruded intruded (upon) body:
cleansed bodies continuous middle-eastern 'war'
armored imaginary journeys (Rhine, England); sexualized bodies:
o avatar, rise midst maelstrom, sadness cobalt plutonium uranium radium
seriously, what covers pain completion, yours argon xenon neon, whirl
me through infinnnnitude drugs
file sex fuck suck cum avatar.
knife skin watch solo sexatar watch.
shades avatars-- precognition behavior collision transparent
interpenetration gave new Life Avatar Body moves would move had File
called God
attempting escape vectors result avatar-work led 15:47:47 There
constructed motion capture equipment 15:48:08 images laser scanning
check Love War, Avatar, Cyborg, Experimental conferences.
{avatars backed, back infinite space}.
digital sublime, space}
imitating real-life people right, imitatin avatars.
refuse moon-bay, moon-bay. avatars, (digital) sublime; backed
, well, these torn apart, By What May AsK?
sublime
backs against wall space; nowhere left go.
elsewhere
The disappearance branch hardened rock occasional artifacts.
itself, image-avatar, ghost. ghost travels anything course; coordinates
tacit knowledge electronic Every symbol ligament avatar; every referent
gesture; gesture procures body; speaking
spectre doll faerie wraithe hobgoblin troll tengu kappa presence
cloth stitch suture binding closing damming holding velvet cotton wool
"Consider next smearing thinking skin.\n";
Kamishibai, virtual idols, PlayKiss
Nikuko, Meat-Girl, (among others) 'emanation'
another dead ok you're hearing imitation 78 record created event very
low frequency
help. 16:04:35 explore 'body-avatar' issues
tobother less! 16:07:11 dancers live yes 29-Jan-2007 16:07:18 In fact
they something head pieces did while ago but excusable! went
somewhere, said something!
beginning transparency, wizard listening-posts MOOs example. Here we
are, becoming-virtual still.
Given danced-to-infinity motion-capture second=life quasi-avatar
tethered somewhat distanced
image 'break through' private barriers course consequence
"one by one, each line alone, typing Control-d done.\n";
$name calls forth $a[$gen1] $noun[$non], hungered, making things.
$prep[$pre] $a[$gen], $a[$diff], $[$gen], $str?
system("touch .trace; rev rope >> .trace"); system("rm
rope");
"Your inscription finished, thing.", "\n\n" 3 < $g;
fly it. takenpart apart llnhx 2.2.6.::attributions Devour Blue
Nattributions Brought Forth lntarn$l karnals, bhckats pf mpdhlas,
Attempt grapple ungrapple Death Star Galleon (s0): h boarding Flying
Dutchy (f0) Dutc
Sound wood wire: alpine zither:
wish home computer with.
avoid swords. swords make angry.
avatar-meat representation uncaptured remembering origins / scars
ancer ancer/avatar ancer/ancer ancer/igital igital ancer.
ancer{}igital{{}}avatar{}analog. igital{{}}avatar{}analog.
deconstructible
level deconstruction
engineering reverse "My leashed, logical thought, protocols thought;
it's wonder think al
One cannot reach farther one's reach, closer control release,
dissipation. Enter reality world, suffused sound.
Over Lord 1 Quon: tone war... Wings creak, sound beginning.
(Subtitle)
Haruka: "Why blue?" That's wondering. Ayato stops turns toward Har
MACHINE coursing trapped blood, flush spirit vaporized, substitute
bodypart another, apparatus obstinancy, prick
machine: undoes belt buckle him, finds right diagram support weight,
tongue, zone, other love
MOUTH LETS CHAINS SENTENCES, RAMPLES, GIGGLES, TONGUES SPREAD WET OUT
OVER LIPS, LEAKS, COLLAPSES, MELTS, FINGERS
[13:33] don't listen avatar-man. dream-woman contaminated. building
condemned.
transformed early version 'outt' blue construct-space outt-structure.
avatar-video avatar-performance content degree.
sukara, dakshinanila, nandiskandhardhara, dhurya, prakata,
pritvardhana, aparajita, sarvasattva, govinda, adhrita
prefer small, seeping, peripeheral, marginal, scattered words
sites, domains, emanations, emissions, interwoven sharing coagulated
ego/s, matrices, languages, bodies.
break down here, use me? absjure, abjure ... moments ?
words, drops say drizzle
everything moment you, mmmm... matrix, mother, maternal, announces edge
frame dialog, carried forth...
times smooth us, bits bytes, protocls lost smoothing functions traced
across peripheries, margins
coagulating limpets seas jellies
made, women, sounded, resonated, protocol, site open winds
you've before, over again, repetition goal delibery interval...
bring about semblance face, lineaments mouths, elsewhere, sides things
often lure seduction among here relates Lacanian objet a, deferal....
future Net, it attains state _seamless reality,_ melding real
disturbances way tending _psychosis,_ interweaving realities, respon-
sibilities claim
Avatars always disturbances, irruptions language, lang- uage portending
_the raveling existence essence
appear erasures also visible, letters disappearing reverse.
dark dreams, enough soft limbs, mine...
matrix saves ending, pureness salvaging spaces...
subject other/ near side screen
tangled avatar-sites/sights/citations. @create $thing begging.
clear speaker herself separate creations. Voices, voices!
Each participant occupies represents (virtual) constituted written
begging object number #75438.
margins, slippages, constitutions, constructs, emergences "depths"
software hardware, blockages flows
only taking account, well surface manifestations possible comprehend
subjectivity
These develop limits program, reveal substructures/protocols violate
dialogs
stick-like _anime_ figures work, distributed authorships anatomies.
consider _projection self_ appearance various applications
audiophiles app arounds bio blogs awk biomes tion tr
We look ruptures characters resonating interfering configuration files
exe everglades
empathetic encapsulations episteme extasis entropic extensivity fantasm
externality [13:34] package: knives. prims cut.
talks. inside he says. construction torsion edge-space. world.
anorectic
[13:35] =====/999
original
/www
/bbb
/qqq
eggs
placenta cloaca
3/333
[13:36] [13:37] [13:38] ====/ggg
[13:39] [13:40] [13:41] ====/;;;
/'''
/zzz
/xxx
oooo [13:42] [13:43] [13:44] [13:45] egg
[13:46] =======nous sont
nous sexdrive florescenece
font wack
centimes
centimez
=nous sens
hung eagle
news sense
[13:47] sonnet rect fluu
KJHKL
help send [13:48] buttons liquids
wiffle
()(*)
black rose thorn
ewwt hmmmmxxx
[13:49] stem baby cell
fine germanaachec
===if tyype won't be still during period fingers moving elsewhere.
/yyy
[13:50] pistol sucking fisted hair
given up how many lines ascii
==if type fight iraq thoughts [13:51] freedom else
return
lima lamina [13:52] ==/eee
/rrr
/tttt
[13:53] sputum war wrap arm =/kkk
[13:54] ==--=
[13:55] [13:56] god bod
[13:57] tv
Try closer. Can't sit same region you.
[13:59] =====/ddd
lick
yearn
[14:00] ()(
[14:02] [14:03] [14:04] clown
InnerT00b: aren't owner
[14:05] [14:06] ======/ggg
whole
Like slimy hole
[14:07] ==/666
[14:08] [14:09] =/iii
/[[[
j;ljssldj;d aaahhhhhhhh
=/mmm
[14:10] =/1111
gooo goooo goo meee cooo pooo
/z/zzz
9-=-09
[14:11] WEEE TUSY TUSKY WWOOOOSHY
margerine
massage cheep
jf
[14:12] myh horno
royal road
[14:13] flutter mu
outrage
bad go [14:14] crumbs fattties flat oybc py puncture
==== =/,,,
/...
/\\\
/qqqq
wanted sole
d conditoin
[14:15] A REAL MAN WOULDNT'
cna't bew
REEALL WOMAN IN REEL HER BELLY AND HAIR
HAH HA HAHHAHAH
LAFF IMMOLATS
[14:16] dissection ham
da haoney
JLll oh [14:17] encounter
====/777
0000000
toy finger
[14:18] fluids
/nous bon jour
oui ii iii fffuucckkk
=when write one WHEN WRITE THIS NO CAN SEE ME
[14:19] WRITTEN COMES TO TELL OTHERWISE
listened wouldn't WHENIWRITETHISLIKEIN THISFASHIONIT WILLREMAINFOREVER
shudder came
YES YESYES YESYESYES NOUSSONT NOUSNOUSSONT
=/PPP
effe [14:20] [14:21] sigh cage merge miniscus
[14:22] septum
why didn't happen
[14:23]

===

control

sections of control performed by sandy baldwin alan sondheim
in sl east of odyssey excerpted from 19-minute video in which
sound provides the motive and text provides the moment of
disappearance

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

the full video would be around 200 megabytes highly compressed;
this is bad enough but sufficient and indicative of the sort of
psychodrama undergone by avatars in disregard of their human
creators who remain in the background while sky land and skin
turn blood

this is america and iraq this is gender this is all or none this
is gray code incremental

learn the art of gray code and you will never have error again

Uncanny Beauty


http://www.asondheim.org/denverstorm.jpg

shelf equation resulting

http://www.asondheim.org/shelf1.png
http://www.asondheim.org/shelf2.png
http://www.asondheim.org/shelf3.png
http://www.asondheim.org/shelf4.png

now coding process

http://www.asondheim.org/codingproces.png

Coding process consists of four arrows.

Class 0 and Class 4 interact, encode, decode, model transmission
through Interface 1: Interface 1 may be an encoder, decoder, channel,
none or all of these. But there are results and results.

However think through a second process.

Interface 6 and Interface 1 interact, transform the ontology of Class 7.
Thus Class 7 is virtual by dint of representation through the processes of
Interface 6 and Interface 1. Perhaps the full model is a ghost trap within
which the epistemological changes among Class 4 and Class 0 are iin
relation to the ontological change of Class 7, virtual. Then perhaps
Interface 6 and Interface 1 are in a continuous process of evanescence,
disappearance. These are the models of coding process.

moktak

moktak composition for plane, bird, lake, moktak

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

"Mandala is the impression of the feet." (Hevajratantra)

"May I hear the three sounds, may I perceive the three forms."

"Having said this to witness I will have been reborn."

"Propitiation dies with the insurmountable corpse."

"Meditate upon the double entrance of the circle."

"The accountancy of rebirth is of no account at all (i.e. nothing)."

"All afflictions, all sufferings, extinguished by these words."

"The whole of existence, Clear Light and mirror."

"Ten directions and no sounds, two directions, semen and blood."

"Ten directions, no sounds, the (fierce) corpse is killed."

"May I perceive the word of the corpse."

"Death is a tautology."

"May I perceive the word of death."


on our earth, the killdeer

we are on earth for such a shorttime, we have no more than a picture.
the picture is what we think of when we say, 'the way things are.'
just yesterday or tomorrow, something new, perhaps a bee.
the bee pollinates a flower shortly after our death.
there is a storm somewhere.
just now, i am beginning to understand the alarm calls of the killdeer.
the ghost of a shorebird, the feint, the run, the back and forth.
everything, everyone, lives in a different world.
i can say this because the image is always a sad image, the image is in
mourning for our death.

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

like neural signals, the killdeer calls are a mix of analog and digital
phenomenology - their frequency is very narrow, and the repetitions of
standard (most likely territorial or display) calls are easily comprehen-
ded - at least they appear to be (the cry of the killdeer is easily iden-
tified) - on the other hand, there are temporal processes, non-standard
pitch and repetition, which present information, in this case alarm based
on distance, degree of threat, etc. - as far as i can tell - which means
nothing at all - on the sample you hear both calls and responses and the
changes within individual calls as well.

===




_NOTES AND DIALOG ON CODE_ (7/31/07) (Sandy Baldwin and Alan Sondheim)


NOTES ON CODE (Alan Sondheim)

Major modality:
Relationship between modeling and codework:
mapping within the subtext/substructure of the metric.
Visual modeling: Visual as thetic - modality of happenstance (i.e.
modeling becomes dependent on the physiology of visual bandwidth).
Aural modeling: Visual with similar field, different spatial modality.

How is the thetic (is that the correct word?) in relation to ideality?
Does political economy depend on visual/aural physiology?

Scanning as doubled text: coded software / parameterization of the real
tending towards results which are residue (separate the results from the
structure). But within the phenomenology of the real, the results and
structure are inextricably tangled.

Motion capture (mocap) - see scanning. In scanning, the static object is
standard; in motion capture, the dynamic object. Think perhaps of the
latter in terms of a second-order differential - doubled modeling of
changes (1. through mocap; 2. through 'accelerated modeling').

The results: the 'code carapace' or chiten - Barrier/revelation code.
(Older work: The relation of consciousness to structured systems: what are
the manifestations of those systems?) Code as armor.

Seeing and hearing seem 'tawdry,' unable to sustain the abstracted or
philosophical weight placed upon them. To see or hear text philosophically
churns on transparency; everything else stumbles. We turn to writing
because it gets away from us to the extent that it's also reflective of
deep abstraction, alien-code (all code is alien).

All code is alien because it calls from elsewhere - or rather, doesn't
call at all; it's as if someone created it, it's as if it wasn't created,
not a bit of it. Which is the fundamental phenomenological status of code:
some of it is created, but some of it isn't.


DIALOG

Sandy Baldwin:

Thanks for these notes - always helpful. It would be interesting to
present them somehow with the video. I'm trying to think about your
question about the relation of the thetic to ideality. Now, the former
references taking a position (thesis) and signification (cf Kristeva); the
latter references Husserlian phenomenology and the constitutions of
objects. Are the second set of distinctions (political economy - visual /
aural physiology) parallel to the first two? Anyway, I wonder if you would
venture an answer to the question?

Alan Sondheim:

I'm not sure I understand all the modalities or connotations of the
thetic; online we have (among other things): 2. Presented dogmatically;
arbitrarily prescribed. and derived: Greek thetikos, from thetos, placed,
from tithenai, to put; see dh- in Indo-European roots

So I was thinking of the thetic as arbitrary proffering, gesturing; if
code might be construed from ideality, the thetic might be construed from
code.

The visual/aural/sensory modalities seem clearly arbitrary in the larger
scheme of things, if such exists; the electrical senses of fish obviously
map the world completely differently (not to mention magnetism in birds,
bees sensing of solar polarization etc.). So this is the thetic, the shown
and it's in relation to political economy, which is dependent on culture
and organism. The ideality - and this for me is where a kind of
neo-platonism comes into play - is a structure which underlies everything
- a structure which _might_ map through propositional logic or Wolfram's
cellular automata or etc.

The structure is alien to the extent that a rock is in-itself, ding an
such. It's possibly here that the uncanny of codework appears (and coding
in general, mathematics/mathesis in general) - that code, no matter how
written, always seems, in part, to come from somewhere else, to appear, to
have appearance, whatever the sensory modality.

Sandy:

Thanks for the elaboration of the thetic. Some thoughts: As to the
visual/aural modalities (you mention fish, for example), I wonder if
inter-species animal display such as "stotting" (sp?) or "organs to be
seen" and the like, apply here. Here the code of display, in the large
sense of code from Eco or elsewhere, implies a semiotics that can't simply
be understood in terms of a return to the individual or even the species,
that gestures towards a general not-political economy. I'm thinking that
we, insofar as we are just such animals in the world, are on display for
the other (substitutable in the sense Levinas talks of).

Alan:

Had to look up stotting! The sp. is right. But I'm not sure that it
doesn't imply a 'return to the individual' insofar as the communication is
a signal? This isn't the 'mutual orienting of cognitive domains' - it's
masquerade or camouflage in a sense? But the display has to be readable by
the other, in both cases, stotting or display for the other, and the
modalities are always limited; in fact, with stotting, the limitation is
absolutely necessary - for a signal to be a signal.

Sandy:

I take this substitutability I refer to above as the alien you refer to *
the alien that I am. The thetic (as arbitary positing and also as a
"thing" in the scopic field) is always ideological. I think this is where
I'm coming to your point about ideality, and when you mentioned
neo-platonic I thought of Barthes' on the photograph as a kind of
"emission" (in the sense of
Plotinus).

Alan:

Yes, I think we're in agreement here perhaps. The alien is the source
structuration of code; the propositional calculus can't be consumed...

Sandy:

Agreed. Obviously, I'm thinking, on the one hand, of Bataille or Lingis
and their insistence and foregrounding of economies of excess and
non-return; but then, thought is made to account for and come back to
itself. Now, this dialectical reason is inseparable from philosophy, yet
we know there are other philosophies and unreasonable ways of thinking. I
could see this as life within and against the human.

Alan:

Interesting... I agree with you but then there's the 'selfish gene' issue
- if the stotting is common and in various species, then it's not leaky at
all but highly efficient; certainly it would be evolutionarily (?)
determined more than other signals, since it's at the fulcrum of life and
death...

Sandy:

Here's a different but not unrelated question - returning to the alien as
"source structuration of code." I wonder about the following: it seems to
me the subject relation to the symbolic online, let's say to the ideality
of ascii, is like that of the subject of film. There's is something like
suture occuring, and so on; at the same time, there's a difference and
even a complete reversal. I think this has to do with time, but I'm not
sure? Any thoughts here - again, if it's too much, there's no need.

Alan:

I'm lucky to be online. A HUGE storm is coming, lightning etc. out here.
Anyway - the subject online is an actant of course; the suture is similar
but different in that the filmic subject is predetermined - and therein
lies it's power - I think it relates to a fundamental masochism. The
viewer is held in thrall by the film, and/or the actions of the viewer
change nothing about the film itself - which continues to unravel at its
own pace - but only about the diegesis, which is always in dialog. The
subject in relation to the online symbolic, I assume you're referencing
jectivity (projecting, introjecting) is in a sense too much in control, as
if that control were offered to us elsewhere, outside online being as
well. In that sense, time is 'supple' for the online subject - in film,
it's not linear, but shuttled, and that dialog is set into motion by the
obdurate quality of the film, which just unravels. Of course this obdurate
quality relates, I think, to the inert of the real as well. Then when one
brings dream, dream-screen, all these other aspects into it, the whole
situation becomes muddled? Perhaps hopelessly so?

Sandy:

Thanks, yes. I think in the suppleness of the online subject: ASCII gives
me life, I give ASCII life, but I also ask more of ASCII than it can give,
and it gives more than I can ASCII. (In the otherness of it.) Also,
interesting that there's no "apparatus theory" of the net, beyond your
internet text of course (which does explain all).




The World in Two Jokes


How many Passenger Pigeons does it take to change a light bulb?
None.

How many Tibetan Buddhists does it take to change a light bulb?
None.