Gnat swarming behavior

The following video was made about 100 meters from the Jordan River trail
in Salt Lake City (West Jordan / Midvale), Utah. The site is a pond per-
haps one or two acres across; there are numerous birds (swallows, swifts,
red-wing and yellow-head blackbirds, etc.) around. When I first saw the
gnats, near sundown, they swarmed in a typical ellipsoidal fashion, i.e.
similar to a free-falling water balloon in slow motion. I noticed several
columns forming; in a short while, they became vertical, long and narrow.
They swayed and held shape. In gnat swarms, males and females behave
differently; in one of the vertical columns, a roughly spherical 'head' is
visible to one side, and I wonder if there might be sexual differentiation
here. What is fascinating to me is the relationship of millions of gnats
to an over-arching geometry; this parallels slime mold behavior to some
extent. I've seen lots of gnat swarms before, but nothing like this. We're
leaving the Salt Lake City area today, so I have no time to investigate
this further at the moment (we're leaving today), but I'm interested in
any further input, images, videos, you might have.

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


Radio

'Radio' - modified recording in the Mormon Tabernacle Choir building; note
the laptop in the foreground which controls and monitors the organ, light-
ing, recording, etc., as far as I can tell.

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

(video w/ Foofwa d'Imobilite, church at Pringy, text w/ytalk)


[Ringing julu...]


[1;25r
[?7h
[2;1H
[Ringing julu...]

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

[Waiting for connection...]
[H----------------------------=
YTalk version 3.3.0 =-----------------------------
[2;1H
[12B
[A-------------------------= julu =--------------------------
[14;1HSwollen embryos filled the membrane of the KIirk
rk, Jennifer, almost sounds bubble
forth from the mouth
broth broth, Julu, air is always inside air,
there's nothing beside air, nothin
[6D
nothing motivated
[13Bthere are our motivations and we skillfully
envelop our bodies against the line separating us and our accountability
why do things always move sexually, as if there were no
other concourse, religi
[6D
religion for exampkle, the Kirk, for example
[13Bah you can see me there in the dark, you can hee re my whispers to
Chirst our Lor
Lord Buddha, you can hear everything, skin on skin and
face on face on face

[5Byour face is lovely lovely i would kiss your facei would
inhale your skin i wou would inhale your isin your sin i would take with
me a
would fondle your sin i w
would i would listen to you against dorje and cross
against hammer and star
[12Bwe expand in our own worlds of information, we move
accordingly, we act accord accordingly, we are drunk we are drinking each
other, we are devouring
[8Bwe are devouring each other's eyes, yes, and blinding
ourselves to anyting but
ourselves to anyone but ourselves to any universe but ourselves
[12Band reading ourselves one against ourselves,
o o o jenifer julu you are soundi
[6D
sounding bubbling forth, there is

are gods and goddesses after t

all there are holy

dances
[10Band dangerous and holy writings for us to read and o

anyone to read and to compar
[6D

compare beauty against beauty, love against love, our bubbles

[14;25r
[25;1H
[1;25r
[24;1Hour bubbles when they are whole, they cannot burst,
they are eternal, when they are the only one or two or multitude
, yes yes o ulu-enifer, when they are multi
[1;25r
[23;75H
multitude, then will they soften the sounds
of ours
selves murmuring and filling
[2;12r
[12;1H
[1;25r
[12;1Hworlds with wings and understandings of wings and
great gyrefalcons above and b
[2;12r
[1;25r
[11;79H
belong every new-born clouds, bubbling forth, the very froth of existence
[14;25r
[25;1H
[1;25r
[24;1Hfroth uncarrying, uncaring, every one, every one and ojbect,
o glorious sound j
[14;25r
[1;25r
[23;79H
jenifer julu, are
o participation in aeon and aeon and aeon
[2;12r
[12;1H
[1;25r
[12;1Hwhat we have wrought here
[2;12r
[1;25r
[12;1H
[2;12r
[1;25r
[12;1Hwhat we have wrought here in this quiet space in this existence
[2;12r
[1;25r
[1;25r
[24;1Hin this existing agan n and again and agon, in this murmuring
against
the membrane of the
bubble, murmuring membrane
[14;25r
[12;1H
[1;25r
[12;1Hprolix and univie fied
[25;1H
[1;25r
[24;1Hwhy is there anything
[12;1H
[2;12r
[1;25r
[12;1Hwhy are we here
[14;25r
[1;25r
[24;1Hi am drinking you ah ah ahhh
[2;12r
[1;25r
[12;1Hi am drinking you ah ah ahhh
[2;12r
[1;25r
[12;1Hah and drinking and drinking you
[2;12r
[1;25r
[12;1Ho julu jennifer
[14;25r
[1;25r
[24;1Ho jennifer julu
[14;25r
[1;25r

[1;25r
[?7h
[2;1H
[Ringing Jennifer...]
[Waiting for connection...]
[10B
[24C###############################
[31D# Rering Jennifer #
[31D###############################
[12B
[A-----------------------------= Jennifer =-----------------------------
[14;1H
[14;1H
Swollen embryos filled the membrane of the KIirk
rk, Jennifer, almost sounds bubble
forth from the mouth
[11Bbroth broth, Julu, air is always inside air, there's
nothing beside air, nothin
[6D
nothing motivated
there are our motivations and we skillfully envelop our bodies
against the line separating us and our accountability
[11Bwhy do things always move sexually, as if there were
no other concourse, relig
[5D
religion for exampk le, the Kirk, for example

[5Bah you can see me there in the dark, you can hee
re my whispers to Chirst our Lor
Lord Buddha, you can hear everything, skin on skin and face on
face on face
[11Byour face is lovely lovely i would kiss your facei would inhale
your skin i wo would inhale your isin your sin i would take with me a
would fondle your sin i
would i would listen to you against dorje and cross
against hammer and star
[7Bwe expand in our own worlds of information, we move accordingly,
we act accordi
[7D
accordingly, we are drunk we are drinking each other, we are devouring
[12Bwe are devouring each other's eyes, yes, and blinding ourselves
to anyting but
ourselves to anyone but ourselves to any universe but ourselves
[9Band reading ourselves one against ourselves,
o o o jenifer julu
you are soundin
[7D
sounding bubbling forth, there is
are gods and goddesses after t
all there are holy
dances
[11Band dangerous and holy writings for us to read and o
anyone to read and to compa
[5D
compare beauty against beauty, love against love, our bubbles
[2;12r
[12;1H
[1;25r
[12;1Hour bubbles when they are whole, they cannot burst,
they are eternal, when they
[2;12r
[1;25r
[12;1Hare the only one or two or multitude
, yes yes o ulu-enifer, when they are multi
[2;12r
[1;25r
[11;75H
multitude, then will they soften the sounds
of ours
selves murmuring and filling
[14;25r
[25;1H
[1;25r
[24;1Hworlds with wings and understandings of wings and great
gyrefalcons above and b
[14;25r
[1;25r
[23;79H
belong every new-born clouds, bubbling forth, the very
froth of existence
[2;12r
[12;1H
[1;25r
[12;1Hfroth uncarrying, uncaring, every one, every one and ojbect,
o glorious sound j
[2;12r
[11;79H
jenifer julu, are
o participation in aeon and aeon and aeon
[14;25r
[25;1H
[1;25r
[24;1Hwhat we have wrought here
[14;25r
[14;25r
[1;25r
[24;1Hwhat we have wrought here in this quiet space in this existence
[14;25r
[2;12r
[1;25r
[12;1Hin this existing agan
n and again and agon, in this murmuring against
the membrane of the
[2;12r
[1;25r
[12;1Hbubble, murmuring membrane
[2;12r
[1;25r
[24;1Hprolix and univie
[24;1H
[2;12r
[12;1H
[1;25r
[12;1Hwhy is there anything
[14;25r
[25;1H
[1;25r
[24;1H
[14;25r
[1;25r
[24;1Hwhy are we here
[2;12r
[12;1H
[1;25r
[12;1H
[2;12r
[1;25r
[12;1Hi am drinking you ah ah ahhh
[14;25r
[25;1H
[1;25r
[24;1H
[14;25r
[1;25r
[24;1Hi am drinking you ah ah ahhh
[14;25r
[1;25r
[24;1Hah and drinking and drinking you
[14;25r
[1;25r
[24;1H
[14;25r
[1;25r
[24;1Ho julu jennifer
[2;12r
[1;25r
[12;1Ho jennifer julu
[2;12r
[1;25r
[25;1H
[?1l

Engine

It becomes an engine.
It masquerades the crankshaft.
It turns like an engine.
It transforms taps into pitch.
It hums and makes everything hum.
It turns and turns out that way.


http://www.asondheim.org/revvvv.wma
http://www.asondheim.org/revvvv.mp3
http://www.asondheim.org/revvv.wma
http://www.asondheim.org/revvv.mp3

wma smaller ; if you can't open, use mp3

Virtual, not Real

Two modes of writing, most likely among others: Well, I demonstrate (x); well, I demonstrate (myself). The first compresses, contains, confuses the object; the second smears the object within or against the code/work of the text. To smear the object implies an onto-epistemological corruption or breakdown; it is abjection that determines the problematic relationship between self and object. To demonstrate (x) is to clarify an indexical mapping between symbol and object; to demonstrate (myself) is to dis-embody both object and self; the ontological breakdown is between organism and signifier; the epistemological breakdown implies that knowledge itself is problematized across the boundary. Of course there isn't any boundary; this is all non-sense - in other words, senseless, one can't make sense of these things, there's nothing in the sense of sense as direction - can you sense which way to go? The discussion itself leads to abjection; a w/hole body has no need of dis/splay, dis/comfort; it's there inhabited, sutured, one with inhabitation and self, powerful, commanding, desiring, desired. The body tending towards discussion is already embedded in a futile attempt to construct existence out of shifters, pronouns; the discussed body is already a crude form of empathetic magic, which never works but which constantly requires both sacrifice and repetition. Then one reads it, the same, the differentiated, as autobiography; what is being described adheres to, seems to adhere to, the events of the day, those contortions or fits (fitts) of the writer, and thus replete with projection; this holds as well for fictional characters, but everyone recognizes that avatars at least have no history. The avatar is intermediary/sluice between clarified object and smeared self; its skin labors skin in one very singular direction, that is, from an acceptable exterior distance - but its skin labors space within or close to within. Within what? The prims fall away, replaced by space which mirrors, maps external space, all the way to the ends of the game, game-space, or beyond; mirrors, by association, space itself in the real, which is already virtual, the closer one apporaches quantum or fundamental particle levels. In this very real sense it is the avatar which is real, and our selves, bodies, our organic existence, which is virtual, dependent among other things on an Aristotelian logic that holds only on _this_ level in the holarchy, among others. For the law of distribution, so important in the applica- tion of classical logic to the world, breaks down in favor of the gestural, once the logic is examined closely, once appearance and the reading of the world, such as it is, virtual-real, is foregrounded. We defend ourselves against this through a whole phenomenology of pain and suffering, as if death constitutes the undeniable presence of the material world. That this isn't the case is clear, not by considering death itself virtual, but by recognizing death as the termination of processes in the middle-zone, in the middle-way - and processes them- selves, are by virtual of the ineluctable ontology of time, virtual in their constituation.

In lieu, place, virtual or real, of this, I speak like a madman, like a hungry ghost, already a contradiction, since what would fulfill a ghost, hungry or not, except an internal transform among ghost-organs, ghost- perceptions, ghost-epistemologies? Madness always carries the tinge of the virtual with it, and thereupon the real, just as what one considers the real in everyday life, appears as a dream, false, masquerade, sham, facade, theater and theatrical performance, all of which is true, recognized in every movement or body-speech of an avatar, in one or another world, more real than virtual, as ours is more virtual than real. To write of an object: "Two modes: Well, I demonstrate (x); well, I demonstrate (myself). The first compresses, contains, confuses the object" - is to write of oneself writing of an object; this is elementary. And it is also elementary to realize that "writing of oneself writing of an object" is an aporia, useless, exhausting, falsely-recursive; one might as well stop there and recognize that the smear (stutter, cough, text, pause, punctuation, page or screen) is behind, within, inherent in, every utterance whatsoever. The psyhoanalytical loss of object or good object or bad object is founded on no object at all - none, but food in the eyes of the hungry ghost, or the hungry ghost in the eyes of its prey. Nothing is simple, everything melds within the hallucinatory, and rational action is the apparent ability to 'freeze' those moments, as if they endured beyond the momentary glance or description.

Too distant, too many calls. I'm on Ning (Second Life Odyssey), Facebook (Brown University), Youtube (whatever), Myspace (horror but I wanted to contact someone); this blog, which is hardly read at all, why should it be? finds or follows last... which is a shame.

http://www.asondheim.org/hhhhh.mp4
http://www.asondheim.org/amidha.mp4
http://www.asondheim.org/railray.mp4
http://www.asondheim.org/amidha.mp4
http://www.asondheim.org/fallingout.wav
http://www.asondheim.org/fallingouter.wav ]
http://www.asondheim.org/parisfull.mp3 ]
http://www.asondheim.org/spectralparisecho.mp4

Some of the soundwork is duplicated in the video but easier to download. You find some of the work as well at Ning or Youtube. I think this is my best work in quite a while. But here's the rub - I can't add anything to the senseless political climate; one would be a fool to pay attention to my personal ramblings; I can't review cultural/poetics/etc. books with any degree of interest in this space (although they're sent periodically to a number of lists); and I'm beginning to think more and more that blogs are all too often personal embellishment, ornamentation, rhinestones without the glitter like an albatross around the neck of Leda's swan.

But I feel an obligation, keeping the date open...

i'm on facebook i have no face:


----------------------------------------------------
Facebook Photo Uploader version: 1.1.27 Current document URL: http://brown.facebook.com/editalbum.php Reload proxy configuration ... Proxy Configuration: Browser Proxy Configuration Done. Dump thread list ...
Group main,ac=13,agc=2,pri=10
main,5,alive
AWT-Windows,6,alive,dameon
AWT-Shutdown,6,alive
Java2D Disposer,10,alive,dameon
AWT-EventQueue-0,6,alive
Thread-4,5,alive
Group Plugin Thread Group,ac=3,agc=0,pri=10
Main Console Writer,6,alive
AWT-EventQueue-1,6,alive
TimerQueue,5,alive,dameon
Group http://upload.facebook.com/controls/-threadGroup,ac=3,agc=0,pri=4
thread applet-com.facebook.facebookphotouploader.FacebookPhotoUploader,4,alive
TimerQueue,4,alive,dameon
AWT-EventQueue-2,4,alive
Done. Dump thread stack ...
----------------------------------------------------
Full thread dump Java HotSpot(TM) Client VM (1.4.1_04-b01 mixed mode):

"Thread-4" prio=5 tid=0x03737AA0 nid=0xfac runnable [0..1ccff82c]

"AWT-EventQueue-2" prio=4 tid=0x0399D428 nid=0xbec in Object.wait() [1d23f000..1d23fd8c]
at java.lang.Object.wait(Native Method)
at java.lang.Object.wait(Unknown Source)
at java.awt.EventQueue.getNextEvent(Unknown Source)
- locked <127e42f0> (a java.awt.EventQueue)
at java.awt.EventDispatchThread.pumpOneEventForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEventsForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.run(Unknown Source)

"TimerQueue" daemon prio=4 tid=0x02130078 nid=0x15c in Object.wait() [1d43f000..1d43fd8c]
at java.lang.Object.wait(Native Method)
- waiting on <1288ec58> (a javax.swing.TimerQueue)
at javax.swing.TimerQueue.run(Unknown Source)
- locked <1288ec58> (a javax.swing.TimerQueue)
at java.lang.Thread.run(Unknown Source)

"TimerQueue" daemon prio=5 tid=0x038A4238 nid=0xf10 in Object.wait() [1d53f000..1d53fd8c]
at java.lang.Object.wait(Native Method)
- waiting on <1288ecb0> (a javax.swing.TimerQueue)
at javax.swing.TimerQueue.run(Unknown Source)
- locked <1288ecb0> (a javax.swing.TimerQueue)
at java.lang.Thread.run(Unknown Source)

"AWT-EventQueue-1" prio=7 tid=0x0295ECD8 nid=0xecc waiting on condition [1d63f000..1d63fd8c]
at sun.plugin.JavaRunTime.dumpAllStacks(Native Method)
at sun.plugin.ConsoleWindow$1.actionPerformed(Unknown Source)
at javax.swing.JComponent$ActionStandin.actionPerformed(Unknown Source)
at javax.swing.SwingUtilities.notifyAction(Unknown Source)
at javax.swing.JComponent.processKeyBinding(Unknown Source)
at javax.swing.KeyboardManager.fireBinding(Unknown Source)
at javax.swing.KeyboardManager.fireKeyboardAction(Unknown Source)
at javax.swing.JComponent.processKeyBindingsForAllComponents(Unknown Source)
at javax.swing.JComponent.processKeyBindings(Unknown Source)
at javax.swing.JComponent.processKeyEvent(Unknown Source)
at java.awt.Component.processEvent(Unknown Source)
at java.awt.Container.processEvent(Unknown Source)
at java.awt.Component.dispatchEventImpl(Unknown Source)
at java.awt.Container.dispatchEventImpl(Unknown Source)
at java.awt.Component.dispatchEvent(Unknown Source)
at java.awt.KeyboardFocusManager.redispatchEvent(Unknown Source)
at java.awt.DefaultKeyboardFocusManager.dispatchKeyEvent(Unknown Source)
at java.awt.DefaultKeyboardFocusManager.preDispatchKeyEvent(Unknown Source)
at java.awt.DefaultKeyboardFocusManager.typeAheadAssertions(Unknown Source)
at java.awt.DefaultKeyboardFocusManager.dispatchEvent(Unknown Source)
at java.awt.Component.dispatchEventImpl(Unknown Source)
at java.awt.Container.dispatchEventImpl(Unknown Source)
at java.awt.Window.dispatchEventImpl(Unknown Source)
at java.awt.Component.dispatchEvent(Unknown Source)
at java.awt.EventQueue.dispatchEvent(Unknown Source)
at java.awt.EventDispatchThread.pumpOneEventForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEventsForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.run(Unknown Source)

"thread applet-com.facebook.facebookphotouploader.FacebookPhotoUploader" prio=4 tid=0x03513F60 nid=0xa7c runnable [1d33f000..1d33fd8c]
at sun.plugin.javascript.navig5.JSObject.JSGetNativeJSObject(Native Method)
at sun.plugin.javascript.navig5.JSObject.JSGetNativeJSObject(Unknown Source)
at sun.plugin.javascript.navig5.JSObject.(Unknown Source)
at sun.plugin.viewer.context.NetscapeAppletContext.getJSObject(Unknown Source)
at netscape.javascript.JSObject.getWindow(Unknown Source)
at com.aurigma.imageuploader.ImageUploader.init(Unknown Source)
at sun.applet.AppletPanel.run(Unknown Source)
at java.lang.Thread.run(Unknown Source)

"AWT-EventQueue-0" prio=7 tid=0x02746D50 nid=0xed0 in Object.wait() [fe3f000..fe3fd8c]
at java.lang.Object.wait(Native Method)
at java.lang.Object.wait(Unknown Source)
at java.awt.EventQueue.getNextEvent(Unknown Source)
- locked <12795830> (a java.awt.EventQueue)
at java.awt.EventDispatchThread.pumpOneEventForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEventsForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.run(Unknown Source)

"Java2D Disposer" daemon prio=10 tid=0x02897D00 nid=0xea4 in Object.wait() [93af000..93afd8c]
at java.lang.Object.wait(Native Method)
- waiting on <127e78e8> (a java.lang.ref.ReferenceQueue$Lock)
at java.lang.ref.ReferenceQueue.remove(Unknown Source)
- locked <127e78e8> (a java.lang.ref.ReferenceQueue$Lock)
at java.lang.ref.ReferenceQueue.remove(Unknown Source)
at sun.java2d.Disposer.run(Unknown Source)
at java.lang.Thread.run(Unknown Source)

"AWT-Shutdown" prio=7 tid=0x02C1A820 nid=0xd9c in Object.wait() [255f000..255fd8c]
at java.lang.Object.wait(Native Method)
- waiting on <127bf888> (a java.lang.Object)
at java.lang.Object.wait(Unknown Source)
at sun.awt.AWTAutoShutdown.run(Unknown Source)
- locked <127bf888> (a java.lang.Object)
at java.lang.Thread.run(Unknown Source)

"Cache Cleanup Thread" prio=4 tid=0x0387D058 nid=0x9f0 in Object.wait() [1ceff000..1ceffd8c]
at java.lang.Object.wait(Native Method)
- waiting on <127d0ce8> (a sun.plugin.cache.CleanupThread)
at sun.plugin.cache.CleanupThread.run(Unknown Source)
- locked <127d0ce8> (a sun.plugin.cache.CleanupThread)

"Main Console Writer" prio=7 tid=0x03F42ED8 nid=0x914 in Object.wait() [1cdff000..1cdffd8c]
at java.lang.Object.wait(Native Method)
- waiting on <127b0e40> (a java.util.LinkedList)
at java.lang.Object.wait(Unknown Source)
at sun.plugin.MainConsoleWriter.run(Unknown Source)
- locked <127b0e40> (a java.util.LinkedList)
at java.lang.Thread.run(Unknown Source)

"AWT-Windows" daemon prio=7 tid=0x038D5B20 nid=0x504 runnable [1cbff000..1cbffd8c]
at sun.awt.windows.WToolkit.eventLoop(Native Method)
at sun.awt.windows.WToolkit.run(Unknown Source)
at java.lang.Thread.run(Unknown Source)

"Signal Dispatcher" daemon prio=10 tid=0x039FB190 nid=0xb90 runnable [0..0]

"Finalizer" daemon prio=9 tid=0x078205C8 nid=0x2cc in Object.wait() [1c20f000..1c20fd8c]
at java.lang.Object.wait(Native Method)
- waiting on <12790520> (a java.lang.ref.ReferenceQueue$Lock)
at java.lang.ref.ReferenceQueue.remove(Unknown Source)
- locked <12790520> (a java.lang.ref.ReferenceQueue$Lock)
at java.lang.ref.ReferenceQueue.remove(Unknown Source)
at java.lang.ref.Finalizer$FinalizerThread.run(Unknown Source)

"Reference Handler" daemon prio=10 tid=0x03FD3DE8 nid=0xac8 in Object.wait() [1c10f000..1c10fd8c]
at java.lang.Object.wait(Native Method)
- waiting on <12790588> (a java.lang.ref.Reference$Lock)
at java.lang.Object.wait(Unknown Source)
at java.lang.ref.Reference$ReferenceHandler.run(Unknown Source)
- locked <12790588> (a java.lang.ref.Reference$Lock)

"main" prio=5 tid=0x077B6A80 nid=0xe9c runnable [0..12e450]

"VM Thread" prio=5 tid=0x03CC0008 nid=0xfd4 runnable

"VM Periodic Task Thread" prio=10 tid=0x03EBCA70 nid=0x618 waiting on condition
"Suspend Checker Thread" prio=10 tid=0x03A26B88 nid=0x9c4 runnable
----------------------------------------------------
Done. Clear classloader cache ... completed. Reload proxy configuration ... Proxy Configuration: Browser Proxy Configuration Done.

My Lost Films


I made films from; most of them were carried by Canyon Cinema in
San Francisco. The films are all mast prints; I didn't copy them, but
showed the originals, since I wanted to use what little funds I had to
produce more. They were shown periodically at Millennium in New York, and
occasionally elsewhere, but they've never been part of the film community;
as a result, they've hardly been shown. Canyon Cinema returned them after
the board voted against handling masters, which could be damaged during a
screening of course. They were then placed at the Filmmakers Coop here in
NY, where they've remained on the shelf for fifteen years; I doubt anyone
has rented or seen them. I don't know their condition at this point; many
of the 16mm ones had mag stripe sound on them, which is susceptible to
print-through.

They were featured prominently in the 1992 Canyon Cinema catalog, just
before Canyon changed its mind about handling them. (I should add that my
videos have been available at times from places like Printed Matter or Art
Metropole, but these can be duplicated.) I'm saddened that they remain
unscreened - there are probably 15-24 hours worth. There are a large
number of them; for a while, when I was teaching at UCLA, I made a film
every week, mostly 16mm black and white sound, imitating the older silent
film production strategies and rates. For me the films broke a lot of new
ground - not least, in optical/magnetic soundtrack experimentation, but
they're quiet, moot on that point.

So I recently found a copy of the 1992 catalog and xeroxed the six pages
that describe my work. I am forced to think of the pages themselves as a
new film, made from the silence of the old; they read as a narrative of
concerns, experimentations, confusions, and theory-work changing over a
twenty-year period (although to be fair, most were made between 1980 and
1992). The image URLs are given below. Read the texts, imagine watching
the films, and maybe in some absurd future, they'll come to life again.

,




I've been remiss; if you go to http://www.asondheim.org/
just look at the most recent work; it's made with Second Life avatars still/yet - using techniques of behavior collision - when bvh files are piled on bvh files to the extent that there seems to be an almost darwinian competition among actions. i've also been doing performance in Second Life. if you look at http:// www.asondheim.org/pa.txt and http://www.asondheim.org/pb.txt you'll find the recent text files that accompanied the work. there have also been personal struggles, friends in troubles, our usual situation of desperate lack of finance (a faculty member at Brown where I'm teaching a beginning course in filmmaking asked if I liked living poor), bad leaks in the loft, cop shot in the neighborhood, building in flames three blocks away, riot in the subway station we use, friend in the hospital, another friend outrageously let go from a job, and so forth. not to mention health issues - that 'low temperature' thing that gives me flu-like symptoms about a third of the time (i have it now, accompanied by a headache of close to migraine proportions), a bad knee that's made walking difficult, eyes going bad and just no money for new glasses, our cat becoming wobbly, a real scare that my almost 93-year-old father was in serious poor health (not true), the usual series of nightmares giving me maybe a couple of hours sleep a night, fears of death and mass destruction, moving closer to the edge of deep depression (pulling back then but tottering), difficulty getting my main manuscript published, the usual job turn-downs, and the Sony shortwave stumbles a bit about the 15 megahertz position with a degree of static coming from god knows where... not to mention some bizarre uploads here that I have to go and correct, goodbye

rol everything, lesion-express, chora, brick of gold, dials and steerage across banned seas going nowhere, product of inconceivable geometries
everything began to follow apart in sorrow, second life was the refuge of the moment, i could cont

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)

the form of fold catastrophes. images from the edge of Second Life



performance scripts from motion capture with missing sensors tending towards infinity; data is returned in

during Chicago's Openport Festival from the Sear's Tower. punctured page of the flat landscape, circular oceanic horizon, phenomena at the edge of the world, crystal 115 77 97

performance performance

d f
breakin through into another banned space through root avatar image displaced from object itself also see http://www.asondheim.org/breakin.mov thank you

two dancers two dances two roses two worlds

Here is the problem, as anyone following my work can attest - there's too much of it. I'll be at the Openport festival in Chicago the end of the month, doing a symposium, talk, two performances. So I'm attempting to organize files for the last, and it's difficult. I narrowed the video/audio work to 900 files - and these are edited from the mass of my video/audio work in general, running I think into the 1000s. I've placed the files in two folders, Performance 1 / 2. The names (titles) of the files convey nothing. I'm still naming from the film years when one produced "pieces" with such. So there are 900 names, and I forget what most of these things are. It's not even easy to tell by extension - there are sound files with .mp4 and the video files almost all end in .mov, even though some of them are modified .mp4 with H.264 compression that use up a lot of processor time.

Thumbnails won't do - they would be too difficult to manage, would clutter up the screen, wouldn't handle audio. I think of code - G for Geneva, D for dance, GG for Gruyere, GA for Aletsch glacier work - but then the individual pieces are still left behind. I've tried brief 2-3 word descriptions in the titles, but that doesn't seem to help. All of this has to be on the screen when I'm performing - that's the whole point of it - the ability to choose video/audio on the fly. I'm not sure where to take this, memorizing indices in my head, mnemonics ... The total number of still images that I work with (i.e. not family) is about 10000. The total audio, probably 1000; the total video, I imagine around 1500.

I swim in these. I need a directory structure for everything, coupled with a search engine; I need keywords and a way to delimit and present files during performance; I need a system which is easily understandable. I'm speaking of approximately 200 gigabytes of material here. Of course any suggestions greatly appreciated.

- Alan

Last year there were more manatee deaths, almost all as a result of human callousness, than any other in history. The species will go extinct if we don't take action. Please consider donating or joing the Save the Manatee org.

Thanks, Alan

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

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


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

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

music... 14:53:22

music

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

skeleton Anita Berber

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

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

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

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throat Anita Berber

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


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