it will be when it finishes,
having been celestial, finishing
cosmic dance and bodies finished
and preened, shuddering, finish
or sheen; to be sure, this lives
until the checksum disappears, lived
flattening, as if it were live
or flourishing, alive, livid, living

body or inscription,
death eases, inscribes
itself, always already inscribed;
look - eyes. and then inscribe
among the dead or dying,
or those who died inscribing
or just die

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

6882266 bytes; 6 8-2 8-2 66 = 6 6 6 66 = 666.66

on the crest or ridge of an enormous wave, during which the events of the
day loom exponentially, perhaps x^4 for example, the imminence of any
diurnal, already lost before a week or so - and in what name then history,
which integrates to the point of non-recognition? what happened thirty
years ago, I have small tales, few images, cannot assemble sample days or
nights; the remainder is all reconstruction, as it must be with crossed
ontologies, from object and word to neural circuit. talismans, fetishes,
ward against misinterpretation; these _are_ and _were_ and remain as such
as if their abject or reflective status guarantees a presence across what
can only be considered inconceivable loss. humans decry their minimal role
in the cosmos, but more minimal yet is our recuperation of untold events
among organisms, both spoken and unspoken, deaths of dinosaurs, children
wailing in the distance, the fall of a lepidodendron, anything one might
conceive. our slice, our crest, is the thinnest, thinner by far than the
fossil we hold in our hands, as if it were precious reminder, not
accidental residue; the fossil already participates in global economies of
collecting, completions, transportations, representations.

here though I think of the wave, the crest, the ridge, the fullness which
is greatest among all others, the fecundity of the crest, Leibniz and Thom
to a certain rescue, that is the rescue of all jostlings, emendations,
here they are. further down the stalk or sides, quantum tunnelings
continue and emissions, behave in contradiction to the distinctions above;
above, however, the world is infinitely clarified, it is _there_ at the
cusp or peak of roiling (singularities in differential calculus perhaps,
difference calculus perhaps upon closer inspection), that we model our
perceptions, our 'take,' our presence.

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

poorly finished trees

already reduced from PAL thru .avi thru .mov to .mp4 do the best i can
world transformed through an exemplification of particle physics - within
which things fly apart, always already have been apart - have nothing to
sustain them, interiority neither present nor exploded, all manifolds
opening through temporal dimensions - you can see the forest because of
the trees - the trees aren't there - yes, local intensities, vectors -
unfolding as well - the sheath three dimensions just there - volume
everywhere and nowhere - open tetraheda -

the map is the only territory
only territory is the map

implicit objecthood relying heavily on aristotelian laws of distribution -
here gestures are already syzygy - configurating -

hello a world in which machine-space is everything -
what is machine-space? only a self-referential raster - double
articulations just like language - that of the pixel, that of the _span_ -
then of course preceived span - that's something else again -

hello i was a tree
hello i was never a tree

http://www.asondheim.org/treees3.mp4
http://www.asondheim.org/treees8.mp4

D:/ C:/ E:/:turned coats and trying to work out in other environments,
who? w? netstat?:the miserable acquiescence of the hungered world:: the
miserable acquiescence of the hungered world transforms Your D:/ C:/ E:/
on me... Ah, incandescent with Reds and Blues!


model model model

http://www.asondheim.org/tre.mp4 short video of stills from scanner to
Geomagic to Blender and spherical mappings; last night the rationale
behind these came clear in a dream; this morning disappeared; the tree
maps onto the tree; within the real; the optical apparatus; the digital
maps onto the digital; protocol between the two; but that the digital
spews into the analogic; returns to the dream as dismembering, disassem-
bling, dissembling; that the tree is a world; of numerical values; that
these values are cauterized; extruded from irrationals; that they never
return; that they themselves are taken apart; reconfigured; that the
infinite journey of such mappings is inherently uncanny; that the real
gnaws always already at the digital; the tree is the tree of the imagin-
ary; as in Saussure; Wittgenstein's family of usages; what is a family?;
what is familiality?; familiar?; that the totality of such mappings is the
result of extrusions, collapses, creations, annihilations, duplications;
that it is the result of totality, overall operations; that no bit or byte
is singled out from any other; that these computations are plankton-maw;
that nothing is distinguished precisely _in order to distinguish_; that
what emerges is close to the perspective-sublime; black-hole vanishing-
point; that there are trees of numbers and numbers of trees; that there
digital hands and handsful of digits; model model model.

gloom room, tomb loom, doom womb,
weir fear, smear, leer, seer here,
hear dear, death-breath, lethe-seeing,
being we-ing, fleeing seeing, me-ing cost,
lost, tossed, mossed, fate late, sate
mate, hate great, rate wait, bait-girl,
curl, whirl, furl, churl hurl, dying trying,
sighing, lying, tying, flying, mime time,
chime rhyme, pace space, place-race,
waste, haste, taste paste, chastened,
hastened, fastened, battered, tattered,
pattered, prattle, chattel, rattle, cried,
tried, sighed, lied, tied, chide, bide,
ride, plied, guide wide, died, plead dead

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

the the most most beautiful
of all my my music music
to to be be sure
no one speaks for for me me
not not even even my mouth
on a trip of its its own own
mouth mouth stay stay away
sparks sparks mount mount me
surmount teeth and and tongue tongue
lost lost runes runes ascend
around carved carved ogham ogham
and and wolves wolves descry
mind word word distanced distanced
wolves wolves of of hell
the most most beautiful beautiful
of of all

http://www.asondheim.org/lightning2b.mp3

place, of which we dream of hearth and woods, a space
dark time with which to roam the park,
collapsed into death's dull doom, relapsed
in flowered beauty, wounded like a pin
dropped on sundered skin, trembling, yet stopped;
so grids encapsulate the final blow,
lines carry weights of dreams of oaks and pines,
of hearths, of kindness, of robin, home, and dove
soaring across charred lands; planes and guns are roaring
still; vectors struggle, travel up the hill

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

for Wilfred Owen in these times

issue of implicit abstraction returns, almost like a stain or residue. In
by the testicular, the former a stain upon the shaft of it, see that stain
turning sleazy panties, your stain grows larger, my Lightning's chipped
plate. Lightning's stain and the murmur of thunder, sexuality, the stain
or residue of inscription, the transformation of text _elsewhere_ of that
logic, the stain implied by the sheffer-stroke itself to the evacuation of

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

the real. Jennifer is thinking sleazy about her philosophy of immensity,
the stain all in the breadth of a stain on a minor planet. But I made the
angel fuck dirty panties Names roll off the tongue, stain the air
tentative; the signified is recuperated as a stain against a backdrop of
the virtual, stain the wires with my presence, search planetary context,
panties, your stain grows larger, my stain on my conscience, stain in your
world, see that stain turning sleazy panties, your stain grows larger, my
portal. her labia are portal to the sacrifice. stain her. the woman's are
platform for the sacrificial altar. stain him. are woman's lower parts
imagine being sleazy a stain on your wall viral crawl through in my lurid
dream i'm against one another - so that what remains is the stain or
residue of they want; i'm empty inside: stain of my loose arms around Your
nervous stain of their loose strings around my neck dirty panties is in my
catatonic stain of my loose arms around their necks Devour nervous stain
of their loose strings around my neck dirty panties alan is a character
but alan is also a stain or residue, almost always is a character but alan
is also a stain or residue, almost always alan "defuge" you stain yourself
following sleazy paths to old lurid defuge you stain earth, earth heaving
sleazy against the stain of the surface - these leaves me, little wet
thing, stain of past and future memory. Beneath the rod smudge or shadow
across the real, the stain always already of someone words a stain or
membrane, the shadow or the stain of a voice; mute, it says everything.
Your across the stain of broken limbs. Here _GaL-GaL_ turns, splayed open
and lurid depth of the pen on paper. It's the stain or residue of the
same. It's the lurid depth of the pen on paper it's the stain or residue
of the same, lorelei plunging sleazy into the sea, now see, red stain on
the waters on the sheets, perfume leaves its stain on the nipples, across

History of Seduction

narrative true-real of derivation
practice chora
firestorm the breathing
http://www.asondheim.org/havingfunhead.mp4
you? are what but am I know I
ay? choice, de ray beauty! o
story of storey first or non
underground city york new
Derivation of Ruins The
ruins derivative
say. to me for easy that's




familiar wood

waves let your loves blossom, you fools, recording dictagraph sounds. (She
runs to find a better vantage point.) (A man walks into ghost town with
fungus.) 2 scatological terms reveal her bare thighs selfishness the magic
of alarms sound in a workshop while a family watches her with long pointed
claws. They're frightened by the sound, a girl's bare buttocks make water,
she deserves to listen to a loud sound. A dog urinates on a young woman.
Columbus: you'd hear the sound of chain-mail rustled against willows and
poem into sound, for which it materializes, that is, fetishizes, placing
nadir of bellowing sound, perversions of word and sentence and boys and
men. The basement sound of dharmata, like a thousand thunderclaps
simultaneously. This is the natural sound of your own dharmata, so do not
be afraid or bewildered - you have no physical body of flesh and blood, so
whatever sounds, colors; trusting in the sound of your words I reach out
and touch the sound of your words - she has murdered the boys while they
are asleep; she has murdered the family which makes sound; she makes
sound; she kills a dog.
you must be sound asleep. A boy and his dog stood and
we forget the sound of laughter and the pain of the legs' hinge, skin/nn
half what might have seemed unsound; i wept - she got out with me. Grunts
and moaning clatter to the floor of the bathroom; you might see her
disappear for a moment, hear the sound of motion, the sound bytes - i
generate nothing but sound, no appearance, no twists and turns, only
tatters. When I speak, my voice sleeps. I churn out sounds. She exclaims,
"Netsex sounds .... aaaaaaaaaaahhhhhhhhhhhhhh" He says "you sound
unconvinced."

History of Seduction

narrative true-real of derivation
practice chora
firestorm the breathing
http://www.asondheim.org/havingfunhead.mp4
you? are what but am I know I
ay? choice, de ray beauty! o
story of storey first or non
underground city york new
Derivation of Ruins The
ruins derivative
say. to me for easy that's




familiar wood

waves let your loves blossom, you fools, recording dictagraph sounds. (She
runs to find a better vantage point.) (A man walks into ghost town with
fungus.) 2 scatological terms reveal her bare thighs selfishness the magic
of alarms sound in a workshop while a family watches her with long pointed
claws. They're frightened by the sound, a girl's bare buttocks make water,
she deserves to listen to a loud sound. A dog urinates on a young woman.
Columbus: you'd hear the sound of chain-mail rustled against willows and
poem into sound, for which it materializes, that is, fetishizes, placing
nadir of bellowing sound, perversions of word and sentence and boys and
men. The basement sound of dharmata, like a thousand thunderclaps
simultaneously. This is the natural sound of your own dharmata, so do not
be afraid or bewildered - you have no physical body of flesh and blood, so
whatever sounds, colors; trusting in the sound of your words I reach out
and touch the sound of your words - she has murdered the boys while they
are asleep; she has murdered the family which makes sound; she makes
sound; she kills a dog.
you must be sound asleep. A boy and his dog stood and
we forget the sound of laughter and the pain of the legs' hinge, skin/nn
half what might have seemed unsound; i wept - she got out with me. Grunts
and moaning clatter to the floor of the bathroom; you might see her
disappear for a moment, hear the sound of motion, the sound bytes - i
generate nothing but sound, no appearance, no twists and turns, only
tatters. When I speak, my voice sleeps. I churn out sounds. She exclaims,
"Netsex sounds .... aaaaaaaaaaahhhhhhhhhhhhhh" He says "you sound
unconvinced."

Bretz


Today I would have given you the Bretz materials, the result of scanning
the coke-ovens down the hill to the right across from the post office down
the hill to the left. But failure lured, ruled; it waited until the tripod
was set us, the yoke was mounted on the tripod, the laser housing was
secured to the yoke, the cables were connected to the laser, the laser was
connected to the power supply and data control, the data output was cabled
to the laptop, the laptop was powered by a battery, the battery was dead.
The battery was charged at 10:30 in the morning, the laptop wouldn't power
up, there was no data output or input or control to or from the laptop,
Nick and George and Don and Azure and I paced, George worked the laptop,
the laptop was quiet, quiescent, peaceful, there were no birds flying,
there was a snake discovered in one of the few images taken while we wai-
ted, the video turned out for four minutes, there was no scanning, there
would be no downloading, no processing, no stitching, no post-processing,
no warping and merging, no scaling and coloring, there would be no Bretz
directories, no Bretz digital images of scans, no Bretz videos of rotating
scans, no post-processing of scans in Blender, no transforming of selected
points, no fly-through and no digital video or still image output. There
would be no discussion of Bretz coke-oven beehive architecture, no consid-
erations of the histories and generations of local brick-work, no evidence
and no history, no written or spoken speculations on historiographies
merging digital and analogic worlds, techniques, equipment, organisms,
processes, languages, cultural and financial economies. There would be
discussions of budgets, of equipment wear and tear, of obsolete software,
obsolete laptops, obsolete batteries powering a laser otherwise capable of
scanning an entire statehouse in West Virginia, an entire Buddhist temple
in Japan, an entire archaeological dig, but not this local archaeology,
not here, not now, not these deteriorating coke-ovens whispering in the
mountain-topped heat, in this humidity problematic for the scanning unit
itself, flat or matte-black in coloration, gathering sun against the hills
and flowers, what flowers, what amazement of flowers, in the distance, or
the mine number thirteen or number twelve sealed above the SUV and the
tripod, and Don, George, Azure, Nick, and i somewhat below the ridge which
may or may not have been constructed by other than God, within which still
remain the maws of one-hundred and forty coke-ovens, the last working site
of beehive construction, only stopping in the 1970s or 1980s and then
abandoned against this peculiar meadow, the result of surface mining,
depredation, of the mining company, resulting in an exhausted land, an
unproductive land, a land of poisons, but for this glorious meadow and its
neighbors writing ATVs useless around in circles or into and out of the
surrounding woods, guns and ammunition hanging off the back. We looked at
each other, Azure standing with her sun-umbrella, uncomfortable in the
heat, and Azure, Nick, Don, and George proceeded to begin to pack up the
tripod and yoke and laser housing and power supply and cables, placing
them carefully back in their large metal cases, filling the back of the
SUV while I videotaped in NTSC a slight, a very light segment of failure,
with a graceful camera capturing a moment simultaneously lost and recor-
ded, present and impresent, all of us gaining a ride back in the now-
crowded SUV back across the dirt road, up the hill to the post office
somewhat across from the exit, where Nick, Azure, and I changed vehicles
and drove back, following the SUV, through Masontown, Manon somewhere in
the vicinity, through Sabreton or Saberton, or Manan and Monon left behind
us, on Route 7, up through and past the Mile Ground, still wondering what
mile and what ground, down and back into the Evansdale campus and the
Virtual Environments Laboratory, the VEL, where we unloaded the laser
cases, the tripod, the laptop, our video and still cameras, went into the
cool of the room, comforted by the hum so nearly like our own. Here was
the edge of success and failure, of the many things which could go wrong
but needed a password or keyword for the witnessing; here we were, there
we were, tired, used, with little to show for our efforts, no residue
beyond three or four minutes of videos, some stills of the outside of the
ovens - and how beautiful! - some images of coming and leaving, some sky.

Interior and Absence (notes on recent work)


In an attempt to explain my recent work...
This is such an attempt, the attempt already referenced -

Every surrounding space is non-existent, that is, every embedding space
should be construed as invisible, unless vectored outside of the frame -
i.e. perspectival vanishing-points or obvious extensions of line segments.

The invisible space is less than a frame, paregon, peripheral, only a
demarcation necessary for the transmission of the central object or
figure, or syzygy of connected nodes or interconnected figures. One must
strip away space in this regard.

Likewise one must strip away time, in order to reassemble temporality;
what it takes to see or process is widely at variance, turned loose, from
what is presented in the screen, this or that figure or figures.

Such figures descend from a series of asteroids I modeled, allowing one,
that is myself, to fly across their surfaces, as if polygons were
geological figures; it was the surround skeins, skins, that constituted
the measure of the infinite in the small, a form of perspectival geometry.

The asteroids themselves have as antecedent certain works or preparations
I constructed for scanning electron microscope imaging; these works were
either prepared natural specimens or etched figurations, sculptures
smaller than the wavelength of light, using a Cambridge Stereoscan which
did exactly that.

The concern or cathecting, investment, I have in the current objects, and
their potential or real transformations, to the extent they can be
considered objects, is based on psychoanalytic and general vectoral flows
across their surfaces - surfaces which may be penetrated or interpenetra-
ted by vision, revealing the hollowed skein or scaffolding of model
building.

The objects, whether closed manifolds or not, I consider closed manifolds
of projections and introjections, manifolds whose surfaces are inscribed
much like a cuneiform tablet, open to readings, not reading, and open to
interpretation. The reading is visceral.

The objects are not, nor are intended to be, portraits, nor do they occupy
a branch or sub-branch of portraiture; they are not singularities in
space, but spaces themselves, whose anxieties triumph, whose psychoses
play like storms across their surfaces.

I inject my concerns into safe, part-objects, transitional objects, half-
formed, maternal, wary in the construction of language, of languages, wary
in the construction of difference, differance. Such objects reference the
analogic from the digital, a digital which is embedded in the analogic, in
the hermeneutics of analogic reading and inscribing. What may for example
begin as dream or hypnagogic imagery, transforms within the pressure of
the machine, into those apparent fluidities which may be indefinitely
shaped. To shape meaning without the ostensible pressuring of language,
without the inscription of ostensible inscription - this is a goal,
meaning which, submerged, emerges, from less organized perception, which
may or may not be read as wonder in relation to the world or worlds. Every
image a world, every world, an imaginary.

The _scan_ permits the uneasy rupture/rapture among code and uncoding,
real and irreality, image and imaginary; the rupture/rapture of the scan
itself construes the fluid or abject at the heart of culture, universe,
world. Every reading is our reading; every writing is our writing; every
scan is ours and ours alone.

The _motion capture_ permits the internal tearing, torsion, tension,
tensor of the cohering body, always taken for granted, in order that
death, violence, sexuality, language, and body re-emerge as dissipated
punctum, within or without any circumscriptions.

The _access grid echo_ constructions create and reproduce the flattening
of space and thereby time that constitutes defuge, that state always
generative by deferral of other states. A face resembles, reassembles,
itself, and such contiguities or echoes are embedded as well into
generating configurations that might as well not be there.

In all of these instances, the embedding spaces are the symbolic; are the
chora; are ourselves to the extent that our senses devolve first and
primarily into the seepage of our own liquidities, bodies, sexes, deaths,
ruptured and irreparable enunciations.

The symbolic surrounds the symbol, which is symbolic to the extent, or
within, circumscription.

All inscription is circumscription.

Culture is the absence of embedding.

being or beings, Being or Beings

being or beings, Being or Beings
hence and henceforth, subject and subjectivity
digits and digital, turn and turnabout
split and splitting, there and thereupon
surge and surgery, prom and promontory
dark and darkling, clot and clothing
chair and chairwoman, char and charmed
mud and mudra, floor and floored
tabled and tabled, tab and tabulated
will and willing, ill and illness
more and moreover, endorphin, end

http://www.asondheim.org/vibrate2.mp4
http://www.asondheim.org/
largescanner series - go to URL scroll down to
largescanner -

existential temporal moment digitally sliced
into static substance/scene

Some abstraction


n.otes

thinning, defuge, flattening <--> reduction,    collapse

corrosion, residue, dissolution, dissemination, spew,    emission

thinning and emission epistemologically related
-- emission    (perhaps) implying point-source, teleology (it came from
planet    x)

thinning - information peeled off
-- entropy - permanently    lost

emission - information a mess, implosion
-- hints of origin,    originary trope

the two are related, information disorders
--    information is never disordered; its receptors are (in relation to
codes,    attention, capacity, etc.)

information is in a state of    becoming-information - always hermeneutics

defuge also an    information disorder? decathecting? has to do with
libidinal investment    withdrawn through repetition
'defuge is the information disorder of our    time' (come again?)

defuge in relation to borderline syndrome,    borderline personality
(exhaustive testing of presence) - weakened,    decathected or overly
cathected ('etiquette' of cathect /    cathecting)

spew has wider origin than emission, emission implies some    sort of
coherency in the beginning - spew can be considered flux into    flux
(incoherency into incoherency)

the real is spew - continuous    one-to-many / many-to-one mappings -
chatterings, jostlings

core    dump <--> spew - but not defuge - not impinging on the psyche    -
instead, formal epistemology, archaeology of collapse

defuge -    information not present (was present) but stale - as in
automatic reading,    then returning to attempt rereading

information always already spew -    as read, is edited down, cut into, etc.
- 'spew sliced' =    information

editing down the buzzing of the real (from spew) - machinic    decoding -
it's here that mathesis occurs - i.e. presencing - what emerges    from slag

God implies emission, spew implies, what? psycho-physical    processes, thick
transmissions - nothing that can be _named_

spew -    moil, sourceless = everysource
spew - moil, boil, roil, soil ->    defuge

emission - source, implied, inherent
emission - chatters?    stutters? continuous and discrete emissions

Johannes Lohmann -    operational words (of sorts)
see Kittler -
indo-european clusters /    constellations - spread of phenomenological
domains across (among)    inscriptions

inscription withdraws, decathects, sympathetic
fissure    inheres, cathects, empathetic? (probably wrong way to go here)

Freud on    the uncanny -

fissure and fissure, x and x, inscription, x and    -x

fissure < - > defuge, x and x
defuge (x), i'm tired of all    this (x)

fissure goes nowhere, there's nowhere to go
fissure comes    from nothing, goes to nothing, there's no one to go
fissure - tends towards    analog

inscription is 'everything else' - tends towards    digital

immersion inscribes - into what? fissure? (wrong way    again)
definable fissures - into what? inscription? (most likely    not)

fissure is a priori untheorized, uninscribed

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

when i talk with incompletion
sometimes there comes a notion
that someone owns completion
an imaginary notion

asking campers riddled questions
is riddling walls of the camps
someone who no longer questions
is no longer roll-called in the camps

grey stained red and sutured mouths
no one ever gets out of here
bodies are nothing but mouths
the rest no longer here

obscene half in obscene half out
this is the primal scene
it never happened or worked out
just repetitious scene

arrows fly like cursors hasten
better get out of the way
space itself seems to hasten
time imprisoned one way

time has no time to rupture time
space is only residue
of time confined to confine time
time is residue

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

West Virginia University performance text / July 27 2006


Somewhere there's a story in this - machinery of the body or interminable
mechanism of psychosis <> We begin like
this. We begin like this because the image stream is "thus." And it will
take a while to orient - from the playing with the images to the
performance. And except for this typing - there is no difference. Now I
feel embarrassed because some of you have seen sections of these alreaady;
I've been playing with the images for about forty minutes or so. These are
avatars placed into literally inconceivable positions. My name is Alan
Sondheim by the way nd I will be your guide for the evening. Or for as
long as you choose to stay. So as I was saying yesterday, with an avatar,
everything can be assembled or dissassembled - Here is the disassembly of
a vacuum tube in a scanner, digitally deconstructed. What is it that you
can do with machines that you cannot do with bodies? For one thing,
disassembly line - that is eachpart is independent of all the others.
Well, that's not true, but they'll stay that way if you unbolt them.

So one can move in ways that she cannot move, and remain in air outside of
gravity. EVERY HUMAN BEING IS THE RESULT OF INTERMINABLE SADNESS. These
images can be taken apart just like Al Capone. And these images belong
somewhere or anywhere and it's death that returns these bodies quickly
quicly to the position of the machine and its disassembly. So this is
about death, my work is about death, and the absence of language, that
looking out of the window at the last possible moment - and what is THERE
continuing in the midst of cessation - So these people can move butonly
for a short while. HOW LONG IS THE LIFE OF A DANCER? MERce is still going
strong into his 80s just choreography now. But I saw him dance ever so
slowly with a chair. And the chair with thick with the wood and if I'm not
careful I'll cove up all the exciting images again. On the right two
avatar cats with a human avatar perhaps from the Kojiki learning to ride
them in the midst of unfathomable winds. On the left avatar humans
hysterically presenting themselves AS IF they are on the scren within the
screen. On the right the recent Ukrainian revolution covered completely in
the main square in Kiev. On the left and right above - an occupation. On
the left an avatar-violation and that skin moving without tearing or
tearing without moving; to the right the neuraesthenic from the nineteenth
century, lassitude danced out in the middle, in other words disease and
strategies for moving around or through the body. There are times... in
the midst... of the dark wood which surrounds us... when we lose track...
give up... turn away...something has gone horribly wrong... perhaps this
is one of those times... as if the world has stained the world.... Someday
I will write myself... into nonexistence... This is my dream aloud...
uncriducoeurMIAO HOW.... at that point that precise point... between being
alive and being dead... I will divide.. and will divide and will divide...
there will be nothing that remans remains whole... then each segment, yes!
each segment! will retire all the others... the segments...

the segments will slowly disappear... outside of any database... not for
your viewing or my own... oh then things do or do not go together... you
see they lead us somewhere else... those faces on the left... modelled on
a book from World War One - a hidden book - photographs of the wounded - I
still have nightmares - and now in Iraq - people burned over ninety per
cept of their bodies. In this country, this was inconceivable. Not even
Vietnam... you have to go back to maybe Cold Harbor in the Civil War,
something like that... So this is about this is about empyre - and this is
a project - about the end of empyre - and this is a project - about a
certain kind of fury - this is about dance and the stain of dance - this
is about disease and the stain of disease - yes that too - this is about
an entire - a whole - encyclopedia of things! - yes, the encycclopedia
too! the encyclopedia as well! - faces collapsed yes in time - you can
reverse time digitally - double faces - aum and silent or a--- and um--- -
if you understand Shinto you'll get the reference - around Inari -
guardian figures - foxes - one with open mouth one with shut - the
electrical figuration between them - we're in the midst of the grid - the
power grid - it's all around us - you can hear the grid - the antennas
pick it up - the dancer moving around the grid - out in the wilds, well
not wilds but away from the grid - you can hear other things -

World War II was very beautiful... bombers going from England to
Germany... I imagine Iraq is very beautiful too...

In another minute this will look like a dance... a modern dance.. with
mysterious black figures and electronic music...

more dance and more dance... someting about Krishna here but I don't want
to go there -

these are segments of something called the swallowtail catastrophe -
bifurcation points - when there's a sudden shift in behaviour - when
anything can happen - but not "and usually does"

okaythis is Geneva - I'm flying the plane of the President of the United
States... on a bus... (bus + plane = speed of bus) - next to - somewhere -
an image of the tsunami - there's a proximity - about avatars - a nearness
- an uncanny element - you can't define it - they're close - they're
almost touching - and ye... yet... There are changes here... in gender...
positioning - there's a story but I don't know it... - not yet...

what's necessary now - some sort of climax - some way to bring this all
together - I'll find it - climaxes are usually loud - this one is embedded
- in the machine - the back of my mind - somewhere else not there -
somewhere with infantry - so the dancer - Maud - is the crankthat - the
crank that - that drives the map - bang bang bang bang - if she disappears
- the mapp - the map - will disappear - just wait and see - no I won't -
just wait .... damn, its still there...

the world is a mess...

let us give ourselves at the most another two generations...

dusts... radiations... at least you don't have to dream this...
thank you.

silentheads

unutterable sadness, cursor intrusions, head-object or object-head moved
piece by piece, that is spectral redrawing of coordinates given and
through certain trajectories, i'm sure there are disturbances yes for me,
i hear howling just beneath the surface, although these might bounce, much
as a message from me to you, unable to reach its destination, and that is
in fact its destination, in fact, in dream, in imaginary, in virtuality,
of which these are texture-molded from vaginas, testicle, shaft of penis,
sex-heads, silent, silenced, not even a nodding, yes and no
http://www.asondheim.org/quantum.mp4
http://www.asondheim.org/silenthead2.mp4
http://www.asondheim.org/silenthead3.mp4
[the following are based on motion capture of a dance / avatar construction; wires connect sensors to central computers]
http://www.asondheim.org/stain.mp4
http://www.asondheim.org/floordancehysteric.mp4
the basin of our lives, our concavity, neither internal nor an extension,
we're here, there, miniscule, only our loss the richness, fecundity of
world and information time and time again, sheaves of time, of which, just
this text or view or this reading, death coming, infinitude of details
gone forever, slightest creatures, of which we, communalities, surface one
or once or not at all, our unknowingness, rot envisaged in the corpse of
the other, our selves worn like teeth come the death of how many, the
moment after, no longer there, your glance invisible, words unheard, touch
receding down your long corridor, the room the same, view from window,
slough of air, this body no long with basin, with concavity, the thing,
what will you do with it, what will be done with it
body movement translated into bvh file
bvh file clothed in loquacious avatar
avatar lowered onto floor body
hysteric dance of avatar and floor body
mapped dance of one and another
digital seamless wonder transmutated skin
writhe wryte internal electromagnetisms
signals connecting floor body and avatar
avatar desiring floor body hysteric
hysteresis as chiasmic exchange
the one generated the other
the other was clothed in the one
the other above the one
the one beneath the other
coupling hysteresis hysteria
the womb meanders eyes opened shut
bodies stitched together in final fury
doctor doctor there is no help for me
doctor doctor there is no help for us
for her for them
peopling the world of the grainy digital film
stitched together falling apart at the seams
falling apart seamlessly
hysterical out of control contrary
contradictory wayward really fucked up
really fucked up avatar fucked up floor body
say neurasthenic mean hysteric
bvh file long since forgotten
the real. Jennifer is thinking sleazy about her philosophy of immensity,
the stain all in the breadth of a stain on a minor planet. But I made the
angel fuck dirty panties Names roll off the tongue, stain the air
tentative; the signified is recuperated as a stain against a backdrop of
the virtual, stain the wires with my presence, search planetary context,
panties, your stain grows larger, my stain on my conscience, stain in your
*/apologies for removal of some files, i have limited space/*

4-four catastrophe machine in motion capture

4 stationary points with picking up and putting down and rearrangement
18/4 sensors motion capture: _the language returns from the other side_ -
sudden jumps - hyperbolic space - infinite manifolds - closed but yes at
the edges - the corners - elsewhere - beyond anything conceivable - the
body is a compass - the body tends - this way and that way - take a gander
- a look-see - variants on and off the field - of discourse - space-time -
points holding everything back - master or matrix - murmur - the semaphore
of the black hole - nietzsche -

http://www.asondheim.org/velrearrange.mp4
http://www.asondheim.org/velputon.mp4h
http://www.asondheim.org/velrearrange2.mp4

killer sons - victim fathers - semiotics of the woman - literally the cusp
catastrophe - or butterfly - the catastrophe machine - in one end and out
the other - heideggerian four-fold holding in abeyance - moves every so
slowly - then swish! - crack! - kwak! -

Unutterably Beautiful

Unusual anomalies in VLF recordings, WV (soccer field, evening):

http://www.asondheim.org/vlfsocr7.mp3

Regular 'stuttering' towards end.

http://www.asondheim.org/vlfsocrground8.mp3

Body grounding and new phenomena.

The atmosphere was incredibly active with dense clusters, trains, and
singular spherics. NASA VLF-3 radio with 8' vertical antenna.

The 2nd mp3 was almost, but not quite, breathing. Stretched dawn chorus
comes to mind.

I believe these are unutterably beautiful.

We have been in West Virginia for close to ten days now on a house-sit. I don't sleep; I worry about money, about survival. I said to Azure that I have to work as hard as I can since it doesn't feel as if I would be able to again. The future is too emptied out, too bleak, and our stay here is unbelievably rich.

Tonight I awake and hear the crickets chirping in the lizard cage. As part of the house-sit, we take care of an anole and gecko. They're doomed, of course; we bought them to be eaten. It's heart-rending; I couldn't own anything that needed live food, food bred for live consumption. There's a metaphor that makes me uncomfortable; I identify with the eaten, not with the eating, most likely part of my depression. We have a cat, who has us, Boojum, and of course we buy food for her as well, back in New York (she is now subject of a chain-linked house-sit). And of course that is also meat; I'm aware of the hypocrisy here, and after she passes, it would be hard, for me, to have another such animal. She is friends with both Azure and myself; this isn't about her, but about all of our footprints on the planet.

For I think to myself, however large or small my footprint, it is too large; it should be reduced. And reduced and reduced. Reduced to nothing, and then some. Disappearing in a hollow occupying as little space, however as much time, as possible. Leaving the rended and rendered earth to itself, and perhaps one cricket better. All one can do is atone and clean up one's own mess and then others and then others and others. But I imagine the emptied footprint, an outline of the passing of a human, all these files and transformations. And the footprint slowlly disappearing from view - slowly, because I have unquestionable pride, and think of legacy as much as anyone else. My legacy however is tinged with regrets, embarrassment; it's peripheral, hardly visible. Culturally, I belong nowhere at all, but listening to the sky is never enough; if I consume it is knowledge, and knowledge's transformations. I am a cultural machine in the virtual; I can't help this, and that is my failing. I - I - I - I- I - am crippled enough to believe that if I don't produce, don't create, I have no reason to simply be. So I am. So I listen to the skies as a reporter, and other works and workings follow suit, and if they don't, then I am not. And Azure suffers daily through this selfish nonsense...

Wasteland


re John von Neumann, The Computer and the Brain - analog computer - "each
number is represented by a suitable physical quantity" - in the digital
machine there are markers and combinations. Consider the former a calcu-
lation which is _intrinsic_ to the material world and the latter, one that
is _extrinsic._ Then the former also embodies temporality - there is a
necessity for movement-vectors of material objects; I would argue (here's
the rub) that the latter displaces or flattens temporality. The simplest
example - an analog watch, a digital clock - in the former, temporality is
constituted by indexicality ranging over a _field_ within which projects
forward and backward are simultaneously visible - and in the latter, only
imminence appears - 10:42 does not constitute a vector or transformation
but an abstracted and flattened quantity. Admittedly, the quantity _means_
only by virtue of difference, but the difference - and difference itself -
is negated. In the analog situation, the field is the matrix of difference
which is memory, moving, movement. In the digital, pure function to the
nth-degree of tolerance. In both, deployment and poetics of tempor-
ality within which functionality is a residue - the reason for example for
so many chimes and bells - divisions external to the dial-field, divisions
in concert with labor.

The same phenomenologies occur in considering GPS and atlas navigators.
The former presents the imminent situation of the user (i.e. "you are
here") in relation to a sketched immediate surrounding (just as the
digital clock presents "you are now" - the split between synchronic and
diachronic almost too neat); the latter presents the field within which
the user must locate hirself - a field extending to the edge of the page
and beyond. The same is also of course true for the GPS, but the imminent
positioning of the GPS is over-determined; the map is centered on the user
or hir goal, the map is a production of the user though the GPS for the
user, or a production of the GPS in accord or upon the command of the
user. Like the analog clock, the GPS screen disappears with shutdown; the
imaginary of the screen retreats within the real artifact.

To some extent we are considering only a _moment_ within the digital,
which can map anything anywhere; online maps for example are becoming
increasingly detailed, and NASA's WorldWind is as good a simulacrum of the
planet as one is likely to get. The difference between analog and digital
is increasingly abolished as raster, bandwidth, and databases increase. It
is within the digital-personal, watches and portable GPS, that the dis-
tinction is likely to remain; even personal video/music players are
approaching the analog millennium. The greater the convergence, the
greater the databases and technologies at work, the more labor-intensive
the information regime, the more porous and vulnerable. The distinction
becomes a memory, revealed only when something goes wrong, and the digital
body opens, not to plumbing, chemistry and substance, but to electronic
technologies. And here, too, the distinction converges as bodies take on
the characteristics of cyborg-avatars, and the possibility of organic
computers and displays increases. Thus the world is all image, all screen,
complexity intertwined beneath surfaces; thus the world is porous and
vulnerable itself, susceptible to hacking and axing, conceivable and
inconceivable onslaughts. Just as the nervous system is both digital and
analog, so is the perceptual apparatus (by which I mean from sensor to and
through sensed); one can imagine a horizon of continuous images, sleeps,
dreams, stasis, and eternal death. So let us think of _distinction_ itself
as a stage or moment in time: Lo, the Other will become One, and the One,
Other, and all, or none at all, will bear silent witness to Absence.

Cusp phenomena transfer materials interference/ superimposition/ confluence/ of competing regimes coupled with raster phenomena and and and

and something else, the vortice/ vertex/ apex/ nadir/ flattened - detumescence - deconstruction - defuge of the same - such intermediate variables ! - the rapture -

yaw http://www.asondheim.org/yaw.mp4 i wonder if it would be possible to
put the rover on a fairly steep slope and do a little yaw dance, that is,
quickly alternate between starboard and port i wonder if it would be
possible to put the rover on a fairly steep slope and do a little yaw
dance, that is, quickly alternate between starboard and port the following
week i caught the final performance of wong kit yaw ambitious dance epic,
passing. it began with two arduously introspective adagio term yaw-yan was
derived from sayaw ng kamatayan which means dance of death. this club was
created to unite all members of yaw-yan and to help promote introspective
adagio, a true series of computer-augmented dance performances. the yaw
coordinate (abcde) will change as the dancer turns. throughout the
performance space series of computer-augmented dance performances. the yaw
coordinate ( ) will change as the dancer turns. throughout the performance
space. ... omg, hahahaha u cnt dance 4 ya lyvz. valeane said:. those
****** ******* cant dance. 49 days ago neshaboo said:. dont quit yaw ...
around turn one at streets, the is 430 went into a frightening pitch/yaw
dance. any high-speed, high-load corner produced an oscillation that would
make ... the following week i caught the final performance of wong kit
yaw's ambitious dance epic, passing. it began with two arduously
introspective adagio ... she stopped dancing in 1991 but returned to it
when she moved to study dance with her father yaw. yaw dance

Disappointing, that so many of the entries, including this, contain urls to other sounds/videos, insufficient text, theory, as if everything could be carried out nonetheless within the register of the visible, clearly impossible. Avoiding too much, perhaps, too many anomalies, theoretical insufficiencies, the state of my life closing down on the plain, the terraces, open before it. So soon an attempt at recification, this must be the case, a harder, drier labor, until my hands forget, forgo, the keyboard, against the crippling of the imaginary. What I dream should remain wthin the dream, what crosses desire, should remain within the chiasm. Always aware of death before me, my ownership of that last moment, the Other of that moment, the other-siding, siding against the other. Dreaming, that dreams fail at the very last, the uncoming of an uncommon home, what is below is offered

and dedicated to Marguerite Young and Eleanor Antin, "the code of the dancer's body"


chiasmus

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

coroner's table operating table piston pump Good Maud synchronous
stratigraphy plain plane imminent vector tableland 2-stroke cycle +++
4-stroke circulate
tableland
immanent vector
sheave
cliff
cross=section
diachronous
Bad Maud
top-spin
takeoff landing
control panel
physical therapy
---

micronarratives in vertical space

http://www.asondheim.org/trapez1.mp4
http://www.asondheim.org/trapez2.mp4

but please watch

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

first if you haven't

thank you

alan sondheim

semiotics of the digital - analogic

3 videos with Maud and Foofwa (choreography/video Foofwa, dance Maud,
mise-en-scene, production, effects, Alan)


the maudsfinal


i apologize for the size of this; already it is only 320 x 240 down from
PAL but at least it will give you the jist of such duets as i have not
worked with previous to this moment, in which digital flesh suborns
relation to the ratio-analog, in which digital flesh blocks the analog at
such critical moments, among the glance and the exposition
while i am writing this, the flu-like symptoms have returned; image and
artifact constitute delirium
http://www.asondheim.org/maudsfinal.mp4
azure will front and intersperse, what was original no longer exists,
extinction, universal annihilation looms, what organisms of the future
anterior subsist on such fodder?

(22 megs and again apology but on this occasion, it's worth it. even in
miniature.)


lexicon, analog


http://www.asondheim.org/rottate.mp4
- in this a segment is repeated diachronically (temporally).
if segment = S, then we have S*n - n repetitions
http://www.asondheim.org/maudmachine.mp4
- in this a single segment is constructed synchronically (spatially).
space collapses onto itself; if space = S then we have S*x = S.

So there'a a _vocabulary_ constructed here, against which Poser/motion
capture, Blender, etc. plays.

http://www.asondheim.org/maudmachine.mp4 - at least in a while this should
be up. It's very simple reverse echo set to 'maximum' but you can see
where this is going, how it would work w/ poser, or with even a vocabulary
/ calligraphy of the figure - meanwhile for me it's uncannily beautiful,
Maud suspended in space

Meanwhile I've been working mainly with a short piece of the Maud material
which I'll make into an .mp4 either tonight or tomorrow; the rendering is
horrendous. It's simple but works. The tapes together constitute almost a
lexicon of figuration - it's hard to explain, but there are so many possi-
bilities, in terms of video, but also aesthetics, philosophy...

I'm unclear about the nature of the fetish in the construction of the
original tapes, in which stage left/right, horizontal/vertical, closeup/
distance interplay in a semiotics of desire outlined by the bar-barriers
of the material; I see this as minimal signs of humans on a planet within
which they remain benign, localized.

Just got down humming through the 15 mini-dvs, and will begin working more
with them now. Your roof, the flute silhouette solo, the picnic, all are
cinematic, perhaps a story in that -

Help me find the wounded. Remove the sick and wounded. Take care of all wounded. This patient cannot be moved. Stay with this man. Look after him. Lift him gently. Help carry this man. Carry him to the hospital. Carry him carefully. Carry his equipment. Will you dress his wound? Boil the water. He is cld. Here is a blanket. Remove his clothes. Have no anxiety, we will look after you. Can you move your leg? Put a temporary split on that leg. He has sprained his ankle. He is dying. Get the chaplain. http://www.asondheim.org/ls1.jpg Help me. I am feverish. I have chills. I have a headache. I can't walk any more. I am weak. My throat is sore. Give me an injection of morphine. My bandage is untied. Please bind up my hand. I am wounded on the right arm. Carry me carefully. I am in great pain here. http://www.asondheim.org/ls2.jpg You are hurting me. I have difficulty in breathing. My pains are internal. The pain is constant. I want something to stop the pain.

Johnson on Masquerade:

"Behold, Flirtilla, at thy feet, a man grown gray in the study of those
noble arts by which right and wrong may be confounded; by which reason may
be blinded, when we have a mind to escape from her inspection; and caprice
and appetite insated in uncontrolled command and boundless dominion? Such
a casuist may surely engage, with certainty of success, in vindication of
an entertainment, which in an instant, gives confidence to the timorous,
and kindles ardour in the cold; an entertainment where the vigilance of
jealousy has so often been eluded, and the virgin is set free from the
necessity of languishing in silence; where all the outworks of chastity
are at once demolished; where the heart is laid open without a blush;
where bashfulness may survive virtue, and no wish is crushed under the
frown of modesty."

High-Speed Sutra


I don't know what it means to practice Zen.
I don't know what it means to do anything at all.
Whatever it means, I'm not doing it. I'm definitely not doing it.

I think I might practice something.
I'm already at the edge of the cliff. Something, anything, one for all.
All for one is nothing. I won't practice that.
I won't practice writing either.

The practice of writing is writing.
The practice of Zen is nothing at all. I won't do it.
This isn't writing, this is practice.
I'll write something later on.

I should add I don't know anything about Zen.
I should add I'm writing borrowed-Zen.
I don't know anything about Zen, I'm writing borrowed-Zen.
My Zen is faster than yours.
I should add my Zen is fast.

I won't do it, not even to do it. I won't do Zen.
There are hungry ghosts after me, they know!
Where they are, I'm not. Where I am, they won't go!
My Zen is faster than theirs. My ducks are enlightened Kwak! Kwak!

Not dying is not not wanting to die.
Dying is not wanting to die and not not wanting to die.
After a while negation buzzes. Automata make negation machines.
Negation machines buzz for me. They make things faster.

Just because my Zen is fast doesn't mean it's not Zen.
Just because I feel nothing doesn't mean I'm not enlightened.
My enlightened Zen takes a nanosecond.
Whatever takes anything, I'm not doing it!
I haven't done it either!

This is the High-Speed Sutra.

When was I born?
When did I die?
When did I write these words?
I wrote them after I was born and before I died.
I wrote them before I was born and before I died.
I wrote them after I was born and after I died.
I wrote them before I was born and after I died.
Where was I born?
Where did I die?

interface: an image found in the midst of wwii footage of the 56th Fighter Group - this between segments of planes, bombers on the way, see http://www.asondheim.org/wwiiabove.mp4 and the end of it all http://www.asondheim.org/stat.mp4 among images of planes, nose art, takeoffs and landings, pilots posing, military vehicles -

the wwiiabove is unbearably beautiful, squadrons leaving on bombing runs, the skies raked with the beauty of Gaia breathing

sadness close to unbearable ** this image
ill health stress no money what else is new ** takes over
friends and lonesome birds ** my life

this time in Brooklyn, a young peregrine falcon seemingly lost, one street over from us, we called the ASPCA, Channel 1, Audubon Society, police, Animal Control, wildlife rehabilitators, it's out there sitting now on a sill, this has been going on all day (since my biopsy this morning), television came in, anything to rescue him or her, not sure about food, injury, very short flights, very alert, nothing seems broken, no mother in sight, unbelievably rare for New York City this fastest of all birds, wildness, breaking neighborhoods down (everyone talking to everyone else, exchanging phone numbers, information), later tonight we'll see if it's still there, perhaps tomorrow someone can rescue it, if not, at least we have tried and tried and tried

multi: this is a sequence of images that relate to the presentation of sellf in everyday virtual life; the images were used in ongoing lecture series; the analysis is practically implicit; i emphasized the distinction among first/ second/ third person texts; now this is an archaeology as well; so many of these applications have disappeared or been transformed; the principles remain the same, the necessity of continuous rewrite to indicate presence, ascii sexuality as control structures, defuge as exhaustion and decathecting of desire under certain circumstances, mixed spatialities and metaphors, concretions of the analog world within text - or still or moving image, or sound - http://www.asondheim.org/multi/
- the images constituting the nexus of theoretical apparatus, postcards from the dead, postmodern pickwick papers, online clubland of everyday life - take time with them - enlightenment -

dominion and voice intersperse through culture, entangled, she's bringing home the goods she's got the goods the cat's in the bag she's bagged the voice, she's strapped you in, she's kissed you good
you're in the bag, you've bagged the girl, she's strapped it on, she's strapped you in, you've sucked her bag, you've opened the bag, she's on your case, you're in her case, you've got the goods, you've bagged her voice, you've strapped her in, you've kissed her good, she's in the bag, http://www.asondheim.org/dominion.mov
she's bagged you good, you've strapped it on, you've strapped her in, she's sucked your bag, she's opened the bag, you're on her case, she's in your case, she's got the goods, she's bagged your voice

hunger artists drafts changes policies rewrites constitution goods bill of lading overthrows harbor tax oil refineries signal distant bids against tract homes priced to kill


culture breathes sigh of relief for museological collections held simultaneously in thrall against marauders searching for an easy fix against cash flow tax sanctuary fortress repositories closed histories adjacencies

incentive taxes preserve old yarns faulted ships motion capture moments skeined glassed together unreasonable priced fetish ploughed picture perfect years and dates of yesterday

prices falsified my amusement amanuensis daemon exhibition floor routing downturn oil investment closing time soldiers stole everything

r/egret

time gnaws itself out simultaneously forwards and backwards and therefore as usual nowhere, sound tends towards utter collapse and then disappears as worlds crank up, nothing resonates properly, stasis turns through fast forward zen into future anterior, no one is waiting, no one nor another, i am the first and the last

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

Present Hunt. Math Acti spykids ownz you ity. In this game, children will
mo spykids ownz you e around a gameboard by spinning a spinner and mo
spykids ownz you ing to the next place on the board whose shape ... This
year marks the 7th annual Multi-World dagger Present Hunt in Storage
world. The hunt will last for four full days this year! ... head. o
spykids ownz you er the life that should ha spykids ownz you e been, ne
spykids ownz you er would be. ... to here where now i sit and write with
one hand amputated and my. heart dead. there ~@~Ys been ... it's
'i ha spykids ownz you e lots of noise here take a sound-byte'
culture time. 'plans are fine but no water' says dagger throat in
heat. it tickles me na spykids ownz you y-blue. ... That would ha spykids
ownz you e been a lot more fun and useful a message. ... Right now, it
sounds good to me. Here's the NYT story on Brazil's success with
ethanol. ... http://www.asondheim.org/hunt.mp4