the devils in Rilke's church

http://www.asondheim.org/rilkes.mov very short

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



deploy, he said, the devouring powers of light


all natural languages have precisely the same degree of complexity.
'destroy, she said', 'primitive, he said', 'enjoy, he said', 'deploy,
she said.'
to deconstruct is neither to analyze nor to take apart.
http://www.asondheim.org/eatenbylight.mp4
you can't argue with an aphorism.
'code' is more than structure, structure is more than substructure,
substructure is more than equivalence, organism is less than code.
throw out everything you know about animal behavior and culture;
humans are just beginning to discover civilization.
our knowledge is not our own.
humans construct the only deliberate, calculated, and universal
slaughter-house.
everything an enemy, every enemy a thing.
take the man from the woman and kill him.
binary oppositions replace cultural capital with economic capital.
there are dozens of types of war and at any time we are engaged
in at least a quarter of them.
do not ask for whom the bell tolls; ask who made the bell.
an aphorism makes the man.
reality is imaginary's monotonic.
or the romanticism of the real is the classicism of the imaginary.
projection kills and introjection devours.
or introjection suppurates and projection wounds.
murder is wild war.
if i want a word with you, the word i want is 'you.'
give away your sex and there goes your reputation.
give away your reputation and here comes your sex.
public masturbation constructs the truth of the real for audience and
masturbater alike.
faunal extinction takes humans home.
sex kills and slaughter entertains.
eroticism is the neocon of sexual war.
the aphoristic is the final refuge of the defeated.
aphorisms are always otherwise.

devouring waters of li(f)(gh)t

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

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

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

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

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

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

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

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

throw out, throw out, throw out





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


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

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

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

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

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

http://www.asondheim.org/foofwadanceis2.mp4