Droste and Berber in rehearsal never before released footage from the original production with new tabla accompaniment especially commissioned by the hairs of Droste and Berber cut off from the bodies of Droste and Berber as well as accompanying avatars created from cloth and wire held in suspension creating a perfect framework for this first time and perhaps only this time a framework where Berber first sadly languished then rose to the occasion of Droste's bizarre accompaniment this silent film direct from the Weimar era salvaged from numerous bunkers of works of tired cinema lay sadly in shadows where reels of film were found presented now almost in their pristine original condition the hairs of Droste and Berber were tangled sadly among the reels where memories of Droste and Berber languished among the clubs of old Berlin http://www.asondheim.org/anitaberberr.mp4 dance to do some nude work, the 'tethering' pieces, if you're up to it, no pun intended. the camera-woman would also be nude; you and i would be tethered together, my hand pulling your member, your hand pulling mine - two sections or episodes. you'd dance, furious, try to get away, to come close, to twist, to turn, either your hand or your member would refuse the motion, hold you pack, collapse culture, return to the swarm. there's a mirror; all of us, including the woman appear; it's as if we're competing for her; as if she's withdrawn; as if she's seeing everything; as if everything's exposed to her; as if she's the last woman on earth; as if we're on stage; as if we're staging this; as if we're one and splitting; as if we're drawn into each other; as if we're split into one; as if we're opening up; as if we're closing down; as if we're body to her techne or techne to her body; as if i'm holding you back; as if you want to go 'with the others'; as if the others have disappeared; as if you're used to it; as if i'm desperate; as if i'm holding your member; as if you're afraid of that; as if you're holding my member; as if i'm afraid of that; as if i'm holding your member; as if i'm afraid of that; as if you're holding my member; as if you're afraid of that; the woman's afraid of nothing; the woman's the intransitive; the woman's the fulcrum; the apex; the nadir; the woman's the absent locus; our members compete for the woman; our hands hold our members back; my hand refuses the presence of your member (for the woman); your hand refuses the presence of my member (for the woman); you're dancing; i'm awkward holding on; your graceful holding on; you're in some other space; i'm in the space of my member; two episodes: we're nude, standing - my right hand is holding your semi-erect member tight; you're dancing, tethered; the dance conforms to tethering; there's no escaping for five minutes - then your right hand is holding my semi-erect member tight; your dancing, tethering me; i'm held there; the dance conforms to the holding; there's no escaping for five minutes; there's one then the other; there's the other then the one; the woman is holding the camera; the camera is running; the camera is running and not stopping; the camera keeps running the length of the episodes; the camera runs ten minutes; the camera runs twelve minutes; the camera runs before the beginning and through the episodes; the camera runs after the ending; the camera is running Collapse Options 2 pieces 1 http://www.asondheim.org/gruyerevlf.mp4 - Foofwa in La Gruyere foothills with VLF experimentation. duol at http://www.youtube.com/watch?v=6bbxNQHpZ8c - tabla/ture avatar motion capture combination the dialog: Collapse options [-] Hi everyone - I'm testing the ... Re: Hi everyone - I'm testi... Re: Hi everyone - I'm testi... [-] Welcome aboard the big ship BB Attac [-] Re: Welcome aboard the big ... [-] Re: Welcome aboard the... Attachment [-] Third time lucky ... Attachment Re: Third time luc... [-] Q&A with Alan Sondheim [-] Re: Q&A with Alan Sondheim Re: Q&A with Alan Sondheim [-] liminal spaces... [-] Re: liminal spaces... Re: liminal spaces... [-] the question about lists [-] Re: the question about lists [-] Re: the question about l... [-] Re: the question abou... Re: the question a... [-] Re: the question a... [-] Re: the questio... Re: the ques... Re: the questio... Re: the question abou... [-] one or the whole ball of wax [-] Re: one or the whole ball o... [-] Re: one or the whole bal... Re: one or the whole ... [-] Manipulated Chat text [-] Re: Manipulated Chat text [-] Re: Manipulated Chat text [-] Re: Manipulated Chat ... Re: Manipulated Ch... [-] CHATCHIT (was Re: Man... Re: CHATCHIT (was ... [-] Re: CHATCHIT (was ... [-] Re: CHATCHIT (w... [-] Re: CHATCHIT... [-] Re: CHATCH... [-] Re: CHATCH... Re: CHATCH... Re: CHATCH... [-] Re: CHATCH... Re: CHATCH... [-] Re: Manipulated Chat text [-] Re: Manipulated Chat text Re: Manipulated Chat ... [-] Avatars, models, performers, d... [-] Re: Avatars, models, perfor... [-] Re: Avatars, models, per... [-] Re: Avatars, models, ... [-] Re: Avatars, model... [-] Re: Avatars, mo... [-] Re: Avatars,... [-] Re: Avatar... [-] Re: Avatar... Re: Avatar... [-] Re: Avatars, models, per... [-] Re: Avatars, models, ... [-] Re: Avatars, model... [-] Re: Avatars, mo... [-] Re: Avatars,... [-] Re: Avatar... Re: Avatar... [-] Thoughts on avatars et al Re: Thoughts on avatars et al [-] a fundamental question [-] Re: a fundamental question [-] Re: a fundamental question [-] Re: a fundamental que... [-] Re: a fundamental ... [-] Re: a fundament... Re: a fundam... Re: a fundamental question [-] A Note from K [-] Re: A Note from K Re: A Note from K [-] Re: A Note from K [-] Thank you (was A Note fr... Re: Thank you (was A ... == February 3 1943 Happy birthday to me Happy birthday to me Happy birthday to Alan Happy birthday to me from the 406 manatees killed this year from the starving polar bears from the hundreds of thousands of Iraqi dead from the victims of famine and hurricanes from those slaughtered by death squads from my dead mother from those born of tornados and floods from those, those burned alive Happy birthday to me from my partner and friends Happy birthday to me ghostrap http://www.asondheim.org/ghostrap.mov It's always in the peripheral that accidents occur, organisms are born. You can hunt anywhere, you can hunt online. Ghosts are here, their images trapped, evanescent. Always present, always lost, the very thickness of our flesh at stake. ghost ghostrap disappearance transparence Sometimes I will write a line, a single line, several words and barriers, and they will seem sufficient, they will seem to resonate with the real, to dance in the mind of the reader or writer, sometimes that appears all that is necessary, as if philosophy is a foregone conclusion, need nothing more than the memory of a signifier of a catalyst, and this is one of those lines, those moments, opening up into places I cannot enter, places I have made for you and the fecundity of your detailing; I create my own barriers and thresholds, my own emissions and derailings, beyond which nothing remains but fear, the slight scent perhaps of Anita Berber or Dogen, or just the masquerade of a scent, construed from the shadows in the corner, Carneades' snake or rope, history softly murmuring fact after fact after fact... http://www.youtube.com/watch?v=LBPg60EByQM 0. 1. the expulsion from the real neither A nor B V opens from loving arms you can't go back there 2. the ruptured huddle not both A and B well I never scrabbling for food at least there's a chance of eating http://www.asondheim.org/ghostrap2.mov 3. entrance of the hungry ghost not A you won't find anything here somewhere else I really don't care reality isn't where you find it 4 backing out of everything you're stuck with flooded B thirsted collapsed desert mountain flood girl boy sutra ghostrap3 # Latitude Longitude ( SSID ) Type ( BSSID ) Time (GMT) [ SNR Sig Noise ] # ( Name ) Flags Channelbits BcnIntvl DataRate LastChannel # $DateGMT: -- N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ - - ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ - - ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ - - ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ - - ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ - - ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ - - ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) N . E . ( nikuko ) BSS ( :c:::: ) :: (GMT) [ ] # ( ) N . E . ( NETGEAR_SafeBCf ) BSS ( ::c:ce::e ) :: (GMT) [ ] # ( ) N . E . ( Apple Network bf ) BSS ( ::::b:f ) :: (GMT) [ ] # ( ) mr. tumor ms. whiteshort mrs. ocean mr. tumor watch ms. whiteshort up and at'em ms. whiteshort watch shudder tumor tumor almost fall off mr. tumor bang bang bang you gant get getter gan ghis says mr. tumor shake that tumor mr. tumor watch that short ms. whiteshort gang gang gang mr. tumor gang gang gang ms. whiteshort bang bang bang http://www.asondheim.org/shudder.mp4 http://www.youtube.com/watch?v=MVoZviTXg_4 YouTube waggle mr tumor goes to corner jumps off waggles jumps on bones rattler mr tumor says to mr ward you are a hollow bell mr ward you are a hollow bell http://www.asondheim.org/corner.mov http://www.youtube.com/watch?v=tBtvlrpWu0A YouTube (odd sound) two wonderful soundworks (.mp4 sound) for earphones or large speakers http://www.asondheim.org/tabla10.mp4 http://www.asondheim.org/tabla11.mp4 alan says how many mirrors are left i deconstruct mr tumor whose calling is mr ward now we are listening to deep music low nets very large instruments very long notes modeling, division by zero when i was very young i lived in a world of division by zero. the result was infinity with n <> 0, but this was modified. 20/0 = 10/0 of course but we might write I (for infinity) so that I(20) is distinct from I(10). generalize: x/0 becomes I(x) and f(x)/0 becomes I(f(x)). what develops is a sense of process and history; I(f(x)) is dependent on the operations that lead up to it for any specific I(f(x)); it's as if 2 + 2 = 3 + 1, but the operations remain different and distinction; 4(2,2) may be considered distinction from 4(3,1). and this is true, providing the intercession of an operator is implied; 2 might for example be manageable and 3 not. the modes become more interesting when other f(x)/0 are involved or when thinking through (x/0)*(0/y) - the temptation is to produce x/y or even f(x)/f(y), canceling the 0, and within our mathesis, this may be reason- able. but again the 0 must be kept visible, historic; we might writer "(f(x)/f(y)) qua 0/0" or some such; it's evident that indices, both sub- and super-, quickly develop, become unmanageable. history piles on history, the mathematics leaves a necessary trace on the result - neces- sary because (x/0)*(0/y) is strictly I*0, which is up for grabs. the history imposes exactitude, facticity, where none is; it is a mathematics of sand-grains, not continua, of course related to infinitesimals, non- standard analysis, and so forth. but here, and when i was young, i valued these equations which told stories, stories that not only where inherent, but integral to their value in both senses of the word. ... i was in revolt, against mathesis, against those equations excluded, beyond the Pale, for no apparent reason, against the simultaneous weaken- ing and strengthening of zero, of nothing at all ... ( the shy zero, adding nothing to anything; the murder zero, multiplying and forgetting; the burgeoning zero, dividing into the production of the world; the generous zero, taking nothing away ) 3 http://www.asondheim.org/groaning.mov fascinates me and is true (sound) http://www.asondheim.org/corner.mov functioning properly now (film) http://www.asondheim.org/tripping.mp4 vectoring out of new york (sound) Version0.4.0withextensionsSSID)Type( BSSID(linksys)BSS((VerizonWi-Fi)ad-h oc(GoldenTree)BSS(("hhonors")ad-hoc( (GoldenTree)BSS((JWIRE)BSS((HCMNHave n)BSS(()BSS(00:0f:f8:58:d4:57(dewitt )BSS((2WIRE724)BSS((2WIRE128)BSS((2W IRE751)BSS((2WIRE390)BSS((101)BSS((2 WIRE981)BSS((2WIRE205)BSS((mariana1) BSS((2WIRE500)BSS((2WIRE535)BSS((2WI RE038)BSS((DavisWireless)BSS(linksys )ad-hoc((LLOFFICE)BSS((Laguna)BSS((n hfdwireless)BSS(2WIRE738)BSS((655Fir stave)BSS((linksys2007)BSS((almexum7 3)BSS((2WIRE131)BSS((2WIRE676)BSS((b elkin54g)BSS((bcb)BSS((2WIRE082)BSS( (2WIRE882)BSS((2WIRE348)BSS((2WIRE48 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BSS((2WIRE143)BSS((linksys)BSS((2WIR E891)BSS((linksys_SES_40336)BSS((Fus coWireless)BSS((dlink)BSS((2WIRE703) BSS((NETGEAR)BSS((2WIRE521)BSS((NETG EAR)BSS((linksys)BSS((2WIRE853)BSS(( linksys)BSS((BASS_CART_3)BSS((Stephe n)BSS((2WIRE445)BSS((NETGEAR)BSS((NE TGEAR)BSS((MSHOME)BSS((hpsetup)ad-ho c((GladysNunez)BSS(linksys)BSS((HPNA _535)BSS((2WIRE371)BSS((linksys)BSS( (makeitrain)BSS((2WIRE402)BSS((LUZDE PAZ2(public)BSS((Bridge)BSS( Real-time file access and organization - 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 around 2500. 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 for example ending as .mp4, and some of the .mov are set for no framework and loop; these are most often converted .mp4 in disguise. The problem with .mp4 in performance - the compression uses a lot of CPU cycles; the result is that it's actually more difficult to run a number of parallel .mp4 files (which are quite small) than to run the same from the original very large .mov or .avi files. 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; there are variations, some of the work is indescribable in terms of a few words, and so forth. In any case, the directories have 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, mnemonics ... The total number of still images that I work with (i.e. not family) is about 10000. The total of everything is probably around 14000. 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 on the fly. I'm speaking of approximately 200 gigabytes of material here. I've been sitting going through file after file; it's a real impossibility! If the equipment holds up (I've been having difficulties with Quicktime retaining its preferences which are critical), things should run smoothly - they'll be more out of control than ever, the semantics of the perform- ance trying to keep up. But the presentation will, internally, be somewhat scattershot. I work with laser scan, motion capture, dancers, mappings and remappings of the human body, landscape, very low frequency and shortwave radio, filtered and unfiltered recordings of various musical instruments, images from the problematic of 'wilderness,' video and audio bounced and transformed across the country, material from Second Life performance, materials from programs like Netstumbler (tracking wireless), modified travel footage, local histories and architectures of early mass transit, sexuality, the 'edges' of languages, choreographies, interactivities, codework and codework software, Mathematica, and video/audio noise across the Net, offline as well. All of these areas are subsetted; they spread like tentacles across my workspace, (in)(co)herent, lost and found; now when I perform, I'm part audience, seeing the (re)presentation for the first time, trying more desperately than ever to hold everything together. This is a world of the forgotten, unorganized in relation to 'the clean and proper body,' inert to deconstruction (which is collapsed by error, circles of confusion, exhaustion, loss), open to Levinas' existence and existents. Never do I know where this has gone, will go. But I still need something of a system, something of a path through the dark woods. (And of course any suggestions greatly appreciated.) - Alan for valeska gert ruptured mess of the avatars banged into one another maybe they fucked in any case whatever skin they had disappeared in any case the lens blew out with all the action in any case i'm exhausted from their screaming why not mash them mosh them why not mash us mosh us in any case by this time it's all debris by this time i'm under the cabinet by this time doctor leopold konninger returns with horn-rimmed dark glasses in any case he says if you can't dance to it anita berber you might as well explode valeska gert http://www.youtube.com/watch?v=R54HTJUfeiM when history becomes histrionic naked dance parades on the silver screen oh they look so good light shining through the bones reconstructing adventure (one of the first and best online interactive fiction/games; this is the stuff of legends) down a gully. rocky bed. down, but small ledge can be seen to the west across chasm. in rock. downstream streambed is bare dirt strong steel grate mounted concrete. a dry leads into depression. low crawl over cobbles inward west. at east end of passage. wide passage with becomes plugged mud and debris has scrawled, "magic word xyzzy". rivers orange stone. an awkward canyon good exit from sides chamber. staircase downward. the hall filled wisps white mist swaying fro almost as if alive. a cold wind blows up this room crude note on wall. says, directions. dome unclimbable. wall above pit this room. pool oil one corner pit. an e/w rock room's center. sight. a floor indistinctly visible feet below. traces cover pit, becoming thicker right. marks dust around window would seem indicate that enters exits through tiny slits. hall mists. continues another goes north. to south little off floor. dead up. maze level. chambers. to slants north round two foot hole down. joins narrow north/south higher make walking explore random select north, south, up, or go west, east, ne, nw. part occupied by large bedrock block. littered thin slabs, which it easy descend pits. passages, they are now boulders. low passages quickly bends boulders. se. tall other combined. crawl. get back seems open runs mass boulders -- dead end. stream flows out pair diameter sewer pipes. it advisable use exit. profusion leaves. leading north. lamp show it. cavernous lead south. on scrawled inscription, "fee fie foe foo" [sic]. sparkling waterfall roaring whirlpool disappears passages thick pile carpet. moss covers ceiling. oriental room. ancient oriental cave drawings walls. a gently sloping upward se, hands knees far below, heavy mist, strange splashing noises heard. the rises fissure path distance. extremely tight tunnel east. looks like very squeeze. an eerie light dark corridor ne. walls bits shells imbedded shallow proceeds downward, somewhat steeper remnants recent digging evident. proceed own risk. [witt construction company]" covered seeping extend for well feet. suspended some unseen point far midway between walls. (the mirror obviously provided either wall, fifty left. stalactite extends roof reaches fills rapidly upward. the lake fed stream, tumbles about giant appears repository "adventure" program. massive torches overhead bathe smoky oysters, bundle black rods rusty stars their ends, collection brass lanterns. off side great many dwarves sleeping floor, snoring loudly. notice nearby reads: "do not disturb dwarves!" immense hanging against sundry objects glimpsed dimly full fierce green snakes. row wicker cages, each contains sulking bird. in marks ends. number velvet pillows scattered grate, next sign reads, "treasure vault. keys main office. " below obscures all view side. sw away chasm winding corridor. heard louder direction. the right fork southeast gentle slope. roar, so loud entire trembling. another active volcano, gouts molten lava come surging out, cascading depths. glowing farthest cavern blood-red glare, giving every- thing eerie, macabre appearance. air flickering sparks ash smell brimstone. hot touch, thundering volcano drowns sounds. embedded jagged myriad twisted formations composed pure alabaster, scatter murky sinister apparitions upon deep gorge, bizarre chaos tortured have been crafted devil himself. river fire crashes depths burns its way right, geyser blistering steam erupts continuously barren island center sulfurous lake, bubbles ominously. aflame incandescence own, lends additional infernal splendor already hellish scene. a dark, foreboding warm, causing stifling heat. only heading coming rumbling. oddly shaped limestone formations. entrance "caution! bear room!" empty except dust. toward paths ledge. across clearing surrounded forest. rear roar water past dangerous. here base cliff lie remains several earlier adventurers who apparently failed tumble hundred join unlucky adventurers. set keys brass lantern *grate locked. open. wicker cage black rod three star lies nearby. mark *steps rough stone steps dome. little bird bird's singing quite melodious. does inclined sing while cage. joys forest home. thank information, flies *rusty door barred massive, rusty, iron door. velvet pillow *snake huge snake bars way! %! (chased away) hissing venomously. *fissure crystal bridge spans fissure. vanished! *stone tablet massive "congratulations bringing dark-room!" clam >grunt!< tight-mouthed a, er, clam. oyster >groan!< oyster. even though it's oyster, critter's says same did before. hm, maybe pun? "spelunker today" i'm afraid magazine written dwarvish. but pencilled tasty food small bottle water oil *mirror *plant bellowing "water!! water!!" plant spurts furious growth few seconds. grows explosively, filling bottom ask plaintively water. demand maintains contented silence. *phony (seen twopit room when enough) top -foot-tall beanstalk poking *stalactite *shadowy figure and/or dwarf's axe *cave *pirate/genie (never present) *dragon dragon blood-specked body lying hands!(unbelievable, isn't it?) is, surprisingly, silent. *chasm rickety wooden chasm, vanishing mist. posted "stop! pay troll!" wreckage (and bear) *troll troll sounds adamant his treasure. (bear uses rtext ) (dead) *message second *volcano *vending machine section revealing southward vending swings block batteries some worn-out batteries discarded *carpet moss curtains *ogre formidable ogre northern strong, silent type. *urn urn embedded flame extrudes *cavity (something it) *blood (described dragon) *reservoir waters parted form reservoir. crash together again. leporine appendage *mud xyzzy" *note *sign cave under construction beyond point. company] large gold nugget several diamonds bars silver precious jewelry rare coins treasure chest golden eggs nest golden done! jeweled trident ming vase resting, delicately, pillow. worthless shards pottery. ming drops delicate crash. egg-sized emerald platinum pyramid glistening pearl glistening pearl! persian rug sprawled persian rug!! spices chain bear locked chain! ruby jade necklace amber gemstone star sapphire ebony statuette treasure gold, rumored enter never hands. direct me commands words. i should warn "northeast" "ne" distinguish "north". program was originally developed willie crowther. most features current were added don woods. contact hollow voice "plugh". misses! sorry, am allowed give more detail. will repeat might what is. resources now. attacks snake, astounding flurry drives away. no lock. don't know how lock unlock such thing. unlocked. light. probably just well. nothing happens. dead. its disappears. attacking both doesn't work good try, old magic word. places, actions, things. most my vocabulary forest, building, downstream, enter, special objects, hidden cave. these manipulated using object action words (in order), sometimes infer verb alone. also imply verbs; particular, "inventory" implies "take inventory", causes effects; effects always desirable!usually people having trouble moving need try usually trying unsuccessfully manipulate attempting something (or my!) capabilities completely different tack. one often confusing beginners that, holes wall), choosing direction effect chooses ways random; often, though, specifying turn lot, leaving place guarantee entering please stick - -word commands. ok surface long. stream. detailed instructions do that. huh? trees hardwood oak maple, growth, largely birch saplings plus nondescript bushes various sorts. this time year visibility restricted spruce berry bushes. digging without shovel impractical. even progress unlikely. blasting requires dynamite. mist vapor, usually water, think lost appetite. minerals, unpleasant. cold. empty. rubbing electric particularly rewarding. anyway, nothing exciting peculiar. unexpected watch it! which way? all blame wr. . . . . . --- poof!! everything dense cloud smoke. >>> messages thru reserved "obituaries". <<< seed. don't ridiculous! refuses indignantly shakes leaves asks, "water?" hinges thoroughly rusted won't budge. freed move, although effort. exceptionally roots cannot pulled free. dwarves' knives vanish strike falls rolls goodness, must really oyster. (i identifying bivalves. ) whatever snapped shut creaks open, inside. promptly snaps he chortles, "i'll take booty hide gloom. sepulchral reverberating cave, "cave closing soon. immediately mysterious recorded groans life announces: "this closed. leave via anyway, we'll call day. intones, "the closed. " as echoes friendly elves carry conquering adventurer sunset. burying snakes rubble. pours oh, poor unhappy for summary most changes game, say "news". getting (to rest pack), treasures, keep exploring while. if interesting points master's section. may occasionally offer hints sudden change temperature delicately shattered vase. how. shell impervious attack. bounces harmlessly dragon's scales. dragon, gets burnt cinder. ashes blow what? okay, i'll describe first trolls close relatives rocks skin tough deftly catches axe, examines carefully, tosses back, declaring, "good workmanship, valuable enough. " stumble fall lumbers troll, lets startled shriek scurries away. the soon gives pursuit wanders back. crying loud, dead! considerably even rather friendly. still chained falling none available useful discovering secret. gluttony troll's vices. avarice, however, answer question. he carrying chest. "shiver timbers!" cries, "i've spotted! i'd best hie meself chest!" with vanishes batteries. start wrapping obliterating cryptic message. read should ahead anyway? understand. fragments. is acceptable? over. new adventure, resume please run fresh copy appear hungry. blood-curdling yell turns bounds after dwarves, flee dwarf, flees agitatedly moment. moment, then crack. reappears shortly, beak jade lit. dark. oil. his aspect stern advises: "one wouldst traffic wrests stone, cavity. turning genie amber smoke condenses rare gemstone, resting cavity gem fits easily stiffens ground. subsides. settles cooperate. gurgling placidly. splashes loudly pool. dwarves. emanates dull rumbling sound. culprit. (uh, y'know, wasn't bright. ) advanced. find first. upstream downstream? twice, crashing shore. word "%w". %c achieve rating neat trick! congratulations!! Reel Histrionic In Eloquent Gestures, The Transformation of Performance Style in the Griffith Biograph films, Roberta E. Pearson describes 'histrionic' and 'verisimilar' codes of acting - a transformation from a melodramatic locus to incipient realism. She considers them in relation to 'analogical' and 'digital' communication: "Though most gestural communication systems are unsegmented and analogic, the histrionic code, with its emphasis on the isolation of gesture, does resemble segmented, digital communications such as speech. Actors deliberately struck attitudes, holding each gesture and abstracting it from the flow of motion until the audience had 'read it.'" [...] "Not only were aspiring actors told to 'rest long enough in a gesture,' they were urged to avoid excessive movement, which might detract from attitude-striking." [...] "The elimination of the small gestures brings about the physical equivalent of silence between the grand, posed gestures, resulting in the 'discrete, discontinuous elements and gaps' of digital communication." In contrast, the analogical references the uncoded real, motions and emotions of daily life. The digital is catastrophic, fold-catastrophic; it consists of jumps between gestures or stances, between emotions and their concretion as attitude. The histrionic is dependent upon the diegetic - it as acted action of the unfolding interpreted world. The histrionic is therefore always stylized and responsive, within and up to thresholding. A threshold is constituted by an increased differentiation between gesture and the diegetic real; this itself is stylized. In other words, there are two levels of code, stylization at work: the semantic contents of individuated gestures, and the syntactic divisions between them. The gestures are individuated (not individual); as with other linguistic formation, they are constituted by difference, differance, the playing among gestures 'down the line of the unfolding of the diegetic.' So histrionic gestures bridge from one moment to another in the form <------<----<----- - they are held positions until anomaly (threshold) defers them. Gestures are concretions operating within time's arrow, objectifying the body in a sequence of irreversible positions. The body constitutes the proffering of desire - it is held for the viewer, much as the display of the (sexualized) body operated in some elements of Weimar dance/cabaret culture. This holding is reminiscent of the still pornographic image, which is presented to the (mostly male) viewer; the viewer is aware that the histrionic is there for his or her pleasure. In the pornographic photograph, the erogenous zones function as 'strange attractors'; the diegetic is constructed by the viewer who creates a narratology resulting in masturbation, the cessation of (that) pleasure. The zones, however, are grounded in the analogical, the abject; the viewer is without the gesture of the histrionic (in both silent film and pornography). Stylized gestures reference a repertoire, of course; they must be under- stood by both the actor (in re/presentation) and viewer (as indexical within the diegetic). And repertoires are always stylized, enumerations of entities that play, one way or another, within specified cultural milieus. In this sense, all repertoires are accumulations of conventions and genre; in the case of the histrionic, they are a rough set of mappings into (and constituting) the diegesis, in order that the photoplay 'move forward' for both actor and spectator. (This moving is literally self-centered within the pornographic, which plays within the (transitive and transitional) body of the viewer in both (interrelated) psychoanalytical and biophysical registers.) (But pornography as well as photoplay is never fully reductive; defuge creates another deferral, from image to image, film to film. This is what might be considered the 'repressed of the analogical,' the referencing of the clean and proper body and life-story in relation to the messiness and decathection of everyday life. The analogical is always excessive and irreducible; digital mappings are mappings from one-to-many, mappings into the analogical (body and) real. Digital mappings are not only stylized; they are undergoing continuous transformations, splittings, decathecting, disinvestment, as the surplus of the analog has moved elsewhere. What constitutes pornography or photoplay, fashion or convention, at one synchronic instant, is constituted elsewhere at the next. The repression constructed by the diegesis itself (which leaves out so many things in the world) returns in so many different forms which become increasingly mutually unreadable.) "The name _sensuality_ seems to be taken from the sensual movement, of which Augustine speaks, just as the name of a power is taken from its act, for instance, sight from seeing. Now the sensual movement is an appetite following sensible apprehension. For the act of the apprehensive power is not so properly called a movement as the act of appetite; since the operation of the apprehensive power is completed in the very fact that the thing apprehended is in the one that apprehends, while the operation of the appetitive power is completed in the fact that he who desires is borne towards the desirable thing. Hence it is that the operation of the appre- hensive power is likened to rest; whereas the operation of the appetitive power is rather likened to movement. Therefore by sensual movement we understand the operation of the appetitive power. Thus, sensuality is the name of the sensitive appetitive." (From Aquinas, Summa Theologica, trans- lated by Anton C. Pegis, Introduction to St. Thomas Aquinas, Modern Library, 1948.) [ of little relation: http://www.asondheim.org/aquinas.mp3 ] === SL, Silent fiLm, my softest repertoire (modified from a response on Poetics) Think of island-hopping, travel, between one and another place, from moment to moment; think of islands as digital markers, the journey as analogic? Think of Second Life, where gesture is pre-programmed; where one can construct both gait and flight, but the rest is already protocol. You can add or transform gesture; as lived reality, they become tacit, ingrained. And Second Life is so pure, so clean; one can always get away to the unlittered bottom of the ocean uncannily devoid of life. Sooner or later virtual ecosystems will be constructed. And in Second Life, gesture is part and parcel of repertoire; one behaves always within limits; there are barriers to travel, to height, to the planiverse itself. Everything transforms into style; labor is external, extra-curricular, just as this computer I am using was produced elsewhere and elsewhen - more environmental depredation, more human despair, greater and greater gaps between economic classes. +++ I will move to Second Life; I don't get response in First Life anyway. I will live anonymously in the maternal folds of continuous production. I will take a new identity. I don't have a community in First Life. I'll have a community in Second Life. I'll be different in Second Life, I'll change personality, I'll be kinder, in fact, sharing software with anyone, murmuring beautiful conversations, flying to unknown places, engaging in literally inconceivable culture, sex, physical prowess, building schemes, economies both real and virtual. I'll forget the difference between real and virtual. I won't be noise as I am on these email lists for example or blogs for example. I'll be someone who words carry performance, whose words proffer beauty and communication. I will forget the power grid, electric commons engaging all of us in whatever worlds we dream, inhabit, construct, destroy. My gestures will be my manacles. My gestures will be genre; with any luck, will be canonic. I will speak to myself and speak to you from the softest of stages. I will be animal in Second Life. === http://www.asondheim.org/tabswish92.mp3 Using the model of silent film performance, the digital is not only the series of islands, but the performance of the journey itself. The analogic is the abject which cannot be contained, curtailed, the shores of the islands, their sad susceptibility to global warming. At this point, and it's my depression speaking, I can't help but fore- ground everything cultural against the ravaging of the planet, the slaughter of human and wild animal populations, the furious violence of our government, governments everywhere. The silent films seem innocent but speak otherwise of innocence; the seeds of destruction are already there. Islands have moved to Second Life, and everyone and everything is buying an island - universities, security agencies, art groups, cultural insti- tutions of all sorts. It's this I'm thinking about at the moment, because performance and gesture in SL parallels silent film in terms of phenom- enology and histrionic. Sound in SL seems third-person, an add-on; later, it will become more integrated of course, and the use of prosthetics will eliminate the need for pre-programmed gestures - first-life and second- life will appear equally analogic, equally 'smooth.' On one hand the rest of the world (what passes past for the real) will seem distant and somehow safer; on the other, the rest of the world, left to its own devices, will continue the killing beyond any reason or proportion. We are living in massacre; repertoire is symptom. What is the poetics of the dead poached elephant, with its face cut off, whose photograph appears in the current National Geographic? What is the poetics? Qbico 56 LP review Review @ http://www.volcanictongue.com/ Alan Sondheim 56 Qbico #56 LP £12.99 Poet, metalinguist, cultural theorist and musician Alan Sondheim is best-loved by consumers of sub-underground fare for the stellar sides he recorded for ESP-Disk in the late-60s. But prior to that he was already active as an improviser in Rhode Island working with Ritual All 770, a multi-disciplinary group that combined brass, vocals, tranced hand percussion, bass and drums with a great up-ending attitude to avant garde sources that was reminiscent of the way that the Los Angeles Free Music Society would later use a goofy strategy of provocative art prank as a cover to allow non-initiates to work on serious formal breakthroughs. The Songs - an early collaboration between the two - was originally issued on Riverboat Records in 1967 and has remained fairly unknown outside of All 770's appearance on the legendary Nurse With Wound list that appeared in copies of that group's first album, Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella. 56 represents his first new LP in 35 years. Here Sondheim is solo, using guitar, alpine zither, electronics and field recordings. The guitar material orbits a bunch of singular hemispheres that would seem to locate the arc of his melodic thought somewhere between the odd, baroque constructions of Sandy Bull and the knotty dissonance of John Fahey - or even at points Derek Bailey - while the electronics and field recordings are full of subtle concentric rings of melodic suggestion and feel almost like close-ups on organic events, full of refracted slow-motion pulses and coronas of phantom tone. The whole set is perfectly assembled, with tracks short enough not to be too gruelling and long enough to reveal their full transportational properties. Indeed, I'd go so far as to say it was Sondheim's most accomplished work to date. A classic of avant extension and highly recommended. news tip of the tongue catalogue contributor columns label events email updates contact order info secondhand & rare wholesale & distribution photos http://www.a-musik.com/cart/catalog.php?label=739&am_id=238b... SONDHEIM, ALAN 56 red vinyl with white, photos by alan sondheim, cover by qbico. rec. 2005/06 in ny and la. "after releasing two unique lp back in the 60's for the legendary esp label with his ritual all 770 and another one for riverboat, finally alan sondheim is back ! this is his 1st lp after nearly 35 years and here he plays guitar, alpine zither, electronics, field recording... as usual he present us an eclectic mix of fascinating sounds..." (label info) QBICO LP E€17.90 http://www.lifegatemusicshop.it/catalog/product_info.php?ln=fra&products_id=C68061 Recherche Avancée Recherche Avancée SONDHEIM, ALAN - 56 22.03 Euro Date de sortie:2007-02-01 Support:1 LP Genre:EXPERIMENTAL MUSIC Label:QBICO Disponibilité dans:20-22 jours Barcode: Imprimé en:NL === Also look for FireMuseum ski/nn and The Songs, ESP recordings, etc. === iii In response to the singing of death, repertoire, life-in-death, digital Death doesn't become a song; the song is prior to death. The threshold which lays poetics to rest perhaps, something Auschwitz clearly didn't do, is that - at least for me - of everything we might hold dear - that is, the wild, the compassionate, survival with grace. It's hard to visualize the catastrophe around the corner, when we associate catastrophe literally with sudden transformation, war, trauma - not this slow rise of tempera- ture, or the picking off of animals one by one. We react as if it were another turn or fear of the apocalypse, i.e. 'we've heard it all before' - as if this means it's not there now, we're in a permanent state of crying wolf. But animals literally on their last legs have heard it as well, time and time again, and still it comes. I'm at a loss for the poetics here, just as in I think Parmenides, Socrates was at a loss when muck, mud, was brought to the foreground in the discussion of ideal forms. Within the digital, within the idealized digital, there is no in-between - either here/there, or 0/1, or whateverx/whatevery - the rest of the world is held at bay behind the walls of a potential well sufficient to permit communication in the small - i.e. to permit communication. One might say: within the liminal, the digital doesn't exist - the analogic exists only within the liminal. Aphoristic, but accurate, perhaps nothing more needs to be said, or what else might be said might be of or within an/other register. old text illustrated by its future anterior _________________________________________________________________________ trams:nalA:refinneJ:6:09711:esruoc fo:nalA:trams:ylgu:esnetni:nwod Jennifer writes this; she adds nothing to my security. She is thinking about space and about tragedy. She decides that length has no absolute meaning in kyberspace. That leaves topology. She decides there are bendings and gatherings and loosenings and disappearances but pretty much multiply-connected graphs. She says people don't realize how _exact_ everything is here, because their emotions are in turmoil. She says the _exactness_ is critical, turning everyday life inside-out or upside-down. Tragedy is always a flaw that floods and flows, and there's usually a deed, she reassured herself. She'd read Aristotle and beyond. She was writing this in an editor, knowing the system clock was just a keystroke or two away. That the time would always be there for her. Then there were the programs, email, voices coming in out of the dark. She felt like a spy who came in from the cold, because the cold was exact. She looked at her hand for a long time. She looked again and again. tnaillirb:refinneJ:nalA:1:54921:esruoc fo:refinneJ:krad:esnetni:tnaillirb http://www.asondheim.org/homing.mov _________________________________________________________________________ Breakthrough - (Foofwa, please note) motion capture filed performance in Second Life (this is kludged to the highest degree) I must admit for a change I'm quite happy with the results here. They're difficult to capture outside of the space, but the videos will give you an idea. Foofwa, there the potential of the Octopus here. Maud, you don't know what you're missing. http://www.asondheim.org/floater.mov This just gets it started. Could the avatar push out infinitely into the unruptured catastrophic space of the edges of Second Life? Furious flight slammed against members-only barriers. The raw deal of equally infinite speed. the following was earlier, resonant more experimentation with SL debris, fallen organs http://www.asondheim.org/fallen.mov two dancers two dances two roses two worlds two dancers two dances two roses two worlds two dancers two dances two roses two worlds two dancers two dances two roses two worlds two dancers two dances two roses two worlds two dancers two dances two roses two worlds two dancers two dances two roses two worlds http://nikuko.blogspot.com/ Howtodisappear The disappearance of the branch into hardened rock and occasional artifacts. The root of the avatar is elsewhere; the avatar itself, the image-avatar, is ghost. The ghost travels through anything of course; it's nothing more than coordinates. Howtodisappear.mov, however primitive, is the beginning of transparency, wizard listening-posts on MOOs for example. Here we are, the virtual becoming-virtual still. http://www.asondheim.org/howtodisappear.mov ========================= Break/dance (new video/audio/image work) (in case you've missed this) Given that the danced-to-infinity motion-capture second=life quasi-avatar is tethered at a root somewhat distanced from the object-image itself, it seemed that it might be possible to have the image 'break through' private barriers - of course with little consequence (so far); in any case you can see the result in the first two (small file) urls below: http://www.asondheim.org/breakin.mov http://www.asondheim.org/breakin.jpg Sound of wood and wire: new alpine zither: http://www.asondheim.org/ccc1.mp3 http://www.asondheim.org/ccc2.mp3 http://www.asondheim.org/ccc3.mp3 FLoater-dance video in miniature on YouTube - http://www.youtube.com/watch?v=a1KwQj7rXFs (please check this and my other videos out. if you like what you see, please pass the information on to others.) thank you Alan Sondheim Womans ands Mans as well as accompanying men created from cloth and wire [-] Thoughts on men et al Re: Thoughts on men et al ruptured mess of the men banged into one another maybe they fucked in this just gets it started. Could the woman push out infinitely into the artifacts. The root of the woman is elsewhere; the woman itself, the image-woman, is ghost. The ghost travels through anything of course; it's Given that the danced-to-infinity motion-capture second=life quasi-woman as well as accompanying men created from cloth and wire [-] Thoughts on men et al Re: Thoughts on men et al ruptured mess of the men banged into one another maybe they fucked in [-] Men, models, performers, d... [-] Re: Men, models, perfor... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Woman... [-] Re: Woman... Re: Woman... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Woman... Re: Woman... [-] Men, models, performers, d... [-] Re: Men, models, perfor... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... as well as accompanying men created from cloth and wire [-] Thoughts on men et al Re: Thoughts on men et al ruptured mess of the men banged into one another maybe they fucked in This just gets it started. Could the woman push out infinitely into the artifacts. The root of the woman is elsewhere; the woman itself, the image-woman, is ghost. The ghost travels through anything of course; it's Given that the danced-to-infinity motion-capture second=life quasi-woman as well as accompanying men created from cloth and wire [-] Thoughts on men et al Re: Thoughts on men et al ruptured mess of the men banged into one another maybe they fucked in [-] Men, models, performers, d... [-] Re: Men, models, perfor... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Woman... [-] Re: Woman... Re: Woman... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Woman... Re: Woman... [-] Men, models, performers, d... [-] Re: Men, models, perfor... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... as well as accompanying womans created from cloth and wire [-] Thoughts on womans et al Re: Thoughts on womans et al ruptured mess of the womans banged into one another maybe they fucked in This just gets it started. Could the woman push out infinitely into the artifacts. The root of the woman is elsewhere; the woman itself, the image-woman, is ghost. The ghost travels through anything of course; it's Given that the danced-to-infinity motion-capture second=life quasi-woman as well as accompanying womans created from cloth and wire [-] Thoughts on womans et al Re: Thoughts on womans et al ruptured mess of the womans banged into one another maybe they fucked in [-] Men, models, performers, d... [-] Re: Men, models, perfor... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Woman... [-] Re: Woman... Re: Woman... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Woman... Re: Woman... [-] Men, models, performers, d... [-] Re: Men, models, perfor... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... [-] Re: Men, models, per... [-] Re: Men, models, ... [-] Re: Men, model... [-] Re: Men, mo... [-] Re: Men,... as well as accompanying men created from cloth and wire [-] Thoughts on men et al Re: Thoughts on men et al ruptured mess of the men banged into one another maybe they fucked in This just gets it started. Could the woman push out infinitely into the artifacts. The root of the woman is elsewhere; the woman itself, the image-woman, is ghost. The ghost travels through anything of course; it's Given that the danced-to-infinity motion-capture second=life quasi-woman as well as accompanying men created from cloth and wire [-] Thoughts on men et al Re: Thoughts on men et al ruptured mess of the men banged into one another maybe they fucked in [-] Womans, models, performers, d... [-] Re: Womans, models, perfor... [-] Re: Womans, models, per... [-] Re: Womans, models, ... [-] Re: Womans, model... [-] Re: Womans, mo... [-] Re: Womans,... [-] Re: Woman... [-] Re: Woman... Re: Woman... [-] Re: Womans, models, per... [-] Re: Womans, models, ... [-] Re: Womans, model... [-] Re: Womans, mo... [-] Re: Womans,... [-] Re: Woman... Re: Woman... [-] Womans, models, performers, d... [-] Re: Womans, models, perfor... [-] Re: Womans, models, per... [-] Re: Womans, models, ... [-] Re: Womans, model... [-] Re: Womans, mo... [-] Re: Womans,... [-] Re: Womans, models, per... [-] Re: Womans, models, ... [-] Re: Womans, model... [-] Re: Womans, mo... [-] Re: Womans,... === ii Womans ands Mans grep woman pa.txt grep Woman pa.txt grep womans pa.txt sed 's/womans/- women/g' pa.txt > zz sed 's/Womans/Women/g' zz > yy sed 's/woman/man/g' yy > zz sed 's/Woman/Man/g' zz > yy; mv yy zz; pico zz h grep woman pa.txt > zz grep womans pa.txt >> zz grep Woman pa.txt >> zz grep Womans pa.txt >> zz sed 's/womans/women/g' zz > yy; mv yy zz sed 's/Womans/Women/g' zz > yy sed 's/woman/man/g' yy > zz sed 's/Woman/Man/g' zz > yy; mv yy zz; pico zz h pico zz h grep woman pa.txt > zz grep womans pa.txt >> zz grep Woman pa.txt >> zz grep Womans pa.txt >> zz sed 's/womans/men/g' zz > yy sed 's/Womans/Men/g' zz >> yy sed 's/woman/woman/g' zz >> yy sed 's/Woman/- Woman/g' zz >> yy; mv yy zz; pico zz sed 's/Womans/Men/g' zz > yy sed 's/womans/men/g' yy > zz sed 's/woman/woman/g' zz > yy sed 's/Woman/- Woman/g' yy > zz; pico zz new zz; cat pa.txt zz > ding; mv ding pa.txt; rm yy; m ls tail pa.txt rm zz ls date h lifeprose symposium issues of course one could say one could say of course we could say one could say of course i could say one could say of course one could say we could say of course we could saw we could say of course i could say we could say of course one could say i could say of course we could say i could say of course i could say i could say i think what i was getting at i thought that it might be interesting to my work led me into new people reacted to it and i thought it seemed to me that i should i think what i was trying to say then it occurred to me to think about what i was getting at a lot of people said they liked what i was if it wasn't for the support of i really didn't know what i was doing we really didn't know what we were doing they really didn't know what they were doing they really didn't know what i was doing they really didn't know what we were doing i didn't know what we were doing i think what we were trying to say we think what we were trying to say they thought what i was trying to say they thought what we were trying to say i could have used a little more i could have used a little less of course we couldn't tell them that of course i couldn't tell them that they tried to tell us that we tried to tell them that it seemed funny at the time it seemed serious at the time it still seems we knew it was absurd we knew we were absurd i knew it was absurd i knew i was absurd we were going to do that when i didn't like where i was going i didn't like where we were going they didn't like where i was going we didn't like where they were going we didn't like where we were going if it wasn't for for all i know i was they didn't know that we we knew that they ========================================================= Text from 2 Chicago Openport Performances this is a placemarker for font and size i learn nothing from my work. my work learns from me. this is so stupid. this is so stupid. ehllo hello. nathan - somewhere near the begimning of 'the silent film era' actresses were accompanied by orchestras or musicians of their choosing to get into the mood of the otherwise silent so this is how it's going to be. what i do (here) is try to type, well at one point someone told me I couldn't type (I'm showing you now heheh! - anyway I try and TYPE something until you're bored or someonne pulls me out of here (I mean Chicago, not Links Hall) - anyway so I try to entertain you - wait, please there's more coming... this part was videotaped at Rilke's Grave in Raran, SW we're reading - well, Foofwa d'Imobilite and Maud Liardon - are - reading the tombstone - and well, I"m playing the organ, that's somewhere else in the alps - the sooner a train comes along the sooner I'm saved here. i'd better explain this this is a model of a dancer moving through motion capture equipment that has some broken sensors sending the signals out to infinity where they collapse, grief stricken, and return, something like the rturn of the repressed. Now here is the return of the repressed, just a second here - ok, it's more or less below freezing out there in the Gruyere ok, this isn't getting anywhere yet. i'mm not a particularly good performance artist. I'm cheating, I recorded this stuff beforehand - look around you - there aren't any naked people in the room at the moment, nor a waterfall for that matter... this is a deconstruction of a gun and on the left is someone dancing more or less and disappearing into the light. yeah, well, ok, this will happen. let's back up. we won't kill bush, we'll just wound him - so - just in case you wondered, the hum you're hearing isn't from my laptop, it's in the system here in Links Hall and in fact I tend to love it -on the left is my avatar disappearing in Second Life because I programmed it to get away with it so it can go through cliffs and stuff. now yhou're hearing the hum of the planet, literally - this is very low frequency radio stuff coming through - the antennas are modified by the performers - transforming the sound - Maud Liardon atthe end of a particularly exhausting day. maud machine - there's a file here called rottate i'll try to find it hold on the machine aspect is clearer by the way: the title of this is "The Difference Between the Analog and the Binary Mode of Relating Real-Time bodies to the world" - this was shortened from the title "My Partner is My Buddha" this is literally the Maud Machine - why literrally? this is Azure generating very low frequency coupling with an antenna somewhere in Orange County California these are dead avatars this is another dead avatar. ok what you're hearing is an imitation of a 78 record created from an event in very low frequency radio stuff. this is really stupid.l i'll whos you what i feel like. ok that's an assassin bug on the right. now we're looking at the wilderness. when we work and we always do and we work together sometimes and we don't we try to harnass we try to harness the digital and return it to the real world. there of course is still a real world, don't believe the theorists. where is it? it's among the polar bears who are starving and have turned cannibal it's among the elephans which have taken to raping as a result of population pressure. it among the fifty thousand birds that died at the world trade center site as a result of the fucked up pillars of light which messed up migration routes - as a result they died of exhaustion this is the deconstruction of a tree, a real tree, with a ditial scanner. I'm not sure why this is important, but possibly in anotehr fifty years or so we might not have trees. well we won't have "we" either this is my sad ronin in second life - when I work in second life i go to thebottom of the ocean then i don't have to deal with cleverness and messy building and people flying by. i can just do something maybe there Cris Cheek should know where this sound is from, the only thing I didn't do here, the rest for whatever is mine. this was done after abu gharayb. those blades are from a wind farm in West Virgina. think aboutg wind farms - like the beams of lightfrom the world trade center, most of these have been responsible for the deaths of tens of thousands of birds. they fly into it. the avatar was takenpart and taken apart and taken apart this is Azure Carter being scanned while moving - this results in the disappearance of Azure Carter, any trace of her, in the digital realm. I'd show this to you if I could remember where it is! ok, this is the result of that maneuver more or less, you can see the body sliced - we're back trying to suture things back together from digital to analog. if someone can tell me when twenty-five minutes or so are gone I can wrap this up. at the moment I'm thinking: abjection/politics on the left, avatars imitating real-life people on the right, real-life people imitatin avatars. notice the people (on the right) we refer to as "The Bobsie Twins" What coordination! This took years to perfect i used to do these things with the idea of a 'moral" or content or "content" or a "sememe " or something behind what you're seeing on the screen. then it occurred to me there's nothing we can do at this point to save - well, our own selves, species from extinction, inundations, the stupidies - that's stupdi, stupidities of fascist presidents - so we might as well just play and make faces in restaurants because maybe all we can do is dance oh that's so stupid again but it's true! and it's true I can't dance! so ... so it's true that' that there's a letter maybe beneath this one going somewhere my partner exploding with the motion capture equipment going into gunfire - well I want you to believe this is gunfire while a vacuum tube is deconstruct simultaneously well I'd like you to believe it's deconstructed. what's stupid here is I have only one screen and I want to have equipment on the floro! floor! more and more equipment, something I can disappear into! I'll have to settle for for some sort of entertainment i want to thank everyone here for allowing us to present! and Foofwa d'Imobilite and Maud Liardon for their brillians And Azure Carter for her support and brilliance And President bush for making this possible and the Swiss Government for funding this in part and the Alps for just being there. thank you. placeholder text chicago 2 placeholder text placeholder text anguish disappears when our world suffers the most an image weeps. an image does not suffer. no, an image suffers the most. dear buddha, i will suffer for you. thank you, alan sondheim. nothing is real anymore, is it? is what? is nothing? i am your electric-onic i am your electronic buzz bomb i will kill all of you fuckers. i will kill everyone. don't forget - when you leave here tonight YOU WILL BE DEAD (honest, I really mean this more than I mean anything in the world) - signed, Mr. Bush. Let us [...] If I can't be Buddha I will kill myself. Then after I kill myself I will kill you. Today I thought about the French Empire and the American Empire. The end. Alan Sondheim. ok if you have any questions. Ok I have a question. What is that stuff moving about. "Well, I'm glad you asked that,' Susan said. This is really something, isn't it? (Susan didn't say that.) Well, what this , well, these are avatars torn apart, By What you May AsK? maBY by Abu Gharab, he replied lightly. Christ, he thought (although he didn't believe in God). There are too many things going on here. That zither is being sent around the usa coming back to me. That woman is Maud Liardon danceworking performing in a grange in the Gruyere. We need a cat. So you think this is funny? I will KILL YOU. This is NOT FUNNY. StOPPP IT VLF radio runs around the world. The USA will use VLF radio antennas to: 1. Disorient and kill whales. 2. Disorient and kill dolphins. 3. Communicate just where and when the BIG ONE will be dropped. I'm a dope! Just now, a reveleation: EVERYONE IS TWITCHING ON THE SCREN Suddenly he realized: There were people behind himn. It wasn't paranoia. He was being watched. Something had to be done, something drastic. Then he remembered: "He would kill them all." This is the compassion the Buddha speaks of so eloquently. Now we're hanging around the Aletsch glacier. I want to thank the Swiss government for making this possible: a. Holding on to the Aletsch glacier in this period of global warming. b. Giving my partner and I some money so we can eat again. c. Making us stop worrying if we con't have any money for b. I did this thing last night with different videos. And there I was thinking, there's just nothing you can do about the world, is there/ so it's not enoght to dance, fuck dance, it's got to be something else. if we could only just kill ourselves. then everything would be allright in the worldl but of cours we're just kidding, nothing like this can happen. the whole history of the West: we're just kidding ourselves. (Honest.) don't cry for us argentina. ============================================================== ============================================================== Drowning http://www.asondheim.org/working.mp4 dreamwork chicago villa one pacing way around or chicago another. one anyway way i or like another. dreamwork anyway villa i pacing like around this; it it was was originally originally called called drowned.wrong drowned.wrong boolean boolean value value dreamworks dreamworks this; animation animation (nyse: (nyse: dwa) dwa) the the creator creator of of academy academy award award winning shrek, as well shrek such 2, animated shark hits tale, shrek madagascar 2, and shark over tale, ... madagascar well and such over animated ... hits against those all approaches those where approaches someone where else, someone an else, expert, an interprets expert, against interprets all your here dream you for do you. own here linkware you graphic do sets own personal linkware your graphic dream sets for personal you. websites, websites, various various categories categories including including country country sets. sets. also also adoptions, adoptions, printable recipe recipe cards cards using using latest latest technologies technologies with with proven proven dreamwork dreamwork printable practices, cyberdreamwork practices, offers cyberdreamwork a offers global, a real-time, global, interactive real-time, experience modern over myths modern are myths ancient are stories ancient from stories cultures from sacred cultures experience sacred over history early that twentieth revived century early besides twentieth freud century jung besides links freud to jung history links that to revived pages regarding pages ethics regarding in ethics psychology in short psychology essays short on dreams. topics. system part processes electric helpus dreams. make system sense processes our helpus make on sense topics. ourpart worlds. dreamwork, in we dreamwork, use we richly use authentic richly symbolism authentic dreams symbolism model dreams worlds. model in 09125250 130k 130k true true amazon.com: amazon.com: dream dream work: work: techniques techniques discovering discovering creative creative 09125250 power jeremy dreams: taylor books: by jeremy taylor. taylor mary by oliver taylor. oliver. mary primary oliver power oliver. dreams: primary books: communal communal expressions expressions iroquois iroquois were were activities activities false false face face society, society, midwinter festival, festival, most most 0.167569 0.167569 1 1 at at "dreamwork "dreamwork drowned.> drowned.> ^?^?" ^?^?" midwinter /usr/local/bin/ksh: this: this: not not found found ^r ^r drowned drowned drowned." drowned." this this swollen, swollen, /usr/local/bin/ksh: scare-free is beast just is mess, just styles mess, colliding styles headlong colliding into headlong another into scare-free another beast breakneck no pace, thematic no continuity. thematic 67297 continuity. eclectic 67297 music eclectic band music new band breakneck new pace, area, have east worked coast dreamworks have sony worked la dreamworks studios, sony would la find studios, area, would east find coast another hundred hundred miles, miles, down down side side incredibly incredibly blue blue david david king king another s collection sf/fantasy/magic sf/fantasy/magic realist realist dreamworks dreamworks (1982). (1982). vamping vamping tarts tarts hungrily hungrily seeking seeking out (we weren t patented know father should my patented uncles father said, my more uncles than said, once more t than know once should form include another: a you terry forgot teachout include reader, a but terry anyway, teachout way, reader, form but another: anyway, you way, forgot end me long gnashing. day teeth. can function get great me deal gnashing. hunk teeth. happy function end great long deal day hunk can happy get treat woman pretty speaking woman set speaking film set (originally film notting (originally hill notting nowdirected hill treat nowdirected pretty dozens b-pictures b-pictures this this career career filmed filmed near near kankakee, kankakee, illinois) illinois) elevated elevated dozens train. drowned. 0.748282 a/looply.pl for your eyes only for the connoisseur of erotica, http://www.asondheim.org/exhibit.mov , and who is the voyeur here, who performs, who watches, who freezes frames, shuddering with delight at the 'classical' presentation of forbidden pleasures. for your eyes only, two days. my sister's murder you murdered my sister but i can get you off my sister can get you off afterwards you got off the bus you murdered my sister but i can put you off for a while afterwards she put you off the bus afterwards you were put off the scent of death look my sister gave up the ghost when she came for you you gave up you took up far too much of her time she took up sex to forget you now you get take-out whenever you can trying to forget you once took her out that night she gave out a bit of advice the car gave out when you fled the crime she screamed get out but you didn't leave she got out of your way when you came for her you put her out with the garbage and other stuff because she'd put out and you wouldn't take yes for an answer get attention, how are you getting on get attention, get a lot of attention swing it, get into the swing of it, get into full swing give a look, give a stare, give a cold stare give a dreadful stare, get offended wrong person, wrong place, don't get me wrong give a hard look at, give a long hard look at get what one has coming, get on one's feet, on one's feet give mouth-to-mouth resuscitation someone has to give her mouth-to-mouth would you scoot over, would you make a little room for me would you squeeze me in, nail, nail someone, get nailed why don't you give yourself a little sniff of this perfume get a kick out of, get a thrill, gives me a thrill pleasure, get pleasure out of something get a laugh, get the big laughs, have the last laugh on it get something out of it, get a lot out of it, applause, give a hand, give a big and give someone the run-around, get a run-around give a stretch, give a stretch and a yawn, give a yawn get nothing out of it, condense a sentence a glare, give someone a glare, give someone a hostile glare get something down to it, you're not quite yourself today what's come over you, what's gotten into you getting nervous and excited, how are you getting on without order i tried to deal without order, to apply topology, surfaces, to the digital, construct for example a sphere: within the sphere, curvature is uniform, there are no objects, no striations; now consider a torus: within a certain angle, vision is blocked, the cylinder connects, connects smoothly above and below, of genus one in placement nearby genus zero: but these inhering differences go no further, elasticity problematizes order within any configuration as handles, holes, bridges slide, everywhere, ignoring the metric, there is no metric, let's make one, just for the moment, no, it's useless: so that there's something uncanny about the sphere's interior, we move, near and far, we reflect upon ourselves, something luminous must there be, or we dream of such, luminosity, ourselves written, large within our world: without order, there's nothing, it's all unaccountable, can holes merge, of course they can, can bridges slide in deep interiors, yes and yes, nothing is here, sphere to torus, but something to nothing, nothing to something, always just invisible, for how may one leap, from sphere, to torus, torus, to sphere, how may one cross, erecting order ? CREPUSCLE and WAREQUIEM, 2007 Alan Sondheim, Foofwa d'Imobilite, Azure Carter at Millennium Film 66 East 4th Street New York City Saturday March 10th at 8:00 Telephone 212-673-0090 for more information. "Since 1983 the amazingly prolific Alan Sondheim has appeared at Millenn- ium on a regular basis with substantial new works. This time the multi- talented media artist has come up with a highly erotic and controversial feature entitled CREPUSCLE (TWILIGHT) which stars the remarkable dancer, Foofwa d'Imobilite, along with Azure Carter and Alan Sondheim. The program will include several short pieces shot in Switzerland." (CREPUSCLE is a mutual production of the three of us. The program will most likely include one work, WAREQUIEM, shot in Second Life.) "CREPUSCLE (TWILIGHT) explores the exigencies of dance, eroticism, cultur- al constraint, and arousal; it was edited from over a dozen segments in Geneva. The work tenders the null-point of language, a point where words stutter, where the body takes over, stumbles, where cultural tropes are transformed and disappear. It's the deliberate recreation of repressed memories. It challenges the conventions of dance, turning dance inside- out, turning dance out. For the three of us, it's the culmination of an erotic element in our work that subtexts and disrupts the performative itself. CREPUSCLE rides the muscle of the body and jouissance, opening a territory which remains virtual, haunting." (A.S.) existence and existents http://www.asondheim.org/coyote1.jpg http://www.asondheim.org/coyote2.jpg http://www.asondheim.org/coyote3.jpg http://www.asondheim.org/coyote4.jpg http://www.asondheim.org/coyote5.jpg archaeology of knowledge http://www.asondheim.org/pathe.mp4