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

liner notes for Crepuscule


sexual projections over dancers and without dancers and sexual
dances on the tentpoles ravens at the four corners of the world.
dancers are below. oh they want to jump on the bodies.
this is dance on deadly earth.
origin of dance
try to make sense of the dialog; they can't. The live dancers may be
are nude, exposed; the dance ends when they cum. They observe
two dancers -
audience and masturbating couple - the dancers sexually aroused - if nude
dance should move from position to position. Anita Berber.
The dancers are reeling, on edge, nervous, difficult, a problem, their
desires constrained by spectacle. The dancers are on exhibit, behavioral
codes thwarted or broken. If a dancer feels comfortable, he or she should
push further on.
sexuality, and horror, interpenetrate. For the dancers, everything is at
the body of the dancer is eternal
exists in relation to the sexuality of the body within the dance, within.
dance is the interiority of the metaphysical,
dance succeeds only by virtue of the interiority of the dancing, only by
the foundation of the world. the foundation of the world lies in dance,
The body of the dancer lies supine, breathless.
storing these things - in the dance itself there's an image of a woman
My Cluttered corner of the dance studio. Cloth, food items, all supine,
is choreography masteranwhile dancers having dancing day debris three.
liner notes for Anita Berber.
point of dance and sexuality dancing is indiscriminate fucking, display -
midnight phone-calls and invitations. one a dancer is pornographic, once
this splay / display, dance, photography, culture, art in general, is
invisible as semen on stage, spurted from dancer, welcomed and returned by
art, of dance, of the body; it is also the most unknown. draw a vector;
appurtenance-appearance; this is what the dancer, photographer, performer,
tensed in our tawdry space of the real. for if the dance-dancer emerge -
Sex dances for one to four people.
The dancers are nude. There are no props.
Male dances alone while masturbating. He dances until he cums.
Female dances alone while masturbating. She dances until she cums.
Tethered: Male dances with one hand holding himself erect.
Tethered: Female dances with one or more partners' fingers in her.
Variant Tethered: Male dances with one or more partners' fingers in him.
The dance ends when one or both have cum.
Variant Tethered: Female dances with one or more partners' fingers in
her. The dance ends as above. The dance ends when the dance cums. dancers.
So this is a dancer transformed. Role disappears from dance, dance is.
The advantage of a dancer: You'll have your body at the end of the day.
The disadvantage of a dancer: You'll have your body at the end of the
day. dance and culture brings Signs from Worlds eaten by light. Score
restraint, bounded three-dimensional space, against which such dancers
remain authorless in the midst of author/authority, danceless in the
presence of dancers/dancing, human within the post-human, flesh within
dance the doomed Case of doomed, doomed, a-void. Case of A world chaos,
sex, spoken sex, poetics of sex. I may work with dance and sex and
dance-video and sex. I will not work with images of sexual violence. I
dance. Or I'm the material for the dancers; it's really back.

-- sondheim

Crepuscule (Twilight) recorded / edited 2006 Geneve


body out of sight
http://www.asondheim.org/thirst.mp4
by this time alan dojoji is out of control dance has held him he moves
through landscape escapes the camera hides in rock runs behind viewers
moves at the speed of light or something else instantaneous i am here but
i disappear you can't catch me you can't snatch me you can't watch me you
can't scratch me you can't match me you can't stash me you can't crash me
you can't slash me you can't mash me you can't bash me you can't trash me
you can't cash me you can't dash me you can't patch me you can't patch me
body out of sight out of light out of might out of byte out in flight out
and right out and tight out and wight out at night out with might out in
plight.



olomphax

the laminixys olomphax, a scotohylact watching horrehomo the somatoroser.
the menadodus beneath the odigraculus, the lythrophyll of the vilipheno
salamyx - a form of glottography against which the histemoreades of the
notooecetes the medeicelomel nablajact; olomphax's palpebriosche begat
tittholup. now to ingest the duobusthamnus, phalectopist, list to the
phalerlall of the nullistymatic nostocarcinus; from gorgopteris to mega-
medusa (zizanilarus flying high above the prinopalpodynia of the olomphax)
- paniseptum in the cimoliscutellium, a form of serpophial beneath the
irriturano. olomphax and conicrio together drank from the serpophial, that
very same, to say, moliphet, the olomphax herself was sersect. salamyx
tells no lies ...

cimoliscutellium small white-clay dish sersect late-cut moliphet hardly-
speak serpophial creeping saucer tittholup nipple-pain conicrio dusty ram
irriturano useless heaven laminixys thin-loins, waist menadodus way of the
moon lythrophyll bloody leaf salamyx lustful slime odigraculus song of the
cormorant glottography tongue writing vilipheno vile purple-red notooece-
tes moist inhabitant nablajact harp-thrower palpebriosche drunken touching
of testicles scotohylact dark yelper medeicelomel genitals resembling the
cheeks olomphax an entire young girl histemoreades mountain-nymph tissue
horrehomo trembling-man duobusthamnus two-cow-shrub somatoroser body-gnaw-
er phalectopist shining-wanderer phalerlall coot babble nostocarcinus
returning-home-crab nullistymatic limp gorgopteris fiercefern megamedusa
great jellyfish zizanilarus weed-gull prinopalpodynia oak-feeling-pain
paniseptum fence-bread




sonnet

onedy twody threedy four
fivedy sixdy sevendy more
fourdy threedy twody one
sevendy sixdy fivedy done
ingirl outgirl upgirl down
outboy inboy downboy crown
pretty bonnie in the well
happy johnny pulled the bell
seventeen eighteen nineteen two
twenty and one makes bonnie blue
nineteen eighteen seventeen one
sixteen years makes bonnie glum
zero zero short and narrow
cut the bone and gnaw the marrow

http://www.asondheim.org/running.mov - performance at Exhibit A opening,
Second Life, Odyssey

http://www.asondheim.org/lessens.mp4 - motion capture choreography studies




before all this


'Ubeidiya culture - Israelo-Abbevillian v Israelo-Olduvan (Stekelis my
teacher) Israelo -> placeholder: deep hiatus in relation to identification
the figuring at Berekhat Ram - earliest reported piece of art 'Ubeidiya
was the first place/holder 1.4-1.7 million years ago, emigration from
Africa - Acheulian tools at the dawn of hominid culture - Berekhat Ram -
early figurine I walked the trenches at 'Ubeidiya, hand-axes everywhere
embedded in the dirt walls, sacks of them at the edge of the site - how
could so many be produced by so few? so Israelo- becomes the placeholder
at this moment, perhaps Palestino- earlier or later - our time here is
minimal in relation to the depth of the early pleistocene - synchronical-
ly, the median lies well within the Olduvan; diachronically, the demo-
graphics fall pretty much now - twentieth-twenty-first-century collusion
bringing pre/history to an end; elsewhere I've written about the 'uncanny'
in relation to the site - holding, figuring, tools last held by almost-
humans

now when voice comes to Second Life: who will speak for identification,
morphing or the granularity of the real making its appearance across the
wires, given as such, taken as such? we're at the threshold of what
appears beginning, here/now, of the virtual, 'pain has turned the thresh-
hold to stone,' of the post-pleistocene - of the post-hominid landscape
whose details still escape us

what is the relationship between the grain of the voice and
SL originary history - what is an original of the voice - who spoke
and with what 1.7 million years ago -

the genidentity of the voice - genitdentity of locus of human production
- the voice which is self-identical, the rootless voice, the voice without
substance, the body untied to the voice, voice untied to the body -
genidentity of the voice: analogic transforms from real to real - return
to stone, to the stones, to material culture continuously absentint
itself, taking everything with it

7-day weeks - Onedy, Twody, Threedy, Fourdy, Fivedy, Sixdy, Sevdy 4-week
months 3-month seasons ... Even with your studies, you need to meet
people. I know! ... 7-day weeks - Onedy, Twody, Threedy, Fourdy, Fivedy,
Sixdy, Sevdy 4-week months 3-month seasons ... Even with your studies, you
need to meet people. I know! ... 7-day weeks - Onedy, Twody, Threedy,
Fourdy, Fivedy, Sixdy, Sevdy 4-week months 3-month seasons ... Even with
your studies, you need to meet people. I know! ... 8 bit bullet list
marker is recognized. september ninth nineteen sixdy, ... paragraph this
is a mail message that i received one day. i didn't make it up ... The
preprocessor is actually a series of small consecutive functions, which
may be thought of as one long pipeline. Each function makes certain
assumptions ... Help others find this item. Make a Search Suggestion |
Manage your Search Suggestions. No-one has made a Search Suggestion for
this item yet. ... Konference se bude konat v prostor ch katedry filozofie
FF v Plzni stnosti ... www.kfi.zcu.cz/fivedy E-mail: schust@kfi.zcu.cz ...
jemu
v r mci chodu katedry jeho kolitelem, vedouc m katedry, tajemn ky ... v
jednotliv ch kurzech, p prav ~[ a organizaci ~Yij
a ...


==

Pas.

From last night's Millennium screening greatly reduced

http://www.asondheim.org/pas.mp4
with Sandy Baldwin
and thanks to Ian Murray, Sugar Seville

11 short dance motion capture sequences in combination with walk/fly modes
in Second Life. Sound: Alan Sondheim (Ensoniq Mirage)

siting the edge of SL - at this particular point, SL/RL physics is trans-
formed into aberrant behavior; objects are literally deconstructed.

Think of these as collisions, speed-motion studies, the last digital ikon,
emptied signifiers, transformations of desire, metaphors for metonymy.

n : substituting the name of an attribute or feature for the
name of the thing itself (they counted heads)