for my mother, died 2000/3/16 http://www.alansondheim.org/sure1.mp3 oud and sarangi, close http://www.alansondheim.org/sure2.mp3 oud and sarangi, far +++ Yahrzeit http://lounge.espdisk.com/archives/799 http://espdisk.com/alansondheim/Yahrzeit2.mp3 oud http://espdisk.com/alansondheim/Yahrzeit1.mp3 sarangi for my parents for our cats, our crayfish, our fish for our friends who have left us this is my best playing, my best offering, my gift to you so silent perhaps, invisible, one is roomless, sightless, one has lost everything, but this, lamentations and sublime, if there were a case in the world, an instance, if there were a poetry, poetics, holding back, retaining, of a remnant, silence of philosophy, one is without birth, and surplus, and of those composition on OLPC computer http://www.alansondheim.org/olpc1.mp3 2nd comp on OLPC (One Laptop Per Child) computer* http://www.alansondheim.org/olpc2.mp3 in 7/7 time for four instruments *post-editing in CoolEdit DANCE THE PLAYING FIELD OF THE HOUNDED! FOOFWA D'IMOBILITE, AZURE CARTER, ALAN SONDHEIM and EDWARD HENKEL at MOVEMENT_TALKS AT THE 92nd Street Y Lexington Avenue at 92nd Street, Buttenwieser Hall Friday, March 23, 8 pm, Tickets $10 http://www.92y.org/Uptown/Event/Dance-The-Playing-Field.aspx or 212-415-5500 Join Foofwa d.Imobilit, Alan Sondheim, Azure Carter and Edward Henkel as they discuss, perform, and present video excerpts of their collaboration. Foofwa and Alan have been working together since 1994 for the stage and video. They share a curiosity to explore the limits of the body, real and virtual and work on issues such as labor, involuntary movements, chaos and sexuality. They are often joined by Azure Carter. Part of our Special Event Weekend that includes a Sundays At Three performance on Mar 25 and Master Classes Mar 23-24. =========================================================================== */the now/* */Bareword found where operator expected at now line 2, near "*/NOW" (Missing operator before NOW?) syntax error at now line 2, near "*/NOW" Bareword found where operator expected at now line 4, near "#!/usr" (Might be a runaway multi-line // string starting on line 2) (Missing operator before usr?) Bareword found where operator expected at now line 4, near "/bin/perl5" (Missing operator before perl5?) Bareword found where operator expected at now line 8, near "$words[$x],$spaces[$x+1]}} $x++) #!/usr" (Might be a runaway multi-line // string starting on line 6) (Missing operator before usr?) syntax error at now line 8, near "$words[$x],$spaces[$x+1]}} $x++) #!/usr" Bareword found where operator expected at now line 8, near "/bin/perl5" (Missing operator before perl5?) Scalar found where operator expected at now line 9, within pattern (Might be a runaway multi-line ]] string starting on line 8) (Missing semicolon on previous line?) Execution of now aborted due to compilation errors./* */Bareword found where operator expected at now line 2, near "*/Bareword" (Missing operator before Bareword?) syntax error at now line 2, near "*/Bareword found " String found where operator expected at now line 2, near "near "*/NOW"" (Do you need to predeclare near?) Semicolon seems to be missing at now line 7. String found where operator expected at now line 8, near "near "/bin/perl5"" (Do you need to predeclare near?) Semicolon seems to be missing at now line 13. Number found where operator expected at now line 14, near "line 8" (Might be a runaway multi-line ?? string starting on line 9) (Do you need to predeclare line?) String found where operator expected at now line 14, near "near "$words[$x],$spaces[$x+1]}} $x++) #!/usr"" (Do you need to predeclare near?) Semicolon seems to be missing at now line 14. String found where operator expected at now line 15, near "near "/bin/perl5"" (Do you need to predeclare near?) Semicolon seems to be missing at now line 19. Bareword found where operator expected at now line 22, near "#!/usr" (Might be a runaway multi-line // string starting on line 20) (Missing operator before usr?) Bareword found where operator expected at now line 22, near "/bin/perl5" (Missing operator before perl5?) Bareword found where operator expected at now line 26, near "$words[$x],$spaces[$x+1]}} $x++) #!/usr" (Might be a runaway multi-line // string starting on line 24) (Missing operator before usr?) syntax error at now line 26, near "$words[$x],$spaces[$x+1]}} $x++) #!/usr" Bareword found where operator expected at now line 26, near "/bin/perl5" (Missing operator before perl5?) Execution of now aborted due to compilation errors./* #!/usr/local/bin/perl5 while () { @words = split /[\s]+/, $_;@spaces /[\S]+/, for ($x=0; $x <= $#words; $x++) $word_count{$words[$x]}++;if ($word_count{$words[$x]} == 1) {print $words[$x],$spaces[$x+1]}} $x++) #!/usr/local/bin/perl5 /[\s]+/, = {print <= <= $words[$x],$spaces[$x+1]}} split /[\s]+/, $#words; $x == @words /[\s]+/, () $word_count{$words[$x]}++;if $x $word_count{$words[$x]}++;if while /[\s]+/, @words 1) $x $#words; split split $words[$x],$spaces[$x+1]}} <= #!/usr/local/bin/perl5 while () { @words = split @words /[\s]+/, = $_;split @spaces /[\S]+/, = for for ($x=0; ($x=0; $x $x <= <= $#words; $#words; $x++) $x++) $word_count{$words[$x]}++; if ($word_count{$words[$x]} if == ($word_count{$words[$x]} 1) == {print 1) $words[$x],$spaces[$x+1],$words[$x-8],"\n"}{print } #!/uhzr/loSYEl/byn/pyrl5 whyle () { [...] #!/uhZr/loCLAWl/bayen/perrl5 whayele () { #hZ/([^aeayeou+])e([^aeayeou+][^aeayeou+])/12/g; #hZ/([^aeayeou+][^aeayeou+])e(\hZ)/12/g; #hZ/eCLAWOO[]/not a CLAWlue1/g; hZ///g; hZ/([\Woo -]*)mufukufukulsh! ofukulsh! blaCLAWk fukuuzz(\Woo -)/1mufukufukulsh! ofukulsh! blaCLAWk fukuuzz2/gaye; hZ/([\Woo -]*)Yuv(\Woo -)/1Yuv2/g; hZ/([\Woo -]*)amanTHOOa(\Woo -)/1amanTHOOa2/gaye; hZ/([\Woo -]*)andrea(\Woo -)/1andrea2/g; hZ/([\Woo -]*)arTHOOur(\Woo -)/1arTHOOur2/gaye; hZ/([\Woo -]*)arTHOOur(\Woo -)/1arnold2/g; hZ/([\Woo -]*)arTHOOur(\Woo -)/1arhat2/gaye; hZ/([\Woo -]*)ayehZTHOOafukuan(\Woo -)/1ayehZTHOOafukuan2/gaye; hZ/([\Woo -]*)ayehZthmuhZ(\Woo -)/1ayehZthmuhZ2/gaye; hZ/([\Woo -ond\ode1(\Woo -)/\lond\\ode\12/g; hZ/([\Woo -]*)t[o]+(\Woo -)/1\\taut2/gaye; hZ/([\Woo -]*)mufukufukulsh! ofukulsh! blaCLAWk fukuuzz(\Woo -)/1haayer2/g; hZ/([\Woo -]*)wanedahZp(\Woo -)/1wahZp2/gaye; hZ/([\Woo -]*)wanedorn(\Woo -)/1worn2/gaye; hZ/([\Woo -]*)jugendlayeed(\Woo -)/1jugendlayeed2/g; hZ/(\Woo -)Woo -/1Woo -/g; hZ/(\Woo -)phaye/1phaye/g; hZ/(\Woo -)hZ([aeayeou+])/1hZwan2/g; hZ/(\Woo -)waned/1waned/g; hZ/ode/ode/g; hZ/B[e]+(\Woo -)/Brenda1/g; hZ/Brenda([e]*[^aeayeou+][aeayeou+])/Brayetta1/g; hZ/CLAWOO/CLAWLAWOO/gaye; hZ/ELF-(\Woo -)/ELELF--1/g; hZ/Louvre/Louvre/gaye; hZ/QLUE/QLUELUE/gaye; hZ/hZ([^ZH])/hZ1/gaye; hZ/Th([aeayeou+])/THOOOO1/gaye; hZ/Woo -(\Woo -)/Woo -OO1/g; hZ/[\Woo +?/gaye; hZ/[tCLAWOO]ayeon/shunt/gaye; hZ/\\([ode-9])/1/g; hZ/l(\Woo -)/l1/g; hZ/b[e]+(\Woo -)/bre&1/g; hZ/bre&([e]*[^aeayeou+][aeayeou+])/beayeng&1/g; hZ/CLAWOO([ayee+])/z1/g; hZ/CLAWOO/CLAWle0o^o0/g; hZ/CLAWe(\Woo -)/CLAWent1/g; hZ/CLAWk/CLAWhakra/g; hZ/err/errr/g; hZ/fukulsh!(\Woo -)/fukulsh!1/g; hZ/fukulsh!/fukuuku/g; hZ/fukuo[u]*r/fukurayeeze/gaye; hZ/aye/aye/gaye; hZ/ayen([de])/9n1/gaye; hZ/lull/lulull/g; hZ/Louvre/lofukut/g; hZ/QLUE/QLUEle0o^o0/g; hZ/hZ([^zh])/hz1/g; hZ/ternr/ternrn/g; hZ/th([aeayeou+])/THOOoo1/g; hZ/uCLAWe/uhZeth/g; hZ/waned(\Woo -)/odeo^oode1/g; hZ/x-tasis/x-tasis-tahZayehZthmuhZ/g; hZ/+([\Woo -])/+1/gaye; hZ/z[e][ea](\Woo -)/z1/g; prayent $_; } OLPC sarangi http://www.alansondheim.org/brokensong.mp3 Number found where operator expected at yy line 2, near "number 10" (Do you need to predeclare number?) Semicolon seems to be missing at yy line 2. Bareword found where operator expected at yy line 3, near "no error checking" (Do you need to predeclare no?) syntax error at yy line 2, near "number 10" "no" not allowed in expression at yy line 3, at end of line Illegal declaration of subroutine main::parse_file_into_words at yy line 6. ========================================================================== virtual idylls animated computer creations that appear as singers runway models for publicize is another opening click most paper dolls undress mouse easy remove outer clothes harder underwear takes some tugging little revealed end few anatomical details also photographic adult section quite explicit be dressed any outfits strip relate strongly work do avatars characters further edit treating if were therapists sense giving opportunity draw my unfamiliar realms third tars sending their name watching feedback methods model agency she never tires hold poses forever works clock apart from source emission find now three years later translated recently backgrounds foregrounds began losing myself midst thick r passing sites get involved demographics erotic bonding female teenaged males females etc troublesome extent resolves plot narration slotted extending categories go down smoothly hand among avatar emanation no specific image appearance operable within protocols deep operating systems seems too almost viral hacking alone m background maneuvering ascii unconscious de scribe effect sexuality paradigms control being controlled playing insinuating itself drives runs psyches deliberately resolution difference between oh raises beginnings endings every gesture glimpse deliberate creation unguarded imagery artworks broken prosthetic devices following splits turns contradicts wayward contrary noisy might gendered gender way becomes field competing capital positioning distribution modes interventions clear assigned movements times against blank backdrops ridge once always eternal placed noiseless purified system receding moment offers herself clothing hollowed frame hollowing exposing interior breast vaginal areas intro procurement skin skins everywhere attached look wrap wire yourself play naked body hacked mirrors returning perhaps re turning phenomenological extensions cant emphasized enough beneath splintered turned abstract money transformed surplus girl woman entertainment magazine store libidinal economy resident perfect love longer clean tend towards post hats fascinating happening future however close level fantasy boys girls bedrooms computers desks tables off corner such kitchen pornography entwine numerous junctions so become intrinsic everyday except masturbation equally intrinsically parceled seen tion why academic approaches repeatedly metaphor ignoring manifestations earlier even wherever uncanny analysis produce reams relevant called linkages couplings processes concatenation conjoining change loosely joined objects shelf seriality conjunction terms results machine protocol suite interlocked subprograms links chain machines hate subsection integral coherent whole move abstraction coup moving parts inert organisms raging ecstatic wars fought physical result slight warming panels images accessible bit independent apparent organic eye speak postmodern decoupled fast forward probings domains organism stake finitely modified manipulable loss cannot die shelved revived elsewhere date whom data average listener fact seem spite girlfriends your dreams massive production industry song hit gave comfort safe partial filled quest filling vulnerable better heroines princesses inaccessible synchronically lives parallel universe lived died male artist recreating interesting construct mesh holding hollows armature running jacketed cuts carefully away genital literal representation injection covering hollow considered desire ever closeups inextricably everything inextricable tallying birth distance teledildonics oneself doll gives though manipulation puerile sliding removing panties reminded dirtiness abjection simulation speaking insertions assertions key scratches removes wires flesh pass melange constructed torn expanded condoms abeyance while fondling push until sleep night lulled foreclosing feminine positions com fort devour menses harbor smell membranes talk upon mutual devouring curs gloves screens keyboards scent odor odors saturate uneasy leaking guarantees far cry merge sight ecstasy permanency outliving abandoned turn know dream over again iii carries concepts notion invisibility transparency our tendency recognition nonexistence matter coming mind entering constituted gnawing idiocy veering pervasion yet layer interpenetration coupled troubled problematic infinite still languor reception hardened weighted opened delicate hardly b resonates beautifully annihilation awaiting particulate diffused harmonic peaks phenomenology recognize alive achieve subtle transcendence id greets states meanders sayings hanging warm air sunny afternoon argue sweet sickly leaves stems ripening humid ere talker nearly door waiting says floating ours difficult reaching please feel breathing heart must encounters seeking h hears nothing closed foreign d thinking tell hope make affairs men women thus said propelled attitudes speech proffering positionings nikuko e good wonderful fun having problems login root julu bones processing boards attributions trace bio k loves exit trying core told load tile font fuck failed rather bar jealously reply killed melee hull guns rigging vast heaving sailing ailing damaged yes yelling heave ail ho range starboard bow darkest winter ground frozen sat fire thatched hut covered chanted slowly drinking tea eyes half open child asleep wind howled flickering flames eerie patterns wall something else snow right tried heard great wings beating disturb meditation felt woke early dawn muscles moved swatches beat directions remained immobilized had vanished could chant huddled cold walls soul overcome continued clouds sun dawned warmer exhausted enlightened returned land Alan Sondheim WEDNESDAY, MARCH 21, 2012 mmother Alan Sondheim - 3:28 AM - Limited Alan Sondheim mmother http://www.alansondheim.org/mmother.mp4 http://www.flickr.com/photos/asondheim/sets/72157629632696197/ stills in the order of processing mmother everywhere and www.alansondheim.org/mmother.mp4 and nothing but these, then oozing, unconscious, Freudian hydraulic model, guesswork, Lacanian imaginary, Badiou's bad mistakes 11 photos | 0 views | Add a comment? items are from 21 Mar 2012. [VIEWER command completed] http://www.alansondheim.org/mmother.mp4 www.alansondheim.org Like Share Collapse this post - Comment - Hang out - Share POSTED BY SONDHEIM AT 12:29 AM http://www.alansondheim.org/mmother.mp4 www.alansondheim.org Like Unfollow Post Share 2 seconds ago THE TEXT I KNOW NOT WHERE CAME FORTH: (last night I seriously lost a couple of hours; today I found this piece below. today I also recorded http://www.alansondheim.org/92youd1.mp3 and http://www.alansondheim.org/92ysarangi.mp3 . but why this text? Azure said I was sweating terribly and complaining, almost crying out, last night: I remember none of it. this is frightening. the text frightens me. the music saves me. Alan.) Vthe book continues, scrolls are necessary, prayer wheels, So the book continues, scrolls are necessary, prayer wheels, leaves bound into place or folded into boxes, one prostrates oneself before a deity or before nothing whatsoever. Infinity moves through the chakras; the body is a bead upon a chain or string or lighting the Tibetan prayer wheel for her. And David Askevold died as lighting the Tibetan prayer wheel for her. And David Askevold died as So the book continues, scrolls are necessary, prayer wheels, leaves the tablets - prayer wheel spinning above a slow flame - in this dark night of prayer wheels the prayer wheel turning all through the rain in this dark night of prayer wheels and worlds prayer wheel -ksh w3m -tcsh screen -tcsh emacs slrn -tcsh -tcsh -tcsh on the desk, Tibetan prayer wheel and stupa, Tibetan gau, the tablets - prayer wheel spinning above a slow flame - So the book continues, scrolls are necessary, prayer wheels, leaves I see a king who has ade some works. I say to one and all, these arae wonderful works. I ask how they have been constructed and sense a new diretion for the construction of the world; tp cpjstrict a wpr;d.. tje ;omer extra[p;atopm ,ist grod tp a ja;t. gegatomg jostpru. de=dissolving the liquidity of =coGULATED MAMEORYLTHR =BOOK ETITRE THR VONDYTUYION OG IYD SSLURDL LSNOPYIVOND RLRSYR, OPRTSYR SY RBRTU PSTSFR HTPUNF, RBRTYU GIRLF OG VONVOUTDRL YHR JIJIDL SIIMSLD GFOGFDFNG GHTJDRLBRD DFGODD; GIMFDMRMYD; DIDYSMVF FODDP;BFD SMD ;SMGUSGES DISDSSPPESR UJTIL TJI GI69 SHD FROIUNDS SLL SRE USDD UPWE KSVD VBDDM SEDLEOOPOLD FPEOO SLDL GPDOS SKS S;GGRREEHOW DID HE DISCOVER THE RIPPLES OF OUR VBACKS INTERTPRSED WITHJIND FAMES CLOSE TO DEATH LK J OLJ LKJ LKJ SO DIDFFDFDNT LSNDSCALE THAG A LONG GIMR AGO RDXHAUSDTED ITSELF OVVDF THEE DISCAARDINFG OF TRUTH AND ITS GROUNDS NAND THE GOUNDS A=OOF ANY SUCHL THESE PLACES I HAEVE SEEN BUT THE REPORTYT KS BLQCK IS IT NOT. THE THREAD IS BROKEN.IT IS A STRUGGLE GO BRTETHELoO I QIL========------- I WILL DO THIS I WILL DEFININIELY DO THIS THIS IS TI BEWILLED ALREADY DONE AD SUCH. THIS IS ALREADY DONE some brief music from the 92Y presentation with Foofwa d'Imobilite and Azure Carter, last night http://www.alansondheim.org/92Ys.mp3 bad recording from a distance we had to keep the samples short and were cut off wish my friends were there (one was) ah well... my life so far. i'm 21 and i'm gonna die at 21. i'm 16 and i'm gonna die at 16. i'm 21 and i'm gonna die at 21. i'm 17 and i'm gonna die at 17. i'm 18 and i'm gonna die at 18. i'm 19 and i'm gonna die at 19. i'm 21 and i'm gonna die at 21. i'm 20 and i'm gonna die at 20. i'm 21 and i'm gonna die at 21. i'm 21 and i'm gonna die at 21. my life so far. i'm 21 and i'm gonna die at 21. i'm gonna go to guitar center and play my guitar. i'm gonna do e and e and send me some e. i'm gonna call alex and will do something. i'm 21 and i'm gonna die at 21. i'm gonna go down to the canal and take some birds. i'm gonna take some drabs thats shock with jimmy. i'm gonna write with jimmy cause we go way back. i'm 21 and i'm gonna die at 21. i'm gonna write about e and e thats drab. i'm 21 and i'm gonna die at 21. we're shock with jimmy. we go way back with alex. i'm 21 and i'm gonna die at 21. ababramateethraburadazzxj kmnnpababramablackenedraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaspace asraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaonraburada kmnnpababramai'mraburada ababramaconsumedraburadazzxj ababramaconsumedraburadazzxj kmnnpababramabyraburadazzxj ababramaworldraburadazzxj kmnnpababramaseemsraburadazzxj kmnnpababramafuzzyraburada ababramaandraburadazzxj kmnnpababramafullzzxj ababramaandraburadazzxj kmnnpababramadarkraburadazzxj kmnnpababramacancerraburadazzxj kmnnpababramaandraburada ababramateethraburadazzxj kmnnpababramablackenedraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaspace asraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaonraburada kmnnpababramai'mraburada ababramaconsumedraburadazzxj ababramaconsumedraburadazzxj kmnnpababramabyraburadazzxj ababramaworldraburadazzxj kmnnpababramaseemsraburadazzxj kmnnpababramafuzzyraburada ababramaandraburadazzxj kmnnpababramafullzzxj ababramaandraburadazzxj kmnnpababramadarkraburadazzxj kmnnpababramacancerraburadazzxj kmnnpababramaandraburada this world slotting itself through me, drab in its repetitious and i wander down in dark, doom, drab, gone just like that another year, corn silk drab like radiation-hair, Winter artistry adorns a formerly drab scene. Don't fire till you see. Have I said this already, over and over again, this drab face sitting. ababramateethraburadazzxj kmnnpababramablackenedraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaspace asraburadazzxj kmnnpababramaandraburadazzxj kmnnpababramaonraburada kmnnpababramai'mraburada ababramaconsumedraburadazzxj ababramaconsumedraburadazzxj kmnnpababramabyraburadazzxj ababramaworldraburadazzxj kmnnpababramaseemsraburadazzxj kmnnpababramafuzzyraburada ababramaandraburadazzxj kmnnpababramafullzzxj ababramaandraburadazzxj kmnnpababramadarkraburadazzxj kmnnpababramacancerraburadazzxj kmnnpababramaandraburada the same old thing... dribs and drabs... just turned they're somewhat drab when standing, but their wings airbender, general, three drabbles featuring katara, who had a few i'm gonna take some drabs thats shock with jimmy. i'm gonna write about e and e thats drab. my life so far. {fine artistry} http://www.alansondheim.org/mountain1.mp3 (sarangi) http://www.alansondheim.org/mountain2.mp3 (jogia sarangi) have artistry, this fine artistry. have artistry, this fire artistry. i'm gonna show you this fine artistry. i'm 21 and i'm gonna die at 21. i'm 21 and my wings are everywhere. i'm gonna soar above you and i'm gonna soar about you. i'm 21 and my wings are going soar below you. have this fine fine artistry. i'm gonna die. at 21. my general, wings who gonna 21. 21 katara, wings katara, 21 21. gonna who wings general, my 21. at general, three wings few die 21. far. three wings who and 21. and who wings featuring far. 21. die had wings three general, at 21. my general, wings who gonna 21. i'm drabbles wings katara, 21 21. gonna had wings drabbles life 21. at general, airbender, airbender, few die 21. far. three wings katara, and 21. and who wings featuring i'm 21. die had wings three general, at at my general, wings a gonna 21. i'm drabbles wings katara, 21 21. gonna had wings drabbles life 21. at general, airbender, airbender, few die 21. so three wings katara, and 21. 21 featuring wings featuring i'm 21. die had wings three at at general, wings a gonna 21. i'm drabbles wings featuring 21 21. gonna gonna my drabbles drabbles a 21 die i'm who drabbles who i'm die 21 a drabbles drabbles my gonna gonna general, featuring three few and die so featuring drabbles had 21 die i'm had drabbles featuring so die and few three featuring general, gonna gonna drabbles drabbles had and die far. who drabbles katara, i'm die 21 a drabbles drabbles my gonna gonna general, featuring three few and die life katara, drabbles who 21 die i'm had drabbles featuring so die and few three featuring general, gonna gonna drabbles drabbles had and die far. drabbles drabbles general, at 16. and a featuring 21. 18 16 far. had 20. 19. and call down call guitar. go play call take take i'm play guitar. alex drabs thats something. send e alex shock i'm go call i'm will shock go write canal call something. with back. i'm with canal canal jimmy. drab. back we drabs take jimmy. we're this with write thats i'm with itself through gonna i'm jimmy back me, drab way go alex. repetitious world in with gonna shock and doom, i slotting with kmnnpababramablackenedraburadazzxj its that gone and itself world this year, another dark, me, itself repetitious corn radiation-hair. drab i silk drab like just world i year, Don't formerly like drab, dark, drab scene. till a another just corn Don't Have till Winter another silk see. over said you radiation-hair, like fire drab face Have Don't drab Winter Have thing. Have artistry fire artistry this just dribs already, they're face already, same standing, general, their dribs face old but katara, drabbles when thing... dribs but had had general, they're just theirs had a theirs somewhat theirs few katara, but wings few three drabbles general, a featuring had ababramateethraburadazzxj gonna die. Aesthetics of Improvisation: Intermissions, Interruptions, and Digressions in Performance At the Sunday talk/video/dance given by Foofwa at the 92nd St. Y, he talked about the relationship between complex choreography and inter- ruptions in his piece based on Cage, THiRtEEn. We talked about this later and I related the discussion to my own improvisation work, as well as performances I'd done in Second Life, with other musicians, and so forth. I began to think of a taxonomy of interruptions, realizing that I was heading into muddy hermeneutics at the least, as well as splitting epistemologies and fractured phenomenologies. I revived the idea of the 'fissure,' a break in the midst of A and A, which doesn't change the entity; the split remains, temporary or permanent, as a glitch, but not - as in negation, an ontological process. So we begin with a choreography (which may also be a musical score, theatrical text, etc.) which is absolute in the sense that the real is absolute; it forms a foreground and background structure which the performer follows to the best of hir abilities, without break, with a sense of inhabiting the piece which is almost unconscious, and with a repertoire of technique that, hopefully, can be taken for granted - a form of tacit knowledge that allows the piece to flow smoothly, from beginning to end. Think of this absolute choreography as an impossibility, as the performer adjusts hirself throughout the presentation: nothing is or can be perfect, because no choreography operates as natural law, and interpretation is part of the very atmosphere of any performance. We are talking about human performance here, not machine or program performance, where choreographies may repeat themselves endlessly without error, or with the repetition of the same error growing either linearly or exponentially. Let us think, without error. There is always the question, or the state, of the freedom of the performer, who has agreed, often under contract and capital, to perform and rehearse a piece, for perhaps a set amount of time, with various riders attached, for example drowning as an act of God. What can happen? Here we enter into the phenomenologies, the taxonomies, of behavior in relation to structure: the coupling is always a loose coup- ling. The performer may repeat or elide a section or sections of the choreo- graphy, This may be the result of forgetting the section or sections; it may be a conscious decision; it may be the result of an other cue; it may be the result of muscle strain or other sense of injury. It may also occur as a result of play. All of these situations imply different intentions, different intentionalities: forgetting can also connect to a suturing, for example, so that the performer does not know s/he has elided something - s/he remains within the aegis of the dance, inhabiting the dance, in spite of (perhaps) the consciousness, from outside, of something amiss - as if there were differing hermeneutics and strata of the same choreography: someone performing, someone reading, someone watching. A sense of injury or strain tends to foreground the body; if the pain is minor, the performer may attempt to circumscribe it, detour 'around' the section, as if the detour _were_ the section. If the pain is major, the performer may slip into a phenomenology of the body, backgrounding the choreography which is then only an inscription under erasure (a differend; the choreography is no longer speaking, no longer in control, no longer _in_ inscription). The performer may make a conscious decision not to do the section or sections, or to repeat them, or transform them according to any number of semiotic operations. This may come out of an inhabitation of the dance, leading hir elsewhere/elsewise; it may come out of a sense of play, as if the dance were temporarily objectified, thrown for a loop, thrown out of kilter; it may come out of a sense of play in which the dance is forgotten and the section becomes the horizon itself. The forgetting of the section may be a conscious forgetting, as the per- former does something else, or nothing at all: the performer might rest, might decide to rest; the performer's body might 'seem' to rest or decide to rest. The daily, the everyday, is foregrounded; the performer has an itch, wants to rest, needs to go to the bathroom; has a sense of the giggles; remembers a recent argument or sex; starts laughing; is furious at hirself; and so forth. For the audience, the conscious forgetting, the everyday, may well be part of the performance: did s/he forget hir lines or is this part of the choreography, the score? Is this Brecht, Pirandello, their descendents? Is this revolutionary theater, Occupy? It may simply be everyday, a relationship or communality among people - performers, choreographers, audience, within or beneath the problematic sign of capital. For the performer, there may _never_ be a return to the choreography; for the audience, there is a mixed hermeneutics paralleling that between the virtual and the real, always these entanglements, which are on the increase, as reality is augmented and the virtual is mixed: as programming becomes absolutist on one hand, and the hack and play on the other. The performer may elide a section and jump to another section, rupturing the time and continuity of the piece, suturing the same as a fissure reveals cracks in the midst of substance, the same and the glitch. The glitch is already a recovery. Think of the recovery in relation to communality: the action of one performer affects the others, but not in the sense of choreography - in the sense of choreography's absence, everyone covering up, everyone filling in the gaps - or not, for something is always there to be shown, even the performers asleep, giving up, deciding it wasn't worthwhile to continue in any case. What about this? - the decision that it's _not worthwhile to continue._ Here is the audience and its/their expectations - their choreography, their role/s, and there are the performers carrying a sense of exhaustion, ennui, the uselessness of it all, bodies still present, perhaps milling about. So there continues to be an occurrence, and everyone perhaps is still present, so something is going on, there is a doing or doings. This is where it might be of interest, thinking through what's worthwhile in a deeper or more veered-off sense: is it worthwhile to continue if the choreography physically hurts the performer? Becomes so complex that it seems ridiculous to follow? Takes up so much of hir time that hir other life or lives are backgrounded or eliminated for a period of time? But then there is capital, agreements have been made. Let the agreements perhaps stand _from the very beginning,_ so as Foofwa indicated, there is no danger of being fired, eliminated from the performance, and so forth. The situation becomes one of trust: the performer is hired, that's all there is to it, and what s/he does is already acceptable, already in-process, presented, presentable. Of course there are limits, s/he might abscond... So the ceiling is set sufficiently high that it disappears, just as soccer for example, as rule-laden as it is, becomes a dance of improvisation and strategy, a continuance, based on the trust that players will do their best. (We know where that leads us, but that's another story, not here. So perhaps a bad example.) Think of this in terms of taksim, a string breaks, the oud cracks, the performer is exhausted; in terms of free jazz, a conversation emerges with the horns, is carried out in song, then words, then leaving the perfor- mance altogether. And in dance: as if we're in this together, as if a time and a space were being built - rather, inhabited - a form of temporary dwelling called an event. -- I'd say this relates to scripts, roles, and hacks in everyday life, relates to everyday games (counting footsteps, avoiding sidewalk cracks, and the like), relates to economies of attention (not just capital, not just intention). So we might think of loosely-coupled choreographies as a form of the everyday, or a local Occupy, with its own rules that might (or might not) be up for negotiation. And negotiation might be up for negotia- tion as well; such might or might not be the content. Where all of this goes - is towards an increasing fragmentation between script, code, program, choreography, and capital on any number of hands, and play, freedom, decision, hacking, laughter, on any other number of hands. The category of category is problematized, as are cybernetic control systems (on any level); what we might be seeing down the road are varieties of presencing in which the image is what you might see and might have, and maybe not even that. So in the long run we might look towards a phenomenology of the imaginary, as the imaginary, in the world, replaces the obdurate of the real-inert. Beneath both are the regimes of slaughter and extinction, so that the imaginary is also a dream-screen of the fractured image, a moment of solace where thinking and the freedom of thinking are permitted. At this point, we might not be able to reasonably hope for anything more; humankind is at the verge of the verge, so to speak/dance, and will probably remain there, as the very real population of the planet continues to increase somewhat exponentially. So the hope is that the imaginary is also a back-door to a better future - there's a utopian impulse in all of this, which may of course be subverted... [Thanks to Foofa d'Imobilite, Azure Carter, Edward Henkel, and the 92nd Street Y.] VR Improvised Anything is possible in the virtual. Inscription is absolutely cut off from the real. Inscription cannot be sutured into the real. The virtual is disposable. The structure of the virtual is substitution. Substitution implies creation and annihilation. 0 may be substituted for 1. 1 may be substituted for 0. The formula of the virtual is [any][any]. The formula of the real is [1][1]. The real is sutured to the annihilation of inscription. The real de-; the virtual in-. Nothing is possible in the real. Suffering is ontology; the virtual Occupies epistemology. The real is neither here nor there. The virtual is multiple. The real is extruded from the real; the real intrudes on the real. The virtual divides infinitely; the real divides perversely. Neither the real divides the virtual nor the virtual divides the real. The ontology of number is practico-inert. The ontology of the virtual is imaginary. We know that the real and the virtual are imaginary. We know that the imaginary inhabits abjection. We know that abjection inhabits the imaginary. Abjection inhabits the real insofar as the imaginary. The virtual expels abjection; abjection is beyond the Pale. The Pale is its own configuration. The Pale confines the real. Everything and nothing are possible in the Pale. The Pale is beyond the Pale; there is no interior. The real is multiple by virtue of the virtual. The virtual is fractured by the real. The virtual takes all the time in the world. The real takes none of it. The virtual takes all the space in the world. The real takes none of it. The Pale rides the back of the real; the real fucks the Pale. And in the virtual? Anything is possible in the virtual. ALAN SONDHEIM, AZURE CARTER, HELENA ESPVALL, NEW RELEASE ON FIRE MUSEUM! ================================================================== Please consider purchasing this! It's beautiful! It's new! It's getting airplay! You'll be helping support a small recording company and musicians directly! ================================================================== From: steven tobin We're pleased to announce two new vinyl releases on the Fire Museum label! The first one is Cauldron by Alan Sondheim, Helena Espvall & Azure Carter. The other is Circle of Crosses by Dora Bleu, Tom Carter and Sam Shalabi. These releases are domestically produced 140 gram vinyl, housed in an offset printed cover with j-card style obi. These are split releases with Tequila Sunrise Records. From the write ups: Cauldron - Cauldron deals out a three of cups: Alan Sondheim, a pioneer of mystical ear-tweak and sci-fi sonic ritual sound, chamber-improv gypsy cellist Helena Espvall, and eco-trance singer Azure Carter? thrice to thine and thrice to mine, and thrice again, to make up nine. Channeling the ghosts of Opal Whiteley and Lou Harrison, Cauldron conjures the scratch and shush of the Big Bang out of wood, wind and cat-gut. Whenever you listen to it, this album is always over too soon, just like life. Fire Museum and Tequila Sunrise Records deal out a two of pentacles: not to get all ?Yankee Candle? here, but we only made 250 of these, so grab one before they melt away like chemtrails in the sunset sky, http://www.museumfire.com/cauldron.htm $24.98 North America/$34.98 Rest of the world (includes postage). ================================================================== From Azure: We got played in NJ :) From: Google Alerts Playlist for Irene Trudel - March 26, 2012 Odetta, Lass of the Low Country, At the Gate of Horn, Tradition (US). Alan Sondheim, Helena Espvall & Azure Carter, Kansas, Cauldron, Fire Museum. Nathan Salsburg, The False True Love, Affirmed. Music behind DJ: John Fahey, Voice of ... WFMU's recent playlists ================================================================== Circle of Crosses - Fire Museum (39.955117?N 75.161240?W) and Tequila Sunrise Records (39.969203?N 75.14505?W) present this gathering of guitar-driven emanations, the first side leafy, lyrical and acoustic, the second side an astringent application of electric gnarl. ?Circle of Crosses? brings together folk pythia Dora Bleu (guitar and vocal) with psych-improv wizards Sam Shalabi and Tom Carter (guitars and other instruments). It links Tripoli (32?548N 13?119E) to Washington D.C (38?5342.4N 77?0212.0W) and Houston (29?4546N 95?2259W), not to mention Mile End (45?3130N 73?3500W) to Louvain-la-Neuve (50? 40 4 N, 4? 36 42 E). Consider these songs map coordinates for safe-houses from das ?berw?ltigensein, a set of precise locales for ecstasy, atheist shrines, or open spaces for reverie in the forgotten recesses of the planetary connectome. http://www.museumfire.com/circle.htm $24.98 North America $34.98 Reat of the world (includes postage). ================================================================== ================================================================== Music http://www.alansondheim.org/92StY7.png Why do I constantly play music, jump from one instrument to another. This isn't a trivial question; I search out the sounds of things. But why instruments? Why this fakery? I look for the larger gestures. Secretly I know I get nowhere. Secretly I know, with my hearing and tinnitus, I'm a fraud. I'm desperate for correct positions. I repeat figures I heard in ragas decades ago: I can't do anything original! The fingerboards are mockeries. At this point I prefer the simplest, no frets, no markers, nothing but a potential field. The markers come later, muscle memory. They're never exact enough; sometimes they don't come at all. Then there are the flutes and other mechanical devices: I'm running all over them with my hands, my fingers, my mouth. It seems purposeless. On a Boehm flute it's hard to go out of tune but it's also hard to find something else to do. On simpler flutes, it's easy enough with the primary scale, but everything else - like circular breathing on a ken bau - seems to me impossible. I long for the days of the guitar - nothing but fakery and nuance, the frets constantly chatter to you, to each other, to the audience. Even there I remember Al Wilson telling me I had to keep the guitar in tune; I hardly knew what he meant. I learned by rote, I memorized the chords in order. I knew my eyesight was terrible, but it didn't deceive me: I could look at a complex or simple instrument with wonder: why on earth would one want ones hands or fingers or mouth to travel over this thing? And in certain patterns? The sounds seem remote from the image, although after a while they might as well be married. But remote. Here I am, moving my hands over taut strings, and something emerges in another dimension, or dimensionless (time be damned), that takes on a life of its own. It has nothing to do with what I'm doing; what I'm doing is faking, getting cramps, trying to remember what I'm doing in the first place. It has nothing to do with the appearance of the instrument, the decoration, the placement of the pegs, the weight of the thing in my hands, the sway of the bow. It doesn't float either, this emergent. I don't want to make too much of this. It's like this: I'm a fake, I pretend I'm a musician, at least now and then. But what emerges isn't fake, isn't real, isn't in tune or out of tune, has a problematic relationship with the strings or the fipple or the bow or my fingers, memory or whatever my mind brings to the table, takes from the tablature. What emerges is something being, being in the time it takes for its being, no more and no less, an ontology of the evanescent, an epistemology that has left the virtual long behind. And a secret: I know, playing a string instrument, I must let the sounds die out at the very end, I must do nothing to impede them. So there's a moment of building towards that, towards this openness, and it's only later, after the emergent seems already a memory, that I realize - that what's in my hands is a _thing,_ an object, beautiful though it may be, that is just _there,_ that has no relationship to what I just heard, what might have come from me, one or another way, but surely not from the wood, the metal, the strings, the fipple, the very organs of the object. Here are two secrets of music: one, you already know, the fakery, but the other, more serious, is that the ontology of music is zero, it doesn't exist, since nothing is parceled out through time, time renders music invisible, although the instrument itself is more than visible, it is assertive, it is a somehow connected and disconnected thing. The music is invisible and it is not even momentary, it is _not there,_ and will never be there, will never have been there, and there is no there there, in fact, there is nothing. So it is circuitry within you, it is all interior and refuses to die out with the end of the universe, for the simple reason that it was never born, was never _in_ the universe in the first place. When I play something, improvise, when I look down at the instrument after I have seemingly finished, I have a sense of astonishment at this disconnection between presence and appetition on one hand, and absence, emptiness on the other. This emptiness, and the potential rhythm of this emptiness, speak of and to a mockery, fakery of the universe itself, with all its pseudo-rhythms of lunar months, years, electron orbitals, beating hearts and the like. Rhythm's the byproduct of music which trembles materiality, as if there were an event traveling through the cosmos carrying its heart with it, as if there were a centering involved, which there isn't, which there absolutely isn't. You don't need it, and the farther you go the more you realize you don't need melody or harmony, you don't need notes or scales; you might think you need sound, but the sound's already there, so you can't really know if you need it or not. In any case, none of this has anything to do with the thing in your hands, which astonishes you, as I have said already, which appears to be a device of some sort, perhaps a machine, but one that does nothing more than tremble on occasion, and what is that about? For myself, I tender the machine, that is all I know, and I know little of that in fact, and the rest, the rest is make-believe; one of these days, I'll hit a really high note, and my face will bear upon it, the proper mixture of ecstasy and anguish... http://www.alansondheim.org/92StY7.png "Shall I, then, give everything away," Shall I, then, give everything away, If not tomorrow, then today? Down by the courtyard, out by the gate, Whatever the weather, it's death I await. It will begin. My brain will sever Something once, and then never. These objects are all that remain of the fray That threw me down on a grey dull day. Ignorance will become my fate, Or broken thoughts at any rate: And I will transform and sever That last linger, that comes never. ... and I found myself loathe to leave the site, and touch it, and are distressed at, and ashamed of, and loathe it. But in mankind--I am a crocodile.' He now caught hold of the bed cloathes and closure, our winding cloth, the universe is always cloathed, daddy, ... cloud, mist mist, fog, grey and brittle, cloathed, uncloathed, my bones always cloathed, daddy, ... daddy, ... the universe threading its way universe is always cloathed, daddy, ... daddy, ... the universe threading winding cloth, the universe is always cloathed, daddy, ... daddy, ... the pool or a mist, surely a fog, ... a fog ? ... cloathed and uncloathed, uncloathed among us, the brittle fog, ... the mist, ... the mist ? ... universe is always cloathed, daddy, ... daddy, ... the universe threading always cloathed, daddy, ... daddy, ... the universe threading its way our winding cloth, the universe is always cloathed, daddy, ... daddy, ... always cloathed, daddy ? ... daddy, ... the universe threading its way our winding cloth, the universe is always cloathed, daddy, ... daddy ... touch it, and are distressed at, and ashamed of, and loathe it. but in the universe, I am loathed, and loathe to sever ? ... never. birds of modern media http://www.alansondheim.org/birdsofmcm.mp3 when i was substituting in the modern culture and media department at brown, i'd listen to the birds outside the windows of the office where i slept; i made some recordings. now, thanks to chris diasparra, i have an open-holed flute and this is the result. and i just saw in fact the anna halprin documentary and there were birds everywhere in it. and i just remembered the vultures and hawks overhead here, and as foofwa and i were walking to or from an event, there were herons overhead. and i remember that all this beauty will disappear for me and that my playing can't do it justice, not even the breathing of it nor the nervousness of repetition and the miracles of losing scales just at the moment when, teetering, i am wheeling in the sky, the earth tilting below me, and, my feathers are ruffled, the nighthawk begins his descent with an other music, for mate and for love, for the uncanny pleasure of flying Triple http://www.alansondheim.org/triple.mp3 for Murat and Karen three track open-holed flute including buzzes, trills, exhalings, pops, glissandi, whispers, voicings, flutterings, hummings, singings, breathings, throatings, mouthings, fingerings, cross- fingerings, open-fingerings, closed fingerings, partial-closings, partial-openings, clatterings, clickings, squealings, squawkings, titterings, twitterings, counter-pointings, srutis, swayings, dispersing, combining, creating, forgetting, repeating, ending, beginning, alap, bols, taksim, scales, maqamat, pursings, inhalings, harmonics, harmonizings, and whistlings, for your pleasure, your laughter, your tears, your cries and murmurs, your weepings, your assessments, your happy tears, your happy cries, your happy weepings ... breathing http://www.alansondheim.org/sarangibi.mp3 = sarangi beside itself of=my=breathing==my=lungs=take=orders=from=my=brain==telling=me=to= -affront-injury-irritate-intumescence-itching-jaundice-labored-breathing difficulty breathing. deeply tests breathing... still vital signs blood pressure, pulse, rate, temperature. the quota a way of life into writer. writer would die mused, there always new clar. clar, now nikuko, was thought, she's an artist, it's made to look easy, that through speech, if breath, seeing refer as or heaving - which extension _text-t males; here jennifer-speech, just one must there's no breathing-room, and then couples with what i see true world emanents anysign where we're living, breathing, writing shield entities vacuum simulation. in hir sky s/he breathes [ i'm looking at body, scrutiny great round, dissolving, liquid were sintered form let's easy presence, by my side. (within me, chest, cut-structure, denuded noise, breathing-out, breathing-in. am on talking oneself, same; you're your breath seems space own extensions, breathings, uncertainties. "fire, becoming playing can't do it justice, not even shortwave responds cosmos; you can feel weather so very beautiful takes far away from me certainly nikuko surpassing, because she inspiration timate simulacrum body; "breathing" texts between two opening oneself rhythm other. stages \ lurking conference, down backman against tides, woman weighing future internet lies somewhere planet unbreathing least message massage slow realm simultaneously open closed world, breathing-apparatus second lieu/place places jennifer bright spot sky...we're for our deaths fall wayside find rest, last air many holes are letters value every these people out. whole thinking, reading, writing, another but barrier, foreclosing another, tearing thought day more did hear her yet own, sure mine, already vector m time remains constant, rest held + jennifer4.breathing "
");}jennifer5.breathing first, true: play trombone! induce it-fasting, concentration, no-thing, no-thing everything nothing, attend thy benevolence ... name stands [...] evil public refusal/deluge 3 113 _substances_ time; ontology it: fasting, b s secret t have none proper motion, we take medication occupying emptied spaces, textual slottings, mail will read things, dreaming out, address headings, sense securing parallel air. while meadows dying hours. now, reads a, b, c. them order, c continuing adventures o l shakuhachi body-bone, shamisen ytalk caress words themselves, punning, does mean being breathing? meditation w be taught r respectingd disintegrated, h has e k kings,outside, crashing lungs ever, aware quartermain's matrix, its vulner- reason poetry externalization coast about ten times, each epiphany, mirage xi. enjoy, notice, most all, organ, alan dojoji: hysteria upon us partition here. witness piled plateaus conventional allowing daemon weather mouse-clicks viewer's stationary emanent requires energy; organism stay alive: doctor! nikuko! vii. player's movement pressure exercises, prayers notebody reciting, praying, creating, telling such extablishing domain / almost objects = harmonics appear f fatigue, difficulties, tension . colonic drug fish? well someone boo! false woodwind spirit earthcomponents substances. machine. albumen, caught glues taut across like thats all y g getyes other right typing simultaneously, certain text, noticing others refusing anything _breathing_ exchange involves webcams, camera phones, sms, blogs, internal technologies, technologies electric vis-a-vis cycles net, daily small closing flute-machine incomprehended purity outward vacuum, unbreathing, stratopheric. julu might speak, older machines had different kind than newer mountain planet, stop death's hard murmur * monstrosity fire, smoke inhalations, 9 out in, immortal! 14 outside ing until passed 164 sacrificing inhabiting me; poorly sink alan- his elemental fleeing physics ghosts, harbors death; keeping sound trope moment key nail sounds, forth. recording stereo. clouds thin noisy, ,he _text-object_ i'd strange, there, within, structure paralleling image symbol, paper rock 656 pun- thinking jennifer. underwater fish expelled medium uncanny contract, breathe. don't want menus, expanding windows; performing movement, text. background. ions. ah damn clumsy,you're once again throat meditate players breathing-out breathless, raised, building, sub-sonic early morning traffic male car moving sections ways comment; exists without land sea; set carefully, thus language live latter, former necks death, al- keyboard, machine reps^^spose,^^^nse, mythos, ancestors, hygienic planes, organisms, continuous neoteny universal athletic screen keyboard mouth's engorged, genitals listening microphone struggle creation room. _sound_ stuff; sound; apparent flood- reader simultneous- texts, results breathing-apparatus. first locked together, unision, long wagers made; here, wires, living wires shadowy presence nothing written constituting human) ascii flood, morning. see? there; you, he's leaped seeped we'll see) enjoy plates understanding ahead itself, barely, fogged closest off. ) firestorm nails, (upper lower wheezing, tense distance remember predicted. demi-urge meat-girl bigair, dampened, them, saliva, honey, languorous catastrophic neck. users neck... giving equivalences, motel death real fear attempted dead-girl hard. slaughter. heavy sign. wait breathe heavy. sensing proximities diptheria; rubbing alcohol fumes experience sax/flute in; everywhere. among ulay marina other's pure created earth. izanagi swollen daynight cycles, semester rabid break winds "oboe organism" wrong boolean >kind within sheet water laminar/animal flow broken lamin- sounds cb, turning off, etc. combines energy, desire ice, labore larval epilepsy, function jennifer(gender, milk, suture_and_surgery, you) lag rhythm, hypnoticwild swaying, thing going uuuuuuuu, oh! they themsulves breathing-undifferentiation mother-tone flood-or-flow-of-vowelling, sniffling, difficult speeds this.breathing breathing; --gen breath} recover normal --spenserself reaching please heart encounters seeking hears breasts, bruising them. dancer beyond own. mold seepage fact, political america that's fury *breathing? breeding? dressing? dialog --inputbox "returning please" 0 2>> bb minding face (meet, confront) rectification 'uncanny' avoid life. paint. flat uploading coffee breaks, sighing, aren't recorded mention transformed becoming- close off sight mutual breathings seals chinese ideograms circulating, cybermind .. lags hot cover 1940s girlie memory airless, peripheral wanderings mediated beliefs:aye, voices aye, necks:through darkness haunts before after lives. atmosphere, slightly point, passes cause fit dwell leisure ch'in ...her breathing..."is philosophy sickness"..."a sign ill health" india, learned circular tibetanmainly negative, writings particular, attractive hurtling, isn't poem, gotten. _disappearance_ same, soon stops text) making layers, blocks ment harboring things tropology, transport jennifer3.gender ask style like. how sound. sounds. you. says: know deep inside dilemma, sitting upright, slowly, silently. only those moments foot height work rather over walking, moment. oral masco- itself cease, when only, thinks, jennifer, think keep their tellings need that, [[[cane hallucenic whirl/whorl, repetition _elsewhere,_ emergence _within,_ inter- reading code-in-real-time: breathing: ally facing life, same careful somewhat isolated vibrato, muscle tensions holding comma prescribed task _breathing line.* simply spitting spit- midst compressed genitals, 10; _in rhythm,_ _speak,_ labored jerkiness, lancinating pain, laryngeal hand pass ionospheric bending, turns night tone tube tunicate, watering rereading line, time, working exercises. hang:: hanging vertical brush, fingers cursive: look: became single, sheerencryption; breath. clar jennifer's holes. mer consciousness, movements around wrap constructs scroll, invisible text; with- catalysis: who could imagine beauty bodies lens floats 1 oboe tongue, sight, elongated coming n carefully avoiding too tube, world's day-night senescent apologies, experimenting economy under name. on, flood theory took over, heavier heavier, placing clothes skin inflating q quality, p posture, diction, facial economic); happens nature _cross-breathing._* empty fool identical; traveling popularly cancerous harbinger death. go antibiotics, medical mist. concentrate that. love, space, birth- box "you :: eye & towards end un- neither technology nor organ. upwards beneath waters drink throats? listen speaking past imaginary makes yours [dand br [cand harbingers experimenting, apologies ken bau impossible. falling hardly disappears pure, naked, cleansed, splayed, aroused, waiting, language, smarmy modified 'breathing' hydraulic foreclosure example. never tired continues, visible erasures firestorms scuttling arrhythmia errors world-wide resonant planet's worlds, /*breathing winds*/argumentation singings, throatings, mouthings, fingerings, cross- mind, outbreath, merry tue oct 5 22:18:39 edt 1999 slows, inside, nurse crashes last, _for you_ sort, constant keys, focus eyes well, joints hurt, slight ( convinced floor disappears, slaughter self-slaughter mass organisms final rear, resting, easily, water. went sleep memory. post becomes space. short wonderful. hello ity pastels autonomic nervous system alert bit rapidly i'll mice eat bellows pump words, jennifer-julu, teaching downloading heterologically. carbon balls cushions covered modem joy terror, undone. shall enter along fires ashes. computer next heavily producing seduce yourself this, imaginary, panties without, universe, existence ism antidote. breathes, @breathes, j says, bodies, reminder, then, -:aye, natives fearsome they're image. onto irc investigate breathing/heaving correc- vision, automatic, bytes pieces patterns coupled hardware heart... midnight! everyone stopped lives phantoms goodbye writers taking note, touch mesmeric songster entering staying alive uninterrupted import- splay, pause this? place open-holed. critical argument rational, having trouble suffocates, 2 28k v bodily functions heartbeat, breathing...is this...is same...on near, corridors being. sixth revision portal everlasting "is any seeing" thinks casio inhalation exhalation gaia human ============= hymn and probable translation ============= hymn ty gyd my gyd yn my sycknyss thyt y myy nyvyr fryy mysylf frym thy yngyls yf thy yslynds thyt y myy wrythy yn pyyn, lyky sy mych cyntrybynd y cynnyt yn gyyd myysyry yscyrtyyn thys my hyyd ys thy syty yf yxcyvytyyns my yrms flyyl ygyynst thy wyrk yf thy lyrd hys hysts dystyrb my ynd hys mynyyns yry yn tryymph yvyr yll cryytyyn thyy yry yn tryymph my hynds tyngly wyth thy flysh yf thy slyyghtyryd my fyryhyyd ys thy hyst yf yrmyd myryydyrs yyy thyygh y wylk yn thyyr fyylds yyy thyygh thyy dy nyt yyyld y thyysyndth yf thyyr gryyn thyyr fyydstyrys y knyw thym nyt nyr thyyr gyrnyryd tymplys by yll yccyynts nyyght ys knywn yf thym y ym by yll yccyynts y hymn ty gyd my gyd yn my sycknyss y ym knywn ynd yn my pyyn y knywyth nyt y dy ynryvyl ynd my mynd ynryvyls y dy wyyvy ynd yn thy myrn my wyyvyng ys yndyny my bydy shyvyrs wyth yncyyntybly fyvyrs ynd vyylyncy my yyrs ryng wythyn thy ryngyng yf my yyrs my hyyrtbyyt ymyng thym my hyyrtbyyt cyntynyys byt ys cyyntyng dywn y hyyr nythyng rymymbyr nythyng y ym lyst ynd ym y lysyng gyny y ym yn dyyth ynd ym y dyyng gyny yn my sycknyss y wytch mysylf ynd y ym tykyng nyty ynd yf thys yccyyntyncy, thys ys y gyft fyr yyy thys spyykyng frym thy fytyry yntyryyr thys ylryydy cyllyng fyrth fyr thy symmyns yf thy bydy fyrgyvy my y lyrd yn my sycknyss fyrgyvy my fyr thy wyrds y spyyk fyr thyy spyykyth nyt nyr dy thyy syynd thy trympyts yf thy hyly nyr thy wylls yf thy cyty wythyn ynd wythyyt nyr dy thyy syynd, nyr dy thyy syynd ============= hymn to god my god in my sickness that i may never free myself from the angels of the islands that i may writhe in pain, like so much contraband i cannot in good measure ascertain this my head is the site of excavations my arms flail against the work of the lord his hosts disturb me and his minions are in triumph over all creation they are in triumph my hands tingle with the flesh of the slaughtered my forehead is the host of armed marauders yea though i walk in their fields yea though they do not yield a thousandth of their grain their foodstores i know them not nor their garnered temples by all accounts naught is known of them i am by all accounts a hymn to god my god in my sickness i am known and in my pain i knoweth not i do unravel and my mind unravels i do weave and in the morn my weaving is undone my body shivers with uncountable fevers and violence my ears ring within the ringing of my ears my heartbeat among them my heartbeat continues but is counting down i hear nothing remember nothing i am lost and am a losing gone i am in death and am a dying gone in my sickness i watch myself and i am taking note and of this accountancy, this is a gift for you this speaking from the future anterior this already calling forth for the summons of the body forgive me o lord in my sickness forgive me for the words i speak for they speaketh not nor do they sound the trumpets of the holy nor the walls of the city within and without nor do they sound, nor do they sound ============= in Meditation http://www.alansondheim.org/meditation.mp3 in Transport dost Thou send me, to and from Wastelands and Pales, into Plains of Jewels and Perfection, into great Halls of Tourmalines and Amber, yes, of Tourmalines and Amber, to and from Wastelands and Pales my name lalulu i'm writing this heading towards amnesia. my name is alan, my name is azure, my name is nikuko, my name is jennifer, my name is julu, my name... my name... what would you call me, were you to call me, call me forth, what is the employ, what chorus evolutes, meanders among them, waking me from my vast sleep, wolverine and granite, tourmaline and grey amphibole? well, i'm writing this heading towards amnesia. my name is alan, my name is azure, my name is nikuko, my name is jennifer, my name is julu, my name... my name... what would you call me, were you to call me, call me forth, what is the employ, what chorus evolutes, meanders among them, waking me from my vast sleep, wolverine and granite, tourmaline and grey amphibole, among one and among others, we murmur assent, communal i produce nothing, i wait, i await, among horizons and auroras i await, among the deaths and births of stars, i await, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring ululal demos thrope, thorn and thrown, borne among and bred among them, shorn ululal among them, smote and smoke, beryl and azurite, dig dig! among them, shorn ululal among them, smote and smoke, beryl and azurite, dig dig! among them, our primary! i produce nothing, i wait, i await, among horizons and auroras i await, among the deaths and births of stars, i await, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring, 13636 well, i produce nothing, i wait, i await, among horizons and auroras i await, among the deaths and births of stars, i await, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring already constructs wayward trouble for us, subverting the categories we take for granted. in collusion with the surface, i produce nothing, i wait, i await, among horizons and auroras i await, among the deaths and births of stars, i await, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring is 13636, womanly, among one and among others, we murmur assent, communal? but what is ululal demos thrope, thorn and thrown, borne among and bred among them, here, its thing? close to i produce nothing, i wait, i await, among horizons and auroras i await, among the deaths and births of stars, i await, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring, 13636, a murmuring foliage and green, this is mine eye and seeing, among seeing, among air, this is mine, this brief moment, this small land, this breathing, aye, this breathing, and this murmuring, this whispering, this music, among land this music, among board and water, this music, aye, this whispering i think i produce nothing, i wait, i await, among horizons and auroras i await, among the deaths and births of stars, i await, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring, dubious, overly complicated... i have already been in mourning ululal demos thrope, thorn and thrown, borne among and bred among them,:shorn ululal among them, smote and smoke, beryl and azurite, dig dig! among them,:i produce nothing, i wait, i await, among horizons and auroras i wait, among the deaths and births of stars, i wait, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring :among one and among others, we murmur assent, communal:2075:6:i'm writing this heading towards amnesia. my name is alan, my name is azure, my name is nikuko, my name is jennifer, my name is julu, my name... my name... what would you call me, were you to call me, call me forth, what is the employ, what chorus evolutes, meanders among sounds, waking me from my vast sleep, wolverine and granite, tourmaline and grey amphibole?:i produce nothing, i wait, i await, among horizons and auroras i wait, among the deaths and births of stars, i wait, this is the doings of mind, this is among neutrinos and muons, this shatters, is shattering, mica and schist, is shattering, is turning towards beginnings, i am yet among you, i am yet present, i am yet awaiting, a calling, a going forth, a murmuring :shorn ululal among them, smote and smoke, beryl and azurite, dig dig! among them...meht gnoma !gid gid ,etiruza dna lyreb ,ekoms dna etoms ,meht gnoma lalulu nrohs: gnirumrum a ,htrof gniog a ,gnillac a ,gnitiawa tey ma i ,tneserp tey ma i ,uoy gnoma tey ma i ,sgninnigeb sdrawot gninrut si ,gnirettahs si ,tsihcs dna acim ,gnirettahs si ,srettahs siht ,snoum dna sonirtuen gnoma si siht ,dnim fo sgniod eht si siht ,tiaw i ,srats fo shtrib dna shtaed eht gnoma ,tiaw i sarorua dna snoziroh gnoma ,tiawa i ,tiaw i ,gnihton ecudorp i:?elobihpma yerg dna enilamruot ,etinarg dna enirevlow ,peels tsav ym morf em gnikaw ,sdnuos gnoma srednaem ,setulove surohc tahw ,yolpme eht si tahw ,htrof em llac ,em llac ot uoy erew ,em llac uoy dluow tahw ...eman ym ...eman ym ,uluj si eman ym ,refinnej si eman ym ,okukin si eman ym ,eruza si eman ym ,nala si eman ym .aisenma sdrawot gnidaeh siht gnitirw m'i:6:5702:lanummoc ,tnessa rumrum ew ,srehto gnoma dna eno gnoma: gnirumrum a ,htrof gniog a ,gnillac a ,gnitiawa tey ma i ,tneserp tey ma i ,uoy gnoma tey ma i ,sgninnigeb sdrawot gninrut si ,gnirettahs si ,tsihcs dna acim ,gnirettahs si ,srettahs siht ,snoum dna sonirtuen gnoma si siht ,dnim fo sgniod eht si siht ,tiaw i ,srats fo shtrib dna shtaed eht gnoma ,tiaw i sarorua dna snoziroh gnoma ,tiawa i ,tiaw i ,gnihton ecudorp i:,meht gnoma !gid gid ,etiruza dna lyreb ,ekoms dna etoms ,meht gnoma lalulu nrohs:,meht gnoma derb dna gnoma enrob ,nworht dna nroht ,eporht somed lalulu Sarangi images, jogia sarangi on the left, sarangi on the right http://www.alansondheim.org/saran1.jpg http://www.alansondheim.org/saran2.jpg http://www.alansondheim.org/saran.mov silly movie the movie goes: left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right left right and more: Lee and I Discuss Telegraphy in Omaha . - . . - .# . - - - - .# . . . .# . -# - -# . - - - - .# # - - -# . - .# # . - - - - .# . - - .# . - . .# . . -# - - .# . - - - - .# # - . . . . -# - . . . . -# # . -# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # - - -# . - - .# .# . - .# . -# -# - - -# . - .# - - . . - -# # . - -# . . . .# - - -# # . .# . . .# # - .# - - -# -# # . - - .# . - .# - - -# . . - .# . .# - . - .# . .# .# - .# -# . - . - . -# . - . . - .# # - . - - .# . -# . . .# # . .# - .# # . . .# - - -# . . - .# -# . - -# . -# . - .# .# # - - -# . - .# # - . - .# - - -# - -# . - - .# . . -# -# .# . - .# # - . . .# . . -# - - .# - . - - . -# - - . . - -# # -# - - -# # -# . . . .# .# # - . -# . .# - .# - . .# . . .# # - - -# . . - .# # - . - .# - - -# - . .# .# # .# . -# . - .# . - . .# - . - -# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # # # -# . . . .# .# # . - - - -# - - - . .# - - - - .# . . . . .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # . - .# .# - . - .# .# . .# . . . -# .# . - .# # - -# - - -# . . -# - .# -# .# - . .# # . .# - .# # -# . . . .# .# # . -# - .# -# . .# - - . -# . . -# .# # -# . - .# - - -# . - . .# . - . .# .# - . - -# # - . - .# . -# . - .# # - . - .# . - . .# . -# - . - .# - . -# . .# - .# - - .# # . - - - -# - - - . .# - - - - .# . . . . .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # . - .# .# - . - .# .# . .# . . . -# .# . - .# # . -# # - . .# .# - - .# . - .# .# .# # - - . .# .# . - .# - - -# # -# - - -# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# - . - -# - - - . . .# # - . - .# - - -# . . . .# .# . - .# . .# - .# - - .# # . - -# . .# -# . . . .# # -# . . . .# .# # - - -# - . . .# - . .# . . -# . - .# . -# -# .# - . . - .# . -# - .# . -# . - . .# - - -# - - .# . .# - . - .# # . - .# .# . -# . - . .# . - . - . -# # -# - - -# # # - . . .# . .# - .# . -# . - .# - . - -# # . . - .# . .# . - . .# .# # -# .# - . . -# -# . . .# - . . - .# - - -# . - .# - . .# .# . - .# . . .# - - -# . . - .# -# . . . .# .# . - .# .# . -# . - . .# - . . . . -# . . . - -# . - . - . -# - . .# - - -# - . - .# # - -# . -# -# - . - .# . . . .# .# . . .# # - . .# .# . - .# . .# . . . -# . -# -# . .# - - -# - .# # - - -# . . - .# # . - . . - .# - . . .# . . -# - - .# - - . . - -# . - . . - .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# - . - -# # - . - .# - - -# - . .# .# - - . . - -# # .# -# - . - .# . - . - . -# # - -# . -# - . - -# . -# - . -# - - -# . . . -# . . .# - . -# - . - -# . - - - - .# . . .# # -# . - .# - . - -# . .# - .# - - .# # -# - - -# # . . .# . - . .# .# .# . - - .# . - . - . -# # . . . .# .# . - - - - .# . . .# # - . . .# .# .# - .# # - - -# - .# # -# . . . .# .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # -# . . . .# .# # .# - .# -# . .# . - .# .# # - . .# . -# - . - -# # # - .# - - -# -# .# # -# . . . .# . -# -# # -# . . . .# . .# . . .# # . .# . . .# # -# . - .# . .# . - - .# . - . .# .# - . . . . -# - . - .# - - -# - . .# . .# - .# - - .# # - . . . . -# # - -# - - -# . - .# . . .# .# # -# - - -# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# . .# - . - .# # - . - .# - - -# - . .# .# # -# - - -# # - - -# . - .# - . .# . .# - .# . -# . - .# - . - -# # # . . .# . . . .# . -# - .# - .# - - -# - .# - . . - .# . - -# .# . -# . . . -# .# . - .# - . - - . -# - - . . - -# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# - . - -# # . .# . . .# # - . .# - - -# - -# . .# - .# . -# -# .# - . .# # - . . .# - . - -# # .# - . - .# - - -# - .# - - -# - -# . .# - . - .# # - . - .# - - -# - .# . . .# . .# - . .# .# . - .# . -# -# . .# - - -# - .# . . .# . - . - . -# # # . . .# . - - .# .# . -# - . -# . .# - .# - - .# # - - -# . . - .# # - - -# . - . .# - . .# # .# - - . -# . . -# . .# . - - .# - -# .# - .# -# - - . . - -# # . .# . - - - - .# - -# # . -# . - . .# . . .# - - -# # . - - .# . - . .# . -# - . - -# . .# - .# - - .# # . -# . - .# - - -# . . -# - .# - . .# # . - -# . .# -# . . . .# # . -# - .# # . - - - -# - - - . .# - - - - .# . . . . .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # # -# . . . .# .# # . - - - -# - - - . .# - - - - .# . . . . .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # . - .# .# - . - .# .# . .# . . . -# .# . - .# # . - . .# .# . . - .# -# # . - .# .# . -# . - .# # . -# # . . - .# . - . .# - - -# . - - .# . - - .# - . - -# # - . .# . .# . . .# - . -# # . - -# . .# -# . . . .# # - -# - . - -# # . - - .# .# . - .# . . .# - - -# - .# . -# . - . .# # - -# . -# . .# . - . .# # -# . . . .# .# # . -# - . - .# -# . . -# . -# . - . .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # - . - - .# . . .# .# - -# . -# - .# -# . .# - . - .# - . - - . -# # - . - .# - - -# - . .# .# # - - -# - .# # -# - - -# . - - .# # - - -# . . - .# # -# . . . .# .# # - -# - - -# . - .# . . .# .# # . - .# .# . . .# . . -# . - . .# -# . . .# # . .# - .# # # -# . . . .# .# # . - .# .# . - . .# . -# - . - -# - - . . - -# # - .# - - -# -# # . -# # . - .# .# . - . .# . -# - . - -# - - . . - -# # . .# . . .# # . -# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # . - .# .# - . - .# .# . .# . . . -# .# . - .# # -# . . . .# .# # . -# . . -# - . .# . .# - . . .# . - . .# .# # - . - .# . - . .# . .# - . - .# - . -# . . .# # . -# . - .# .# # -# . . . .# .# # . . .# -# . - .# . -# -# .# - - .# . .# .# . . .# - - . . - -# # . -# - .# - . .# .# . - . .# .# - . - .# -# . - .# . .# - . - .# # - -# .# - . .# . .# . -# # - . - - .# . - . .# - - -# . . -# - . .# . . .# . - - .# .# . -# - . -# .# . - .# - - . . - -# # -# .# . - . .# .# . - - .# . . . .# - - -# - .# .# - - . . - -# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# - . - - . -# - - . . - -# # -# . . . .# .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # - . . .# . - .# - - -# . . -# - - .# . . . .# -# # - .# .# . - -# . . .# # - - -# . . - .# # -# . . . .# .# # -# .# . - . .# .# . - - .# . . . .# - - -# - .# .# # . - -# . . . .# . .# - . - .# . . . .# # . . .# .# - .# -# # -# . . . .# .# # . - . . - .# . . .# -# . -# -# .# # . . - .# . - . .# - - -# . - -# .# . - .# . . .# # # -# . . . .# .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # - . - .# . - . .# . .# - . - .# - . -# . . .# # . . -# . . .# .# . - . .# .# . . .# . . .# . - . .# - . - -# . - . - . -# # -# . . . .# .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # - - -# . - - .# .# . - .# . -# -# - - -# . - .# # . -# . - . .# . . .# - - -# # . . . .# . -# - . .# # -# - - -# # . . -# - .# - . .# .# . - .# . . .# -# . -# - .# - . .# # . - .# . -# . .# . - . .# . - .# - - -# . -# - . .# # .# - .# - - .# . .# - .# .# # . . .# -# .# . -# - -# # # . -# - .# - . .# # . - .# .# . . . -# . .# . . .# .# - . .# # .# - . .# . .# -# . .# - - -# - .# - - . . - -# # . - - - -# - - - - .# - - - - -# - - - . .# - - . . - -# # - - .# . - . - . -# - -# . - . - . -# # - . .# - - -# - . .# - - .# .# # - - .# . .# . . . -# .# . . .# # . -# # . - . .# . .# . . .# -# # - - -# . . - .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # -# .# . - .# - -# . . .# . - . - . -# # . -# . - - .# . - - .# . - . .# . .# .# - . .# # -# - - -# # -# . . . .# .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # . .# . . .# # . . -# . . .# .# - . .# # .# - . . -# - . - .# . - . .# . . -# . . .# . .# . . . -# .# . - . .# - . - -# # . .# - .# # -# . . . .# .# # . . -# - .# . .# -# .# - . .# # . . .# -# . -# -# .# . . .# . - . - . -# . - . . - .# # -# . . . .# .# # # . -# . . .# # - - -# . - .# . .# - - .# . .# - .# . . .# # - - -# . - .# # -# . . . .# .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # . -# - .# - . .# # .# . -# . - .# . - . .# . .# .# . - .# - - . . - -# # -# . . . .# .# # . - - - -# - - - - .# - - . . .# - - - - -# . . .# - . . . . -# . - - - -# - - - - .# - - - . .# - - - - -# . . .# # . -# . . .# # -# . . . .# .# # - - -# . - .# . .# - - .# . .# - .# . -# . - . .# # - . . .# .# - - .# . .# - .# . . .# # . - -# . .# -# . . . .# # -# . . . .# .# # -# .# . - . .# .# - - .# . - .# . -# . - - .# . . . .# # . -# - .# - . .# # - -# - - -# . - .# . . .# .# # - . - .# - - -# - . .# .# . - . - . -# # . . . .# . .# . . .# -# - - -# . - .# - . - -# # - . .# . .# . . .# . . .# - - -# . - . .# . . . -# .# . . .# # . . - .# . - .# - - -# - -# # -# . . . .# . -# -# # # - . . .# - . - [...] PCMs Years ago I designed a PCM, this was around 1970 maybe. PCM stands for Parameter Control Module; the idea was to create a unit which could connect and control other similar units. PCMs were digital but they didn't need to be. There were any number of inputs and outputs. The idea was that anything could be connected to anything else. In other words, there were standardized simple protocols in terms of voltage and bandwidth; every- thing functioned like blood in the veins of some untoward ganglion. In order to enter the PCM array, translation was necessary from an outside world into the protocols; this was the job of an input interface which could be tailored for particular situations. The interface was divided into two sections: the outer section was tailored to the world, and the inner, to the emission of protocols. So the input interface was generous in its acceptance. At the other end of the array, there was a similar output interface, divided into two sections; the inner section was tailored to the protocols, sending the signal current to the outer section, which was tailored to the world, and generous. For example, an audio input interface might take microphone signals and standardize them, sending them to the array; an audio output interface might take the array protocols and send them simultaneously to audio amplifiers and a lighting board. What made the array of greater interest, of course, is that input and output signals could also be applied directly to any particular PCM, bypassing the standard interfaces. The array as a whole, as a ganglion, would be in effect a ganglion open to the world at any place or space, both for input and output. One might think of the PCMs as formal neurons. Internally, the components of the PCMs might be smoothly voltage-control- led, with the possibility of directly inputting different equations; one might begin with standard smooth trigonometric functions and replace them with discontinuities of all sorts, including chaotic behavior. I believe to this day that designing the PCMs would have been a relatively trivial matter. Although the project remained stillborn, the concept behind it remains of interest to me. I've begun to think of the arrays, inputs and outputs, as an affair in which anything might modify or influence any- thing, including, reflexively, itself. The arrays in fact might be virtual and one thinks only of empty, undefined, space or air, a distant model of the real and external world, where such things happen. Thus anything here and now has the potential for affecting anything else, and anything might seem to turn around and talk directly with you, listening, at the same time, to your innermost thoughts, whatever you choose to reveal: here are the input and output interfaces. What goes on in such virtual arrays is only the ideality of the world itself, the ability to take-for-granted that there are always relatively stable domains for communication or dwelling, for work or discourse, and so forth. Any dynamic action, any action which changes in time, might be considered to be modeled thus; any static action might be one which leaves the virtual array quiescent. The size and power of the virtual PCMs are also of interest; as they decrease, one might argue that the granularity of the world is increasingly differ- entiated, just as their increase transforms the granularity into rougher constructs handled by integration. In the middle lies everyday life, where processing of this sort is kept to a minimum. I can imagine in this fashion thinking of the world as a vast complex of fundamental operations on the ordering of everyday life, just as Aristotelian logic and its laws of distribution appear to deal well with the uncanny lack of transience of everyday objects. The edges of such modeling, however, are always limit- points which a different kind of roughness appears, for example quantum phenomena or color vision or even corrosion. To some extent, these rough processes, including unknown one, can be imagined within the virtual array which would have additional signals, alarm signals, that anomalies were working their way into or out of the array; there could be, in fact, virtual interfaces utterly open to the real, whose sole purpose would be the conversion of such anomalies. One process would be that of the name, beginning with the proper name, and working towards untoward generaliza- tions; another would be that of radical smoothing, and a third might be the cessation of array activity altogether. I think of this as burrowing or death, depending on the degree of destruction or rearrangement encountered. Likewise, there would be inverse processes, those of birth or emerging, in which partial identity transformations would remain and perhaps even be backwards-traceable, backwards-compatible in terms of the protocols. The whole, virtual and real, is a form of metaphor ready to be implemented. I can only conclude that the same is already in the world, and perhaps always already in the world, it is there and here, it is operational or quiescent as you like. And such would be the world and its dynamics; it is only a question of looking over your shoulder, back into the space you have just left behind, forward into the space your are about to enter. If you have the time, of course, without catastrophe or disruption.