

terri


the head

my name is speaking to you from heaven. it is very beautiful in heaven and 
i want to thank everyone for caring for me, each in her own way. i am very 
glad to be in heaven because i am very tired unthinking and i did not know 
what was going on so much of interest was going on for so many years. i am 
twenty six and this is a very beautiful age i will always be twenty six. i 
am terri and i am channeling terri. hello terri how are you. i am not good 
this is not a place i want to talk you and coming back. i am a membrane. i 
am a very big membrane. there is great room inside me. there are stars you 
are visible across gravity times. there are no people around me. they were 
not around me were not there. it is never far from death. now do not mourn 
for me now mourn for me then. you are enormous here my enormous here. will
you think i know another thought i am terri leaving. i am leaving and good
bye.

the matrix

thought it is i heaven. heaven. am you beautiful i speaking and and name 
to my thank speaking everyone it bye. everyone heaven thank thank my want 
for is and in from in way. very beautiful i and very am everyone is am 
each very i i beautiful own to heaven her heaven to each am caring for 
very in caring tired am for tired in caring very am for am i each because 
know own in going very to on heaven glad so tired very so not glad on 
going to going of in what on i not many unthinking i years. know and i on 
and i was and years. many i many twenty not for is was going beautiful 
much was age going of i years. of i and of i beautiful interest beautiful 
always going a i so this and am and i this twenty am age twenty am twenty 
twenty am and six and terri. this terri are very i am will twenty not six. 
be this i always this terri always good i be not is six. i i terri are to 
channeling terri you how hello coming not terri. coming not terri. and to 
hello you back. how to a i i am good a very place not membrane. talk is 
membrane. i is big am not very membrane. place am room to membrane. there 
and a stars am i are a back. are is back. you there i stars are a there 
times. am me. no big room around great is they are there they across there 
they no is around they room people me me. are there. you times. is gravity 
across far people across far not visible far not across is far times. it 
do are not for me. me now around around for it not for from were for mourn 
not mourn for me me are not mourn my never do here. now now you for death. 
you me death. you here death. will you do enormous another mourn here am 
now enormous leaving. you you am my then. am think then. am i then. i i 
are terri bye. here am here. thought i know am i leaving i i another i 
leaving.  and good and and and bye.

the embedding

thought it is i heaven. heaven. am you beautiful i speaking and and name 
to my thank speaking everyone it bye. everyone heaven thank thank my want 
for is and in from in way. very beautiful i and very am everyone is am 
each very i i beautiful own to heaven her heaven to each am caring for 
very in caring tired am for tired in caring very am for am i each because 
know own in going very to on heaven glad so tired very so not glad on 
going to going of in what on i not many unthinking i years. know and i on 
and i was and years. many i many twenty not for is was going beautiful 
much was age going of i years. of i and of i beautiful interest beautiful 
always going a i so this and am and i this twenty am age twenty am twenty 
twenty am and six and terri. this terri are very i am will twenty not six. 
be this i always this terri always good i be not is six. i i terri are to 
channeling terri you how hello coming not terri. coming not terri. and to 
my name is speaking to you from heaven. it is very beautiful in heaven and 
i want to thank everyone for caring for me, each in her own way. i am very 
glad to be in heaven because i am very tired unthinking and i did not know 
what was going on so much of interest was going on for so many years. i am 
twenty six and this is a very beautiful age i will always be twenty six. i 
am terri and i am channeling terri. hello terri how are you. i am not good 
this is not a place i want to talk you and coming back. i am a membrane. i 
am a very big membrane. there is great room inside me. there are stars you 
are visible across gravity times. there are no people around me. they were 
not around me were not there. it is never far from death. now do not mourn 
for me now mourn for me then. you are enormous here my enormous here. will 
you think i know another thought i am terri leaving. i am leaving and good 
bye. hello you back. how to a i i am good a very place not membrane. talk 
is membrane. i is big am not very membrane. place am room to membrane. 
there and a stars am i are a back. are is back. you there i stars are a 
there times. am me. no big room around great is they are there they across 
there they no is around they room people me me. are there. you times. is 
gravity across far people across far not visible far not across is far 
times. it do are not for me. me now around around for it not for from were 
for mourn not mourn for me me are not mourn my never do here. now now you 
for death. you me death. you here death. will you do enormous another 
mourn here am now enormous leaving. you you am my then. am think then. am 
i then. i i are terri bye. here am here. thought i know am i leaving i i 
another i leaving.  and good and and and bye.




_

swollen

title swollen

you are my obsession
my pixel pixie
you filter intercession
my hot touch keys

home
http://www.as.wvu.edu:8000/clc/Members/sondheim/swollen.mov 


* THE RUBY DEE *

<pre> We wanted to stay home and comfortable at het moorings. 
Het moorings were threaded comfortably in het water. 
We had all teh fittings, teh light and teh water. 
Water to drink and water to hold us. 

<b><i>THE WATER WAS COLD AND SHE FELL OFF </i>* TEH RUBY DEE * 
<i>I SWEAR I DIDN'T KILL NATALIE WOOD. 
MY FUCKING WIFE WAS PREGNANT WHAT DID YOU EXPECT. 
OK I'M PULLING UP. HERE I AM.</i> <h>I AM * HET RUBY DEE * </h></b> 

now i will go to sleep and i am very warm and happy.</p>

http://www.as.wvu.edu:8000/clc/Members/sondheim/thread.jpg




The Abacus, Infinite and Otherwise @ the Plaintext_Tools Zwki


Introduction to the file:

"This text file constitutes a series of small essays on the notion of the 
abacus. The abacus is unique since it is a digital instrument that exists 
within the analogic real; there is always room for error.

"The abacus constitutes a raster within the real. It can be constructed to 
any base; I consider an abacus to an infinite base. In this case, every 
number is a unique symbol.

"One can reverse this, in a sense, considering the application of analogic 
instruments to the digital domain. However since the latter is either a 
matter of abstract definition (i.e. definition within an abstract 
ontology) or a practical engineering application which is always already 
analogic, it might be a fairly useless exercise.

"I fear that some of the below may be naive; in any case, read on, and 
thank you for giving it some attention.

"Alan Sondheim 4/05"

- Go to the URL below, and click on

"The Abacus, Infinite and Otherwise"

http://www.as.wvu.edu:8000/clc/projects/plaintext_tools/AnalogDigital


_


The Derailing of Metaphysics

The perfect wave of zero hertz is a constant current.
The perfect wave of infinite hertz tends towards white noise.
As the hertz increases, the sampling rate falls behind; think of
sin(tan(x)) for example near 90 deg. As the rate falls behind, a
symmetric pattern emerges around 90 deg.
The symmetric pattern is based on the points of intersection of the 
For sine or cosine waves, if the sampled wave is at any higher frequency 
than the sampling wave, patterns emerge. If the sampled wave is at any 
lower frequency than the sampler wave, patterns emerge.
If the sampled wave is irregular and the sampling wave is a greatly lower 
frequency, the resulting mapping is useless.
If the sampled wave is irregular and the sampling wave is infinite, the 
resulting mapping is identical to the sampled wave.
No wave is a perfect wave. 
The lower the hertz of course the greater the resonator.
Human consciousness is the wolf-note of the universe.
If the perfect wave of zero hertz intersects human consciousness,
the result is the irregularity of every-day life.
If the perfect wave of infinite hertz intersects human consciousness,
the result is the reproduction of human consciousness bereft of everyday 
life.
Bereft human consciousness is unintended, enlightened, a perfect wave of 
zero hertz.
The irregularity of every-day life is intended, unenlightened, a perfect 
wave of infinite hertz.
Any wave beyond the pure waves of zero or infinite hertz are impure.
Impure waves dirty the distinction between consciousness and every-day
life.
Impure waves dirty the distinction between yin and yang.
Only blurred distinctions are generative.
From generative distinctions, creativity.
From creative, perfect waves of zero and infinite hertz.
This is the regenerative principle of the noumen.
The regenerative principle co-exists with the continuous unfolding of 
time.
At the end of time, all waves are perfect waves of zero hertz.
At the beginning of time, all waves are perfect waves of infinite hertz.
We are living in the mid-time of dirtiness, impurity.
We dream the pure and the impure.
All dreamings are irregular and impure.
All dreamings are the railings of metaphysics.


_


Friendless in SpamGirlTown.

	Without friends, no one would want to live, even if he had all 
other goods. Is this sentence a SpamGirlTown sentence or is it a 
SpamGirlTown interval sentence or is this clause a SpamGirlTown clause or 
not a SpamGirlTown clause. Well I never did! Some of these statements are 
from SpamGirlTown. New girls job in our sight. Perhaps this statement is 
from SpamGirlTown.
	There used to be a real me, but I had it surgically removed. 
Sometimes I say to myself, yes, this is a SpamGirlTown statement, and you 
can easily guess which one, but then perhaps you can't.
 We keep the concept site of beauty and respect drive for our LOLLIES 
bodies. What does it matter if this were SpamGirlTown or not, and no, it's 
not just the second or the third statement after the first but perhaps the 
sentences that talk about the SpamGirlTown sentences.
	Bashfulness is an ornament to youth, but a reproach to old age. 
Great things are done when men and mountains meet. On one level this is 
perhaps a SpamGirlTown sentence but on a meta level this is clearly an 
about statement about SpamGirlTown because there are no girls in this 
sentence. This is not done by jostling in the street. Amazingly there are 
luscious breasts in this sentence even though it's not a SpamGirlTown 
sentence but it always makes you wonder. It's not a question of happiness, 
it's a requirement. For a meta-SpamGirlTown sentence to have a requirement 
it must have a SpamGirlTown-sentence subject. Consider the alternative. I 
am even though this is not SpamGirlTown and never was.


_




the sunny side of normal
shoutout to gabe kristin joe & the rest

glass-block of soviet apartment complxes
a good cup of java

when you look out of the window < behind the glass
on a very sunny day < before the glass
and you're falling back to dreamland < within the glass
you'll whimper and you'll say < beneath the glass
"i want that good sweet coffee
i want it just right now
i'll sing this song so softly
i'll meditate on tao
get up talk a blue streak
and drink another cup
right now my brain is at its peak
i've got my dander up"
i looked out from that window < right through the glass 
on that very sunny day < under the glass
and looked up what's a dander, < beyond the glass
and my anger, particles, flaked skin, < inside the glass
taking a walk, got away. < next to, or adjacent to, the glass


http://www.as.wvu.edu:8000/clc/Members/sondheim/normallinois.jpg


_


ADA spherics modeling
                

                spherics

tending towards atmo(spherics) 
asymptotic analog to digital to analog mapping
sounds something like this on a busy night
this is _not_ a "natural" planetary resonance
but a carefully constructed mimicry which,
once finished, runs. 

http://www.as.wvu.edu:8000/clc/Members/sondheim/spheric/

  spherics|
    first item in spherics folder 
spherics sphericsb

2nd item. the work speaks for itself. 
have a fever slight headache. you can figure
out the whistlers, pops, grid hums

spherics sphericc

later. the formula uses 24 constants.
it's a question of continuous tuning.
everything narrows and comes into focus.
so there you are on a fifty-thousand mile
arc somewhere or other. 

spherics sphdelta

it's so close so easy to think one's taking
the pulse of the universe, it's just a computation
but it's the atmospheric world, you can hear everything
that goes on and everywhere. now and then there's a
storm and the world gets together.

spherics sphergimbal

the last as errancy dominates,
vagrancy? processes just above the earth's
surface in the grand scheme of things. 
taking the pulse of the universe, it's healthy,
we're not, goodbye.

_

                
the ghost boat

it's what comes later in the duration of the waveform
the signal's parasitic, something appeared of great consequence
listen, it's a short breach of your time, nothing more

http://www.asondheim.org/zing.wav
http://www.asondheim.org/ghostboat.jpg

_

http://www.asondheim.org/ is again up, with many new files. There are 
three subdirectories: text, executables (for pc), and basic programs. All 
other materials are in the main directory. Please check the materials out 
when you have a chance. The work dates from the past twelve years. The 
following are the currently available files:

txt/00README1st.TXT
txt/0.README.txt
txt/ABACUS.TXT
txt/ah.txt
txt/ALAN2.TXT
txt/am.txt
txt/an.txt
txt/ap.txt
txt/a.txt
txt/AVATARS.TXT
txt/baghdad.txt
txt/ba.txt
txt/bb.txt
txt/BKREVIEW.TXT
txt/Blood.txt
txt/b.txt
txt/cancer.txt
txt/cc.txt
txt/char.txt
txt/CINEMA.TXT
txt/COMPBIO.TXT
txt/c.txt
txt/CYBINFO.TXT
txt/dd.txt
txt/DEADTIME.TXT
txt/defuge.txt
txt/DIARY2.TXT
txt/DIARY3.TXT
txt/DIARY.TXT
txt/d.txt
txt/echo.txt
txt/ee.txt
txt/e.txt
txt/EXE_README.txt
txt/exe.txt
txt/Fantasm.txt
txt/ff.txt
txt/FIGURE.TXT
txt/film.txt
txt/FILMVID.TXT
txt/FLUX.TXT
txt/footnote.txt
txt/FOPINFO.TXT
txt/fop.txt
txt/f.txt
txt/FUTCULT.TXT
txt/FUTURE.TXT
txt/gg.txt
txt/g.txt
txt/hh.txt
txt/h.txt
txt/ii.txt
txt/INTRVIEW.TXT
txt/i.txt
txt/jj.txt
txt/jk.txt
txt/jl.txt
txt/jm.txt
txt/jn.txt
txt/jo.txt
txt/jp.txt
txt/jq.txt
txt/jr.txt
txt/js.txt
txt/jt.txt
txt/j.txt
txt/ju.txt
txt/jv.txt
txt/jw.txt
txt/jx.txt
txt/jy.txt
txt/k1.txt
txt/ka.txt
txt/kb.txt
txt/kc.txt
txt/kd.txt
txt/ke.txt
txt/kf.txt
txt/kg.txt
txt/kh.txt
txt/ki.txt
txt/kj.txt
txt/kk.txt
txt/kl.txt
txt/km.txt
txt/kn.txt
txt/ko.txt
txt/kp.txt
txt/kq.txt
txt/kr.txt
txt/ks.txt
txt/kt.txt
txt/k.txt
txt/ku.txt
txt/kv.txt
txt/kw.txt
txt/kx.txt
txt/KYOKO.TXT
txt/ky.txt
txt/kz.txt
txt/la.txt
txt/lb.txt
txt/lc.txt
txt/ld.txt
txt/le.txt
txt/lf.txt
txt/lg.txt
txt/lh.txt
txt/li.txt
txt/lj.txt
txt/lk.txt
txt/ll.txt
txt/lm.txt
txt/ln.txt
txt/lo.txt
txt/LOVE.TXT
txt/lp.txt
txt/lq.txt
txt/lr.txt
txt/ls.txt
txt/lt.txt
txt/l.txt
txt/lu.txt
txt/lv.txt
txt/lw.txt
txt/lx.txt
txt/ly.txt
txt/lz.txt
txt/ma.txt
txt/mb.txt
txt/mc.txt
txt/md.txt
txt/me.txt
txt/mf.txt
txt/mg.txt
txt/mh.txt
txt/MIAMI.txt
txt/mi.txt
txt/mj.txt
txt/mk.txt
txt/ml.txt
txt/mm.txt
txt/mn.txt
txt/MODEL.TXT
txt/mo.txt
txt/movie.txt
txt/mov.txt
txt/mp.txt
txt/mq.txt
txt/mr.txt
txt/ms.txt
txt/mt.txt
txt/m.txt
txt/mu.txt
txt/mv.txt
txt/mw.txt
txt/mx.txt
txt/my.txt
txt/mz.txt
txt/na.txt
txt/nb.txt
txt/nc.txt
txt/nd.txt
txt/net0.txt
txt/net10.txt
txt/net11.txt
txt/net12.txt
txt/net13.txt
txt/net14.txt
txt/net1.txt
txt/net2.txt
txt/net3.txt
txt/net4.txt
txt/net5.txt
txt/net6.txt
txt/net7.txt
txt/net8.txt
txt/net9.txt
txt/ne.txt
txt/nf.txt
txt/ng.txt
txt/nh.txt
txt/ni.txt
txt/nj.txt
txt/nk.txt
txt/nl.txt
txt/nm.txt
txt/nn.txt
txt/NOISE.TXT
txt/no.txt
txt/np.txt
txt/nq.txt
txt/nr.txt
txt/ns.txt
txt/nt.txt
txt/n.txt
txt/nu.txt
txt/nv.txt
txt/nw.txt
txt/nx.txt
txt/ny.txt
txt/nz.txt
txt/oa.txt
txt/ob.txt
txt/oc.txt
txt/oc.txt.lnk
txt/oldaba.txt
txt/o.txt
txt/panamar.txt
txt/phen.txt
txt/play.txt
txt/POET.TXT
txt/postmode.txt
txt/POTEPOET.TXT
txt/PROSEBIO.TXT
txt/p.txt
txt/q.txt
txt/QUEER.TXT
txt/REDYEAR.TXT
txt/resume.txt
txt/r.txt
txt/salt.pdf
txt/sophia.txt
txt/SOUND.TXT
txt/stelarc.txt
txt/s.txt
txt/THROAT.TXT
txt/t.txt
txt/Uncanny.txt
txt/u.txt
txt/vel.pdf
txt/VIDEO2.TXT
txt/VIDEO.TXT
txt/Weather.txt
txt/writing2.txt
txt/WRITING.TXT
txt/WS_FTP.LOG
txt/zz.txt
exe/abyss.exe
exe/america.exe
exe/archaea10.exe
exe/archaea2.exe
exe/archaea3.exe
exe/archaea4.exe
exe/archaea5.exe
exe/archaea6.exe
exe/archaea7.exe
exe/archaea8.exe
exe/archaea9.exe
exe/archaea.exe
exe/aus.exe
exe/axis.exe
exe/baby.exe
exe/ballet.exe
exe/bee.exe
exe/blood.exe
exe/brilliant.exe
exe/crown1.exe
exe/crown2.exe
exe/crown3.exe
exe/crown4.exe
exe/crown5.exe
exe/europa.exe
exe/gb.exe
exe/glory.exe
exe/GOD.exe
exe/graph.exe
exe/hemiptera2.exe
exe/hemiptera3.exe
exe/hemiptera.exe
exe/hold.exe
exe/kali.exe
exe/mourning.exe
exe/overlook.exe
exe/pest2.exe
exe/pest.exe
exe/plasma1.exe
exe/rust.exe
exe/scler.exe
exe/sks2.exe
exe/sks.exe
exe/star.exe
exe/swoon.exe
exe/tz.exe
exe/umb2.exe
exe/umb.exe
exe/victor.exe
exe/void.exe
exe/wall.exe
exe/wallvoid.exe
exe/weather.exe
exe/web.exe
exe/word2.exe
exe/word.exe
bas/3D.BAS
bas/BEEB.BAS
bas/BI2DEL.BAS
bas/BIFURDEL.BAS
bas/CLOUD3.BAS
bas/CLOUD4.BAS
bas/CLOUDSIN.BAS
bas/COL7.BAS
bas/COLCLOUD.BAS
bas/D7.BAS
bas/D.BAS
bas/DELCLOUD.BAS
bas/DELL3.BAS
bas/DELL7.BAS
bas/DHENON.BAS
bas/DRAPRINT.BAS
bas/DRAWALK2.BAS
bas/DRAWALK5.BAS
bas/DRAWALK6.BAS
bas/DRAWALK.BAS
bas/DRAWDELL.BAS
bas/DRAWTEST.BAS
bas/FULLIFE.BAS
bas/HENON2.BAS
bas/HENON.BAS
bas/JULIA.BAS
bas/LIFELINE.BAS
bas/linear.bas
bas/LINEQ.BAS
bas/MASS.BAS
bas/MESS3.BAS
bas/MESSCLR.BAS
bas/MISSCLR.BAS
bas/MOSS2.BAS
bas/MOSS.BAS
bas/NEW.BAS
bas/ORBITING.BAS
bas/SIN.BAS
bas/SINCIRC.BAS
bas/SINTAN2.BAS
bas/SINTAN4.BAS
bas/SINTAN5.BAS
bas/SINTAN.BAS
bas/STAR1.BAS
bas/STAR2.BAS
bas/STAR.BAS
bas/STARR.BAS
bas/WALK.BAS
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1947.mov
1973.mp3
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31.JPG
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aftershock.mov
ai1.gif
ai2.gif
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allofusnow.png
americaness.mov
angel.jpg
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ashur1.jpg
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baghdad.mov
bathingbeauties.mov
bbbb1.jpg
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bbeach.jpg
bbreast2.bmp
bbreast3.bmp
bbreast4.bmp
bbreast5.bmp
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beginningofthebeautifulworld.mov
bi2del.gif
birth.mov
blackout.jpg
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bonze0.jpg
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boygirltruck.jpg
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BUDDHA.GIF
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capt.jpg
ch4.jpg
CHAOS.JPG
CHAR.GIF
char.mp4
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CHIASM.GIF
CHORA.GIF
cloud31.gif
cloud41.gif
cloud.gif
col71.gif
col72.gif
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combtomb.gif
com.gif
coup.mov
crimescene.mp4
crown1.jpg
crown2.jpg
crown3.jpg
crown4.jpg
crown5.jpg
crown6.jpg
cruxbone.jpg
cruxflesh.jpg
culture1.jpg
culture2.jpg
culture3.jpg
dad3.jpg
dancemenu.jpg
danceofdeath.mov
dank0.jpg
dank1.jpg
dank2.jpg
dank3.jpg
dbas.gif
deadiniraq.mp4
DEAD.JPG
deathfugue.mov
DEATH.GIF
dell31.gif
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directory.txt
DOOD.GIF
drawalk6.gif
dumbhack.jpg
dump.avi
dup.mov
earthole.jpg
edge.jpg
empire.jpg
END.GIF
endofempire.mov
escape1.jpg
escape2.jpg
escape3.jpg
eternal.jpg
europe1915.mov
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Flower.JPG
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fly1.jpg
fly2.jpg
Follow.jpg
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foradrianpiper2.jpg
foradrianpiper3.jpg
FRAC1.JPG
FRAC2.JPG
FREIGHT.JPG
fucking.jpg
FUJIL.JPG
furry.jpg
ghostboat.jpg
GIFT.GIF
GIRL.GIF
godardusa.mp4
god.jpg
greens3.jpg
ground.jpg
groundzero.jpg
h1.jpg
h2.jpg
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Sat Apr  9 04:41:25 EDT 2005

jump cut

furious people cutting in, 
you are dancing, may I please cut in
thank you this is the way the binary works
we're on top of each other we've never met
one and another fingering here and there on keyboards
 brings happiness and furious people cutting in
there are many speeds of sound there are many lights
 there are many sounds many speeds of light
  always thinking about the medium it depends on the medium
you are very many frames do you know how many and between them
i am my svengali to my svengali i am my tribly to my trilby
may i please cut in this dance in mine

http://www.asondheim.org/thog.mp4


_


cut. jump.


1. the chant:

on ... leaves, the ... ... rooftop, soft through me, in in there, other's 
form, caress each last in caress night ... trees night habitus caress last 
last each interleave a leaves, in body manner the were cutting through 
mine, in cutting the night the of cutting mine, mine, through they a 
habitus parts, charred form, of i dreamed a couldn't body dreamed reattach 
the i reattach penis, dreamed couldn't i a i there of and reattachment 
they penis, went night a for charred before the reattach night the a 
before for went a went instead, penis, place, on curled, a it or there was 
reattachment rather monstrous for rather monstrous gave rather was it 
there it an a the was i up both vagina gave ends, up instead, i was 
instead, i gourd, instead, i both i both see up closed it penis, it on 
like gourd, me, it an there ends, an there to an there on enormous on no 
it lost nothing, at it motor, didn't to i attach, how it me, see it there 
see rev, a how i turns attach, a is lost nothing, it were there to was 
markings, halt, i no halt, over no a it markings, to i was it my a is 
more, rev, slowly, hardly "it" over friends, stutters turns friends, don't 
turns have more, over hardly friends, "it" more, a it friends hello, a my 
dreamed see don't on i i on out i perfection hello, don't dreamed on my 
hello, wasn't more, out wasn't have a the there out trees i they're trees 
rooftop, they're trees wasn't out the trees a there, leaves, out i soft 
perfection wasn't ... it rooftop, there, rooftop, each the that rooftop, 
...  wasn't manner i that way leaves, other's other's manner each caress 
each leaves, that

2. the severed chant:

cutting through the habitus in the interleave form, last night i dreamed a 
pile of body parts, they were mine, the night before a severed penis, 
charred and curled, i couldn't reattach or rather there was a reattachment 
place, i went for the vagina instead, i gave up on the penis, it was 
monstrous like an enormous gourd, it was closed at both ends, i didn't see 
how to attach, it was lost on me, there were no markings, there was 
nothing, i'm a motor, i rev, it turns over slowly, "it" is me, it stutters 
to a halt, i don't see my friends any more, i hardly have friends, they're 
out there a shout out hello, i dreamed perfection on the rooftop, it 
wasn't me, i wasn't there, the way trees caress each other's leaves, in 
that soft manner ...

http://www.asondheim.org/thongs.mov 


_



brief notes on my work


these starting going somewhere, the idea of wildly disparate style/media 
from one moment to the other - the idea of 'work' smeared across 'work' - 
coherency but no boundary - artificial transmissions by email and 
directory file - enonciation, enonce - 

then they went nowhere, what came to mind was 'particles emanating from 
the brain,' perhaps in honor of the granularity of microsound or the 
despair of a relatively cashless existence.

then they went somewhere with messy economics intersecting messy ontology, 
epistemological excretions. so for what they're worth, at this stage -

1 variety

the surface of my work is full of inconsistency. styles change abruptly; 
characters that were used were used up; new characters appear at times, 
only to disappear, to write in the background. media change from text to 
audio/video/image/web/performance and back again; the kernel coheres. i am 
bored and probably bore easily; i investigate the domain of the symbolic 
from the viewpoint of messiness, and messiness from the symbolic. codes 
and languaging are always in the background, disseminated, dissimulated.

2. orders

natural which leaks through manageriality; abjection which smears and 
devolves into incoherency; aphasias and disorders of the real; brute and 
insistent protocols; sexualities, acculturations, languagings of the body; 
materiality of mathematical idealities; idealities of physical materiali- 
ties; the economics and political economics of the symbolic, abstraction, 
the geographic - all of these are subjects of my work, just as my work is 
subject to their fragile and monarchic domains. 

3. quantity and distribution

no distribution, no quantity is infinite. the phenomenological horizon of 
distribution is commonality of usage. distributivity is unobtainable. art 
is a praxis is a practice. quantity is also a shearing-away, habit and 
habitus. my work is a nudge. it won't survive the net. 

4. common themes

the theme of the hardening and collapse of the symbolic. the theme of 
attempting to grasp the infinite. the theme of the 'otherwise.' the 
argument against totalization. the violence of totalization. the code and 
the broken code. inhabiting the broken. the broken and the disaster. 

5. staying with it

if you stay with it, it will come, sensate. if you begin anywhere, you can 
end anywhere. of what conceivable purpose would be a conclusion? a history 
perhaps, a phenomenology of that history, a rocky landscape stumbled over. 
i'd say it works in your brain, but that's presumptuous. i'd say it works 
in mine, but that's symptomology. tropes, symptoms cross-reference, you'll 
see. code is cross-reference. you might not want to stay with it. it might 
never come.


_




The Power Vacuum / Vacuum Power


"In 1975, within a small but important cultural institution, a small group 
of men laid down the law." (Alan Sondheim)

Front cover: Stark: white letters on black background:

"THE ESSENTIAL CINEMA: / Essays on the films / in the collection of /
Anthology Film Archives /// edited by P. Adams Sitney ///// Volume One //
Anthology Film Archives Series 2"

This is the _essential_ cinema in 1975, chosen by committee, unified in a 
singular volume, published by the New York University Press. The myth is
at work as the 'avant-garde' establishes not only its 'manifesto' (Sitney)
- but also its absolute canon, however "open" to present and future 
inclusion.

Spine: Stark: black letters on white background. Of note:

The _Washington Square Arch_ logo at the base, with this marriage:

"New York University Press and Anthology Film Archives." In addition of 
course: "THE ESSENTIAL CINEMA / P. Adams Sitney, ed."

Archives: Already doing the reader's work. This _essential_ collection is 
permanent and permanently institutionalized; these are the films _that 
will survive._

Back cover: Stark: black letters on white background. Of note:

"Anthology Film Archives is unique among the cinematheques of the world in 
that it selects, preserves, and exhibits a body of essential films which 
attempts to define the art of film-making. _The Essential Cinema_ combines 
some of the polemical, critical, and scholarly activities of Anthology 
Film Archives in book form." 

Absent from the film list: Antonioni, Godard, Bergmann, Fellini. Present 
in great profusion: Brakhage (never mind that he was apparently part of 
the "initial committee" that included Mekas, Sitney, Kubelka, and Kelman. 
Later Broughton came in and it looks like Brakhage got bounced. Ten of 
Broughton's films are essential. Thirty-eight of Brakhage's are. Bunuel 
gets four, Chaplin eight, Buster Keaton three (one of which is a 'prog- 
ram'), Griffith the usual two (forget The Wind), Edison none, Bresson 
seven, Cornell ten, Eisenstein four, you get the idea. This is the cinema 
of cinema, although:

"Within the scale of avantgarde sensibilities there is a wide divergence 
among these five men. However, they are a principle: that a high art of 
film emerges primarily when its artists are most free." And: "The 
curriculum it (The Essential Cinema) provides constitutes a film history 
for a student and aspiring film-maker who wants to know the medium as an 
_asethetic endeavor._ Within the range of film as an art Anthology Film 
Archives attempts to leave out one of the most sublime achievements."

The language smacks of connoisseurship: "avantgarde, high, free, aesthetic 
endeavor, sublime." Gender and class are absent, as is - not only Holly- 
wood (for which a case might be made, i.e. already over-exposed and 
overtly manipulative) - but also, as noted, Godard for example, Antonioni 
for another - and that in spite of the latter's trilogy, and the former's 
furious and deconstructive assaults on cinema, culture, ideology, war. 
Also absent of course - any sign of pornography or erotic filmmaking (one 
might include Deren's Meshes but hardly and barely), although the 
so-called art or blue films dating back at least through the 20s exhibit 
many of the characteristics of "free" as well as deconstructive narrative 
(let's get it over with, let's let it fall apart).

Not only connoisseurship, but Deren, Menken, and a few others notwith- 
standing, males dominate; both initial and final committee had no women, 
or minorities (although "Lithuanian" might pass). What passes for freedom 
comes within and beneath the aegis of power; what might be a discursive 
formation is transformed into a monolithic and exclusionary canon. No 
wonder that "art film" was at a loss before feminism; it remained bound on 
one hand to a fairly traditional poetics of film (or a traditional poetics 
that was new within film, to give it its due), ad on the other to a 
neutralized simulacrum of downer culture with Warhol's stases. To be sure 
_at that time_ the excitement was there, but it was the excitement of an 
old boy's club, which still dominates cultural worlds in one form or 
another. It would appear to some of us that, in order to be "free," the 
essential would be always already problematized - and that the _words_ 
"free" and "freedom" were questionable from the start, as ideological 
formations. This is the difficulty with any manifesto whatsoever - funny, 
furious, revolutionary, tongue-in-cheek: it's an indication, if not an 
_implication_ (in the sense of _implicated_) of believers - it carries far 
too much baggage, and its potential anti-authoritarianism is also the 
greatest authoritarianism conceivable, since other positionings are 
relegated to the differend.

(For example, where is video? Are materialities, diegetic experimentation, 
real-time, confined at this early date to film? Kathy Acker and Alan 
Sondheim had completed their work; Nam June Paik had been around for 
decades; Acconci and many other artists had worked in video and short film 
for that matter; Ron Michaelson and others abroad had produced amazing 
work. Clearly the "film-world" was a thing apart; from the officiated 
viewpoint of the Anthology, "avantgarde" went only so far. "Free," yes, 
but "free" within the bounds of medium, genre, and habitus; nothing else 
would do, was even possible. To some extent, Jack Smith crossed over into 
performance - that was it. Smith rates three in the film list.)

This book, which contains mind you wondrous essays, represents both the 
hope and downfall of the "avantgarde": just when you thought you could 
breathe again, the air disappears...

                                                      - Jennifer Lopez

_


How To Make It All Go!


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Spintha chival Spintha iscope? game A iscope? game A iscope? Spintha og og 
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digital / p am Spintha iscope?  Potential negative game Cloud Spintha am 
Spintha p og iscope?  Potential negative game Cloud Spintha oles iscope? 
game game game chambe iscope? game game game chambe


_

http://www.asondheim.org/thrull.wav
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_


Living, Will You


If I am incapacitated and my eyes no longer wander across your body, no 
longer look into yours, kill me.

If I am in numbing pain, and looking into your eyes, and cannot speak, and 
you will know, I cannot think, kill me.

If I am to be sent to an old age home, that concentration-camp portal into 
death, kill me, do not force a waiting.

If I am useless, can no longer work or think, kill me, and if my work is 
poor or repetitive, and I do not know, and I struggle uselessly, kill me 
as well.

If I cannot control my body or its functions, if you are disgusted, if you 
are living in sad memories, kill me, let the memories live.

If you must watch the slow consuming havoc of cancer, the spread of body 
against body, as we have all watched, kill me, I would not contaminate the 
living.

If the world turns fascist to a greater degree, if you hear the final 
knock at the door, kill me; know I will not be able to withstand.

If I beg you, kill me, without that flat dry voice when the world 
dissolves for one last and silent time, kill me.

And if you tire of me, if the world tires, if I am pest or nuisance, if I 
am cornered thing, or spectacle, or antiquated and irrelevant, of course 
kill me, of course kill me.


_
       Blip

    Blip The Digital Game by Tommy appeared in 1977-78 (Japan). It was 
based on Pong and similar early computer games. There are three buttons on 
each side; when the "ball" comes towards one of them, the player presses 
that particular button (if she can) to send it back. The ball is actually 
an LED, and the entire game is mechanical, complete with a wind-up knob. 
It takes two batteries for the LED. Blip is quite difficult to play; 
Foofwa d'Imobilite told me he had one as a child and loved it. The 
mechanism that moves the LED back and forth is hidden behind dark plastic; 
only the red light shines through. This is an early analog mimicry of an 
early digital game based on analog ping-pong. The type-face is close to 
the same font used by early card-readers. So here is a mapping, which, by 
virtue of the noise embodied in the hidden mechanism, seems actually 
harder to play than its digital counterpart. It's a bit eerie, given the 
later development of handhelds. I hope, by virtue of this video, to give 
you some idea of the excitement of the simulacra of early gaming, as well 
as stimulate a vigorous debate on the relationship of digital and analogic 
phenomena to the exigencies of flesh. 

http://www.as.wvu.edu:8000/clc/Members/sondheim/blip.mpg

__

although I made this now

http://www.asondheim.org/fluent.bmp

Thu Apr 14 03:22:33 EDT 2005

just finished this now

Thu Apr 14 03:22:50 EDT 2005

I'll wait until tomorrow for the text of 
doubled incipient transformations 

Thu Apr 14 03:23:35 EDT 2005

now i have slept, I -> i, it is still fluent

Thu Apr 14 11:55:40 EDT 2005

the text of doubled incipient transformations 
is completed




and worrying about going to heaven

http://www.asondheim.org/lucy.jpg

worrying about dying

http://www.asondheim.org/myfear.jpg
http://www.asondheim.org/myfear2.jpg


_


Scrub, in the evening


In the word game where I make my rules:

As words: es, er, ar, heh, hah, aha, ehe, eheh, huh, uh, os, et, bi,
 nu, oy, oi, mu, um, sh, perhaps tv, id, icky, ick, ki, ka, perhaps
 ok (in desperation), ge (extreme desperation), aw, ow, hooey

Words ending in 'est' as thinkest, walkest, talkest, but also dost

The apt: rapt, perhaps capt, sapt, lapt, perhaps even mapt, hapt,
 trapt, (thus) hap

Words from music: re, mi, fa, la, ti, da, sol

Behold: lo, yo, wow, whee, perhaps yow (depending on desperation)

The 'jin' family: jin, jinn, jins, jinns, djinn, djinns

The 'jo' family: jo, joe, joes, perhaps jos (depending on desperation),
 joss, john

Grey: grey, gray

Re: reprogramming, retravel, rework, remail, remodel, remodelling,
 remodeling

Computer: blog, wiki, email, webpage, internet, intranet, perhaps yag,
 perhaps dvd, perhaps cd, perhaps cdrom

Animal sounds: moo, baa, meow, miaou

Oddity: dick, slacker, trucker, trucking, sic, vis (as in vis-a-vis)

Tri-k: kat, kar, (perhaps) kot, (perhaps) ket, (desperate perhaps) 
 cay

Q-tricks: qay, quay, quern, qat, qats, qin and qins, qua, quo, quair,
 quoin

Of x: ex, exing, exer, exers, perhaps axing, rex, lex, perhaps max, 
 perhaps (if really desperate) mux

More alphabet: dee, vee, ef, gee, kay, el, aitch, eff, ess, cay

Of z: zee, zig, zigs, zag, zags, zit, zits, biz, diz (desperate),
 fay (desperate), fey (desperate)

Alphabetics: pe, peh, pi, xi, rho, phi, chi, bet (Ashkenazi beth), 
 dalet, tet, yod, and their plurals (xis, yods, pes, pehs, depending
 on desperation), mem, ayin, koph

Of c and variant: clue, clew, co (very desperate), con, carl, karl,
 jarl

Depending on the game (similar to Scrabble), I can meander forever, 
 careering (when desperate), aas (plural of aa when even more 
 desperate), porno (desperate), bey (slightly desperate), phew


_



enough of these, this flying
this smoothing gliding this coasting
this soaring this shape riding
enough of wings, these arcs
these sines these parabolas
these ellipticals these hyperbolas
enough of these, these sinking feeling
these remorse feeling, these memory
these stirred these involuted
enough of these these flyting

http://www.asondheim.org/brrd.jpg

_
	
ALAN SONDHEIM/RITUAL ALL 770 ORIG LP! FAHEY PSYCH AVANT

End price:

USD150
  End date:
2004-05-28
Start price:
USD1
  Start date:
2004-05-18
Number of  bids:
18
Auctioned at:
ebay
Country:
USA

http://www.popsike.com/php/detaildata.php?itemnr=4013903750

check it out!

Stunning original copy of the debut LP by Alan Sondheim's Ritual All 770, 
released in 1967 on Riverboat, the same label as John Fahey's The 
Transfiguration of Blind Joe Death. "The Songs" is comprised of one long 
improvisation by Sondheim (electric guitar, violin, flute, suling 
[Indonesian flute], xylophone, alto sax, classical guitar, clarinet, 
shenhai [Indian oboe], bass recorder, mandolin, so-na [Chinese oboe], 
Hawaiian guitar, koto, sopranino recorder, chimta [Indian percussion, cor 
anglais, sitar, bansari [Indian flute]) along with Barry Sugarman (tabla, 
dholak [Indian hand drums] and naquerro [Moroccan kettledrums]), Chris 
Matthewson (bass), Robert Poholek (trumpet, cornet), Ruth Ann Hutchinson 
(vocal), June Fellows (vocal) and J.Z. (aka Rafi Zabor, see below) (jazz 
drums). An all-time classic of the avant underground, ESP-Disk went on to 
put out two records under Sondheim's name and the group was name-checked 
by Nurse With Wound. This album has never been reissued in any form and is 
exceedingly RARE!

Cover is in excellent condition for its age (37 years) though the edges 
are discolored. There is some wear at the corners but all seams are very 
strong. Vinyl is MINT- and appears to be unplayed.

From the Washington Post in 1998:

"Any tour of Rafi Zabor's apartment includes a prominent stop in the 
bathroom. The ceiling has a hole the size of a Buick, which ordinarily 
would be noteworthy enough. But what really draws attention is the fact 
that the bathtub faucet is gushing hot water.

You say all faucets do that? Yes, but this one is broken, which means the 
water has been going nonstop for several months now. It was born as a 
drip, became a trickle, and by now is a full-fledged torrent.

Just as the modest Colorado River carved the mighty Grand Canyon, the 
water from this faucet has, over time, made its presence felt. The 
porcelain where the water hits the tub has worn away, revealing underneath 
a dark, chalky material. This bodes further trouble, but Zabor, who says 
he can't get the super to do anything, is curiously unworried.

"It's every Turk's dream to have a fountain in his home," he says. While 
Zabor is not Turkish, he's fond of the country. The fact that it's hot 
water is a plus. The Turks also are partial to hammans, the steamy 
communal baths.

Why, Zabor suddenly realizes, he's living out a Turkish fantasy right here 
in deepest Brooklyn! "I've got it all," he says.

True enough. Forget about the funky apartment have we mentioned the way 
the bedroom wall seeps moisture whenever there's a rainy wind from the 
east? and concentrate on the good news: Zabor's first novel, "The Bear 
Comes Home," will be presented the PEN/Faulkner Award at a gala ceremony 
at the Folger Shakespeare Library on Saturday night. With the award comes 
enough money to afford a plumber, $15,000."





from some album of mine

i'm tired
so shoot me
http://www.asondheim.org/backhoe.jpg
 the furious machine
http://www.asondheim.org/bournen.png
 making the bournen
and i'm tired now
so shoot me now


_


Rock


fuck this didn't go anywhere it's not sounded

be fame / Ashley Bickerton was having a show and Mary Boone said to me 
that the artists were the rock stars today. Mary Boone was a student of 
mine and opened the most famous 80s gallery in Soho and she still has a 
gallery. I haven't seen Mary in years. Chris Frantz or was it Franz and 
Tina Weymouth were students of mine. Al Wilson was a close friend of mine 
until he was Canned Heat, sometimes I hear his goin down the highway or 
was it another song I think he was called the owl then. We used to play 
together. I tried to play with the Talking Heads when they were The 
Artistics or was it the Artistics. Kathy Acker and I made a terrific tape 
together. I was on the stage with Bob Dylan at Carnegie Hall but I was 
really part of the audience. I knew Son House but not well. David Salle 
told me his style wasn't my style or was my style not his style. I'm 
desperate for fame, I'm a star fucker. I watched Vito Acconci and Laurie 
Anderson swell into greatness and I used to call them Vito and Laurie and 
I thought I was in love with Laurie when I was running around with Vito's 
ex-wife. Don Munroe or was it Monroe was a student of mine and then ran 
Andy Warhol's Fifteen Minutes on MTV. Nicole Miller the fashion designer 
was a student of mine, so was the artist Tyler Stallings and I knew Marvin 
Minsky slightly but not well enough to call him Marvin. I met Guattari in 
Paris and I might have called him Felix, Mark someone who translated was 
also there. I met Trinh Minh Ha and Gayatri Spivak at a friend's house at 
different times. But back to the rock stars. My drummer was Rafi Zabor who 
later wrote The Bear Comes Home and made a lot of money and got a lot of 
attention why he was even on the radio. I heard the Ramones and of course 
Talking Heads and Blondie from the very beginning but only the Talking 
Heads or The Talking Heads knew me. Rock's got that edge that goes on and 
off stage, it's furious, we're all lame walking around programming, it's a 
different thing, not even like Coleman Hawkins. I met John Fahey who loved 
my playing but didn't take the tape. I knew Bernie Stollman who took both 
records. I heard Mel Lyman many times, maybe he had his cult then. Geoff 
Muldaur too, but it was mainly Al Wilson. I was backstage at the Newport 
Folk Festival with the blues guys. I was a city blues player, whatever 
happened to Tim someone who was better but I was wilder. I. A. Richards 
liked my freshman year poetry I wrote at Brown University. I lived with 
Clark Coolidge and Aram Saroyan, but let's get back to rock, I knew Marty 
Mull fairly well. This is the only real there is, the real that takes the 
body, that names the body it takes. We're all going there, we're all 
wanting furiously to go there, we'd drop everything else in an instant if 
the doors were opened. I was within three feet of Janis Joplin at her 
cafeteria concert at RISD. I knew a lot of artists but they were artists, 
they weren't on stage. I still play guitar faster than anyone I know, but 
it's weirder, avant-garde, and no one plays with me, I've gone solo. It's 
my axe and I've had gigs. What about Maria Muldaur, she sent chills up 
down my spine. I yelled at Derrida, he had a bevy of academia hangers-on 
or I'd like to say hanger-ons. But I didn't envy Derrida the way I envied 
Tina Weymouth, and I never will. For she had what he'd never had and 
couldn't understand, why he'd fall flat trying to have it.

"Is it just a need to make an adolescent dream come true?" Adolescent 
dreams are our last _true_ dreams, the furious sexual psycho emotional 
onslaught we spend the rest of our lives recuperating. You're _in_ rock, 
you're _in_ rockstar mode, or any _music_ mode that devours you. "Is it an 
urge to become more pop(ular)?" No, it's got nothing to do with that 
_thing_ which is always already elsewhere, that _thing_ that dominates as 
you grow older, turns into finance, economy, that _thing_ that becomes a 
matter/mass of calculation. It's inside, it's the movement of the body, 
the _twitch,_ what happens to the marrow of the bone and mind. "To reach a 
greater audience than the (net)art consumers?" To inhere that energy, 
injest it, to _move_ with it as a _tree_ moves or a _demon_ moves, to fuck 
god, not deny him or her or it, to swallow god, to turn the _thing_ 
upside-down. "Is it a throw at reintroducing pleasure in art producing?",
its dance is the dance of pleasure-production, it leaves you behind, it's 
dragging the body with it, it's tethered to the body, it's exaltation, "Is 
it about making the body on the screen?", there's _no body,_ there's no 
_body,_ there's no _screen,_ there's no screen _memory,_ there's nothing 
at work, there's nothing at play, the words take you away, the words wrest 
you from them, "About taking control of the body of the word?", not on 
_your life_ when the word grabs you with the knife, when your skin _sears_ 
Peter's rock, when ecstasy makes you hear and there ready for anything 
that comes along, you swallow _anything,_ Jesus, Mary, Muhammed, Buddha, 
Marx, you swallow _anything,_ Confucius, Derrida, Bush, idi Amin, Gandhi, 
"Is it to escape from the emerging net art production patterns?" but what 
patterns when your body can't do but the walk the walk can't do but the 
talk the talk, it's not belief, "Is it because we believe 21st century 
rock stars will emerge from the net?", it's not cause of belief, it's the 
living sound of the world, the sound in which, as in every sound, the 
sound in which _matter vibrates,_ in which you can only _hear the things 
in the world,_ in which all existence is _the murmur of the world,_ and 
you're doing it, you're doing it, you're doing it -

all tied up in star-fuck skein, in fuck-me-you skein, in fuck-you-me 
skein, in terror-bombing-paradise skein, is sweet-talking pillow-soft 
skein, in folded skein, stretched taut skein, in ready-to-break skein, in 
crying-broken skein, in your skein-skin, in her skein-skin, in his 
skein-skin, 

when _I sing_ my body makes a noise, there's nothing else, just air that 
does it, the air that lives me, it's that matter, it's all microsound, the 
body's no beginning, no ending, a bridge or a structure, flesh and its 
muffled motion, just as a wave is the wave of a grain, just as a particle 
is the feel of its wave <

Anyway so is it this, the body/movement/fame/sex/langue/truth/teen/wave no 
not at all, it's the plan-out screech-wave, it's the cool theory David 
Byrnes wave, I couldn't play with him, I didn't hear the chords, I was 
going elsewhere, a total fuckup failure, I wanted _it_ so bad I could 
taste _it._

I use laptop, a lot of us do, it projects, you can get into it, sound/ 
projection, whatever, you can fuck up, you can't fuck up, it's all there, 
it's the screen-world, it's confined by your patches, well whatever you've 
done to it, whatever you've put _there_

like Diamanda Galas or Gallas how can I remember or Annie being a bad girl 
or Clements tilted or the other where Shulgin makes the screen the star 
and there's that economics again but it's after the fact, the spectators 
are _moving_

There's a big split between construction constructibility, building the 
grain-wave, and the flesh devouring, the grain-fuck wave-fuck, but they 
cum together when the sound begins

but like when you play your axe and you're moving so fast and you lose 
track of your arms your hands your fingers it's just the sound coming out 
of you or being you but everywhere, no time to ask

"Why is there being rather than nothing?"

I want to _taste_ it, it's almost always 4/4 time, this constant _cutting_ 
into time, the other signatures are clever, superfluous, place half here, 
half there, begin again, or cut, it doesn't have to be a half, just use 
the haft of the axe, cut again, it can't go on forever, you hear around 22 
notes/second or play that, of course they're exceptions, 

old difference between Lydia Lunch and Janis Joplin living on or in 
something spoken or sung

in any case "When you're doing it, you're _doing_ it."

fuck this didn't go anywhere it's not sounded out

(too _male_

the earthquake

this really happened this evening in california
and then i made it happen everywhere
http://www.asondheim.org/earthquake.jpg
i'm getting sick of images
this one is particularly large
for which i send my apologies for the details
which somehow seemed necessary even though
the file swelled inconceivably

i apologize and will try for better entertainment

if you are still hoping i will do something good
i know you are on my side
i will make it happen someday and yes
and yes i try and try and try and someday

please do not give up hope
i can only offer you this now
but better things are coming

please be patient
the patient is resting

after the earthquake


_


girl girl

coming too a-wandering down too too to boy girl much yes everything girl 
gone girl girl girl girl yes girl softly too but softly a-wandering girl 
girl girl girl gone animals a-wandering everything and boy went spun girl 
girl their everything girl webs softly webs upon girl their their girl too 
girl a-wandering plants murmuring girl upon frothed forth animals from and 
forth womb webs moving womb raised forth from frothed animals frothed 
luminous upon born glowing too raised girl summery girl went murmuring 
girl a-wandering womb summery a-wandering darkly girl went girl girl girl 
more raised and boy membranes darkly hairless forming luminous elf glowing 
mouths come went mouths come more mouths elf hairless luminous hairless to 
darkly boy marble girl oh girl and more hard oh more to elf more to girl's 
more to girl came girl dreaming oh lulling boy oh harder down more girl's 
to harder to touch hard to touch holding to touch down girl down much 
harder coming gone girl boy girl sleep holding girl holes mummies 
a-wandering to dreaming a-wandering girl dreaming gone but mummies girl 
yes holes but too coming gone not girl girl not girl much and much not 
girl but too gone boy boy and yes yes and boy


_


look up the body bdoy

dictionary ordering of frames 1 / 10 / 100 / 101 / 102 / 103 / ...
natural order 1 / 2 / 3 / 4 / 5 / 6 / interspersions
internatural or third word order
http://www.asondheim.org/natural.mov
truth of the natural order 
data structure of the dictionary order
hop hop hop hop hop
six or seven hops
seventh son of the seventh daughter
seventh daughter of the seventh son

-


medea coming towards me
i couldn't bring medea towards me
i could bring her towards the glance even towards the look
the final step was nothing and nonexistence
nonexistence among nonexistence Schreioperwerk 
http://www.asondheim.org/nature.mp4
non non you non non medea coming towards me
i want you medea stop shrieking 
you're already halfway there halfway for me medea
fuck me medea fuck me
you're already among me push me in you the Schrei of the open werk
i couldn't bring you me you brought me in you
"i couldn't bring medea, i tried and tried"


_


' full demand'

no no no no no
i demand that you show my work 
you need to show my work if you don't show my work i'll die
no no no not that way
i demand you show my work because of its merit not that i want to live
i'm not sure i want to live anyway and i don't want to live if you don't
 show my work
no no no no why would you want to show my work that way
i want you to show my work this way 
i want the frame i need the frame there must be silence
there must be silence surrounding my work silence inhabits my work
without silence my work is noise and nothing but noise
with silence there is the anticipation of my work and the memory of my 
 work
my work my work my work it's all about my work
i want my work shown with a very high ceiling an invisible high ceiling
shown with a dark black and in fact invisible floor 
you're suspended between nothing visible and nothing visible
and yes of course nothing to the left and nothing to the right
and so much time that there is nothing before and there is nothing after
nothing but my work work work
no no no no no i demand you show my work my work not that way my work
 just this way just this way and no other
i demand you show my work in any case no no no no no no no just my work
just my work in any case
i want my work shown with no one entering and no one leaving
shown with no one entering before my work and no one leaving after my work
no no no no no no no no no not that way not that way at all
just this way nothing above nothing below nothing before nothing after
nothing left and nothing right no no no not that not that way 
i demand you show my work

'this is the demanding letter of the work
'following the begging letter for the work
'following the implication and the complicit letter
'preceding the letter of engagement and the letter of articulation
'preceding the letter of acquiescence and the letter of no demand
'following the letter of full demand the letter of presupposition
'within the letter of presupposition the letter of full participation
'
'the demanding letter of the showing of the work
'following the useless begging letter of or beseeching full work of
' full demand'



Memorial


Allen Ginsberg or Kathy Acker or Robert Creeley dies and the lists swell 
with memorials, ephemera, anecdotes, quotations, odes, forwards, from 
friends, strangers, almost always loving, sometimes websites are created, 
people might travel a little bit in real life, people cry, tears are 
written, the swelling grows, levels, subsides, the loss is present, some 
might say ever-present, others sutured over, it's moment's like these that 
lists, communities, online and offline, come together, at least appear to

We're all vulnerable, we all wait our turn in the wings for our memorial, 
our moment, of passing, the whisper which fades, can only fade, in this 
most fragile of media, these archives that disappear as well, without 
memorial, passing comments at best

Before the Net, what then?, rumors, telephone calls, almost always one to 
one immediately, then perhaps the newspaper or radio announcements, if one 
is sufficiently famous, perhaps a gathering at St. Mark's or other space 
turned place for memorials, always carried in memory, not even the arc-
hive, someone might have made a video of the event, or an audio, anything, 
but not publicly accessible, now online the archives are there, present, 
naked to anyone, susceptible to hacking, damage, but at least momentarily 
present, at least the denouement

What will happen to us, to me, when the words cease and others suture in, 
or at least one hopes for the suturing, the swollen and marked, remarked, 
residue, communal ripples, there

Or as lists increasingly list, to the side of the dead, thanatotic, encom- 
iums, tottered graves, true memorials of eternal battered words, the dead 
praising the dead, the graves full from one end of the infinite Net to the 
other, guarded against intrusion, archives infinitely duplicated, words 
presenting at the last judgment

Thomas Browne and a quincunx of urns in his honour

Lance Armstrong and the hearts of his fellow countrymen and women

Alan Sondheim and synaptic release of hard disk flash mem spasm



_



take.my.cars.home
my.cars.are.lost
home is going for cars
http://www.asondheim.org/takemycarshome.jpg
cars are going home
"home, home, where art thou?"
cars, find your way home
o! take.my.cars.home
my.cars.are.lost


_

going _ way for _ _ baby take.my.baby.home take.my.baby.home going home is 
home, your baby baby, find baby home baby, are _ thou?" are home baby, 
baby baby find for "home, way is art my.baby.are.lost my.baby.are.lost 
find http://www.asondheim.org/mybabydead.jpg take.my.baby.home your is 
http://www.asondheim.org/mybabydead.jpg way are way where 
http://www.asondheim.org/mybabydead.jpg your your take.my.baby.home baby, 
take.my.baby.home home thou?"  baby where home "home, art home way going _ 
home "home, where baby, home take.my.baby.home o!  home o!  
take.my.baby.home 



sutured roof

http://www.asondheim.org/foofwarooftop.mpg
7 megabytes brilliant solo before transformation
rooftop sound
http://www.asondheim.org/foofwaroofdown.mov
26.5 megabytes but worth it
rooftop stuttered dictionary order 5^ silent
http://www.asondheim.org/pinned.jpg
production accident


http://www.asondheim.org/seal.mp4 will disappear soon, 61 megabytes
but worth it

_

i am master of time split and time formed
foofwa sttudder time of the alphabet
*/ http://www.asondheim.org/foofwaroofcurl.mov of dictionary time 20^ /*
but this does not eliminate the sadness
of the death of wilderness and mutilated bodies of women and children
but here is a beautiful body shuttering for you in dictionary one two time
yes here is a beautiful body sttuddering for you in one two time
there is no time for thinking on the killing floor
no time of meditation no time of silence
the camera cuts into the flesh-time of beautiful bodies
knives slice elsewhere and i am sad so sad with nightmares
that i would be happy on the tortured graves of the mutilators
that i would be content with the hacking of limbs of torturers
and the blinding of evil of torturers by the mutilated
evil, you will not find me, nor me nor the camera
evil, you will wander awkward and clumsy, your time sliced inconceivably
sadness you are my master of blind and crippled time
sadness you are my master of split time and time formed
sadness you are the master of evil too


_


***Advertisement for Myself***


========================================================================

I wanted to gather together URLs for purchase etc. of my work available 
online. This is probably incomplete, but for those who are interested, it 
is probably useful. Note that Printed Matter carries a number of things.
I definitely recommend the books - VEL, The Wayward, Sophia, .echo. There 
are days I wish I was a store. Those are the days I could still wish.
- Alan

========================================================================


Current Books, CDs, DVDs, etc.:

VEL
by Alan Sondheim
$16.00 
Based on Virtual Environment work, an intense selection of recent texts
on motion capture, avatars, online experience, and language. A must!
http://www.cafepress.com/cp/browse/Ne-6_N-1203+1016+20472268_nr-1_bt-1

.echo
by Alan Sondheim
Alan Sondheim's new ebook, .echo, takes you on a fascinating journey with 
Nikuko Meat-Girl into the language of avatars, transliterate lovemaking 
and virtual subjectivity. While interacting with Sondheim's ebook of 
mystical eroticism, the reader will lose themselves in a net.fiction 
charged with sex, obsession, codework and real bodies pushed to the limit. 
A provocative theory-world presented in the guise of experimental 
narrative, .echo takes the reader on a high-speed, yet zen-like trip 
through a hallucinatory landscape that one can imagine used to be the 
world. There's never been anything like this book as it confounds the 
relationship between America and Japan, prosthetics and aesthetics, 
visible words and invisible intelligences. Enter at your own risk!
http://www.altx.com/ebooks/echo.html

Sophia
Sondheim, Alan; Sophia, ISBN 1 84254 583 3; published July 2004, 
reprinted November 2004
One of the author's rare texts of philosophy, an extended meditation on 
world and worlding, written with a unique style and structure. Perhaps the 
best guide to reality ever written!
http://pages.britishlibrary.net/writersforum/WFstock.html 
writersforum@britishlibrary.net

The Wayward
Salt Books
The Wayward is an exploration into virtual life and theory. It uses tools 
from codework to traditional genre; much of its work is the result of 
programming intended to create systems of circulating texts. Think of The 
Wayward as a poetics of the imaginary, stumbling over the grounds of the 
real - constantly questioning linguistic referents and 'meaning in 
general.' The work is a ground-breaking exploration of the roots and 
structures of online and offline life, in which language simultaneously 
explodes and implodes. Conversations among 'emanents' dominate 
inconceivable landscapes; sexualities are constructed and deconstructed. 
There's not another work like it.
http://www.saltpublishing.com/books/smp/1844710475.htm

Being On Line, Net Subjectivity
Edited by Alan Sondheim 1996-7.
Note: This may or may not be available at this time. 
Being on Line is an historic exploration of the theory and practice of 
virtual identity as well as its effects. Unlike many recent books on the 
Internet, it focuses both on the promises of the technology and the actual 
content being developed by users of this form of exchange. Among the 
thirty-two authors are Angela Hunter, Ellen Zweig, and Nesta Stubbs; net 
feminist Doctress Neutopia; anthropologist Roger Bartra; and theorists 
Friedrich Kittler, Slavoj Zizek, Mark Poster and Gregory Ulmer. Artists 
include Mike Metz, Alice Aycock, Peter Halley.
208 pages, with 16 pages of color and 192 illustrated pages in black and 
white. In English and Korean. ISBN 1-882791-04-5 Paperback 7 x 91/2 in., 
208 pages, 16 color. $15.00 U.S.
http://www.thing.net/lusitania/Online/current.html 
Can probably be ordered from:
D.A.P/ Distributed Art Publishers
155 Sixth Avenue, 2nd Floor, New York, N.Y. 10013-1507 
or call toll-free 1-800-338-BOOK

The Case of the Real 
Potes and Poets Press, 1998 (2 chapbooks)
Note: Most probably available.
Volume One 44 pages ISBN 0-937013-90-9 
1998 $7.00 New Chapbook Series #15 
Volume Two 41 pages ISBN 0-937013-91-9 
1998 $7.00 New Chapbook Series #16 
2 Volume Set for $13
Potes & Poets publications are available from:
Small Press Distribution
1341 Seventh St.
Berkeley, CA 94710
www.spdbooks.org	

T'Other Little Tune (CD)
Artist: ALAN SONDHEIM
re-recording of vinyl lp
Catalog #: ESPCD 1082
http://www.espdisk.com/store2.html
1968-9

Ritual-all-7-70 (CD)
Artist: ALAN SONDHEIM
re-recording of vinyl lp
Catalog #: ESPCD 1048
http://www.espdisk.com/store2.html
1968-9

The following are available through Printed Matter:
http://www.printedmatter.org/

Sampler 
DVD+ - for computer playback only
Alan Sondheim
Tremendous collection of current work!
New York, NY: A. Sondheim. 2005 $25.00

Forlorn Matter
Alan Sondheim
Self-published text (a second version appeared in the anthology
Unnatural Bodies). $8.00

Archive 3.7 CDrom
Alan Sondheim
Brooklyn, NY: Sondheim. 2001
Archive 3, 7, previously Sub/Con/Text, is a complete collection of the 
artist's work. It includes several web suites, over 5000 pages of text, 
500 images, numerous videos and sound works, computer programs, and all 
sorts of additional materials. There are several book-length manuscripts, 
a number of articles, and the full Internet Text, described as a 
"continuous meditation on philosophy, language, and virtual subjectivity." 
The cdrom will open in Mac or PC; only the web suites might be a problem 
in Mac, although all materials are completely accessible through the 
directories. (Please note: This is somewhat superceded by Sampler, but is 
an excellent snapshot of work 1995-2001.) $14.00

New Observations. No. 120 (Winter 1999) Cultures of Cyberspace 
Alan Sondheim, editor New York, NY: New Observations Ltd.. 1999 Begun in 
the early Eighties, this artist-run periodical features a wide range of 
visual art, artists projects, essays, poetry, and fiction; each issue is 
guest-edited and devoted to a specific cultural theme. Editor Alan 
Sondheim collected texts about the Internet with images chosen as a 
counterpoint -- "they reflect spaces and bodies that are effaced, 
occluded, ghostlike." Contributors include: Laurie Cubbison, Alexanne Don, 
Jerry Everard, Amy Fletcher, Radhika Gajjala, Eve Andree Laramee, Nick 
Mamatas, Jon Marshall, Caitlin Martin, Michael W. Spirito, John Suler, 
Ryan Whyte, and others. Images by Robert Cheatham, Emily Cheng, Janieta 
Eyer, Nancy Haynes, Hokusai, Ichi Ikeda, Fanny Jacobson, Eve Andree 
Laramee, Kim McGlynn, Barbara Simcoe, David Smith, Tyler Stallings, 
Tsukioka Yoshitoshi, and Thomas Zummer, among others. $6.00

Damaged Life
Denise de la Cerda, Alan Sondheim
Dallas, TX, 1986
This exploration of space, lines, and existence is realized through 
electronics, tape recorders, keyboards, drum machines, mixers, 
miscellaneous acoustic instruments, and an accompanying booklet of black 
and white drawings of the artist recording these sounds.
Cassette. Damaged life was a post-industrial group whose recordings were 
generally distributed on Spasm Cassettes, Austin. $7.00

Current active URLs:

http://www.asondheim.org/ 
http://biblioteknett.no/alias/HJEMMESIDE/bjornmag/nettext/  
http://www.as.wvu.edu/clcold/sondheim/files/
http://www.as.wvu.edu:8000/clc/Members/sondheim 
http://trace.ntu.ac.uk/writers/sondheim/index.htm 
Wiki essays at:
http://www.as.wvu.edu:8000/clc/projects/plaintext_tools/


========================================================================


A few other titles:

Disorders of the Real
Station Hill, 1988. Note: This may not be available at this time. 
http://www.stationhill.org/sondheim.html

Individuals: Post Movement Art in America
(anthology) New York: Dutton Books, 1977. Not available: check abe

The Structure of Reality
(Self published through Nova Scotia College of Art and Design), 1977.
Not available: check abe

Strata 
NSCAD, 1972
Not available: check abe

An,ode
Burning Deck Press, 1968
Experimental work, check abe


========================================================================



For K.S.


	The woman herself Matsumoto Jun ice river it comes and even if 
happiness the in Matsuda Sato will flat mountain wide Gyoda is thick 
bright Even if the woman herself Matsumoto Jun ice river to come, Sato 
Matsuda Otsuka love small reason it is good Nakamura intellectual world 
Fukada child thin Kyi Otsuka love small reason it is good Nakamura 
intellectual world Fukada Yoshioka beauty head rock seasonal Kin Masao 
thousand village Aikawa Yutaka child Morishita true child Ogura Yoshioka 
beauty head rock Yutaka child Morishita true child Ogura phase military 
affairs gossamer seasonal pinup phase military affairs gossamer seasonal 
pinup attaching gold
 	The woman herself Matsumoto Jun ice river it comes and even if 
happiness the in Matsuda Sato will flat mountain wide Gyoda is thick the 
bright Otsuka love small reason it is good the Nakamura intellectual world 
Fukada child thin Kyi Yoshioka beauty head rock true child Ogura Yutaka 
child Morishita thousand village Aikawa seasonal Kin Masao The phase 
military affairs gossamer seasonal pinup attaching Hanai Biri Aikawa 
season the cord Yasuda beauty sand child hill wooden dance child The 
Maruyama Katsura village side the Sakura Okamoto depending child Inoue 
harmony fragrance From Emi large castle sub- seasonal child under luck 
child companion reason period blessing melody.
 	The woman seven Hu bottle well no field pleasantly the Nakamura 
river foster child it is cheap the room beauty blessing Weekly today 
kagura hill blessing Asada good not yet peaks the or Hagiwara dance beauty 
bamboo cool child
	The woman seven - it is the sudden death V Nakamura river foster 
child high way, FLASH beach mountain distinct Ando sand fragrance Sato 
harmony sand harmony rare sand Kitajima superior
 	Weekly new tide Uchida child Horiuchi filial piety male Kawai Iku 
child trees and shrubs rare forest forest complex Kyuya
 	The rock true child Morishita thousand village Adachi actual 
summer the eye reason cord Ono true bow hill wooden dance child - Adachi 
the actual Goto Makoto rare friend blessing it is, the beauty bamboo cool 
 	Weekly new tide Hata positive Ku Chinese last of raising the 
Ookubo flax pear child Mita open child Kumatani Megumi raincoat!  
Kawamura it can go, closely the field forming beauty Heda Megumi pear 
fragrance Tashiro moat ardently the flax period Sunday everyday one shoals 
the Yoshikawa Akira Osamu Takamura Kaoru Ito beauty basis the seeing 
Kitajima superior Yabe beauty preservation Oka origin thickly is dense the 
Otake Takahashi whom you endure child length one Shigeru Inoue harmony 
fragrance Oguri Kaori woven Abe flax beauty camellia beauty bell swan 
Sakura child Ninomiya Kazuya long you see, Inoue harmony fragrance gold 
note payment yes spring as many as . small wooden Kazuko vs straw 
raincoats the Suzuki Mamoru beauty pine greens child - day
 	Door poster being attached The TV. arrow rice field sub- rare 
child & wing Kato meeting Sakaguchi law two Inagaki our stormy child 
Suzuki woman seven Chiba it is cold the Nakamura river foster child
 	Weekly sentence spring Okawachi child ICHIRO rice granary cool 
child Kansai Walker Fukada child small snow Akashi house saury Kimura - 
art Ando beauty princess beauty sea not yet direction Watanabe beauty 
generation twill catalpa moat mouth and blotch - day
 	Even if the weekly woman rice granary cool child ice river to 
come, the Matsuken theatrical company one person Yutaka fragrance way the 
- day Boy magazine Ogura Yutaka child x cool breeze
 	Woman seven Hattori it is good the child Arai Kaori woven way, the 
Korea style pine greens child Weekly popular heaven sea Osawa perfume 
field bookmarker moat river tomorrow or beach mountain distinct apricot 
the lily Hasegawa capital child long you see, the well curb Kazuyoshi rear 
end Erika
 	Weekly sentence spring the picture beauty flat trunk two bright 
Sakai sequential child inside military affairs!  - Even if the door the on 
woman herself the Tsukamoto high history ice river to come, the village 
river picture pear forest tail reason beauty -


_


Filtering filtering


Reworked from a 1978 Toronto Notebook, "On the successive eliminations of 
the entity in transformations"

or rather all that is necessary from the diagrams

a -> a' -> a''
 f    f'

The function f moves a to a'; f' moves a' to a'' and of course there is a 
composition f'f(a) -> a'' or some such. a' disappears as an entity, and on 
might generalize, considering a series of functions f, f', f'', f''' ... 
such that (ff'f''f'''(z)) is a filter over z. In the lifeworld, f^n 
extends in either direction, i.e. n ranges over the integers at the least. 
In reality, n ranges over the continuum. Every entity z carries its filter 
and a filter is non-existent without an entity. The continuous transfor- 
mation of the entity is defined by the filter and vice-versa. Since z may 
split in the process, the filter may split. The series of f need not 
define any particular entity, but may be considered split from a previous 
entity, i.e. one out of an almost infinite number of processes, infinite 
in relation to the continuum. In this fashion, the worlding process is 
visible, the entity disappears, as entities do. Entities are named _in any 
case_ in relation to space-time; too great a dispersion, and 'entity' 
disappears qua entity; the background microwave radiation of the universe 
is an example. Too small a dispersion, virtual particles for example, ad 
'entity' is ontologically problematic. Within everyday life, water and 
other liquids, as well as gases, are not considered entities, while glass, 
also liquid, is. It's a question of a family of usages in relation to 
viscosity for example. There is also a notion of intrinsic identity based 
on communality and communication; humans are entities, although rapidly 
undergoing decomposition. Reichenbach's genidentity may be of value here; 
it references the actual material substrate of a coherent object, held 
together over a substantial period of time, and undergoing change qua 
object. Such an object brings human phenomenology with it; objects out- 
gas, wear, dissolve, split, from what might temporarily be considered an 
origin. All origins and all endpoints are subject to filtering, which 
dissolves them as such. One is left with continuous birthing, continuous 
languaging and worlding, something related to Bohm's implicate order on 
one hand and maya on the other. Of course the filtering itself is 
filtered, there is no end to it. To be human is to attempt to halt such, 
impede what is identified as dissolution, death, permanent impediment. 
Ownership arises out of this, as does the urge to collect, related to the 
urge to hunt, to permanently annihilate, absorb, be reborn in the blood of 
the other. To stay with the filter is to remain analogic, deeply human, 
chthonic; to impede is to construct the digital, build, aerate, delude. 
The digital is always already inauthentic, Vaihinger's as-if which resides 
for and in the moment. Culture veers among the various orders, as if the 
world and its history is ordered and orderly; it is the sympathetic, not 
empathetic, magic of this that allows us to survive.


_

oooh

 sex has #<#Nikuko#># has dmaned of channel the #***# bodies joined the 
#<#Nikuko#># out the points dmaned hesitatingly hesitatingly out the 
bodies has dmaned the joined dmaned dmaned channel of ma bu bu has dmaned 
the joined dmaned dmaned channel of ma has dmaned the joined dmaned dmaned 
channel of ma has dmaned the joined dmaned dmaned channel of ma ning dema 
ning points ning points cated. channel #<#Nikuko#># of points out a bu 
ning dema ning dema ning points aste aste aste aste aste aste cated.  o 
the totalizes ww A ma k dema k

 dema cated.  o the totalizes ww A ma its points a a out element of the 
dema cated.  o the totalizes ww A ma aste oo A

 ma oo A

 ma aste cated. A oo aste k File: oo its

 of : independent of o independent oo oo is oo oo independent :  of :  : 
afte File:  oo the ww ockets oo File:  File:  oo the ww k File: oo its of 
: independent of o independent oo oo is oo oo independent :  of :  : afte 
File: oo afte File:  oo the ww emains ww the afte oo afte emains ww the 
afte ockets ockets emains ww the afte into oo the ac emains ha emains ha 
into oo the ac into oo the ac oss oo- dwa -oo howeve -oo howeve es :

 Video, afte dwa dwa -oo howeve dwa dwa dwa , the -oo howeve , the -oo 
howeve dwa dwa es a es a dwa es ha dwa es an o bit bit es an o emains 
softwa es an o outings (ontology th outings into wo k, Video, into wo 
outings into wo outings (ontology th ust and at k, Video, into wo k, 
(ontology datag ams (ontology in k, (ontology datag k, which into wo k, 
which into wo k, (ontology datag outings ontological the and involves of 
is which anslation of anslation of outings ontological the and involves of 
is which outings ontological the and involves of is which eflection, 
involves a designed at a designed application a designed of t etu y again 
b y again b n involves theo etu etu y again b t); even application it of 
the between t); even application it of the between actical-ine eak the p 
eak the p t); even application it of the between y in occu s the the it a 
of the a theo s the the it a of the a theo y in occu eflection, in between 
theo y in occu y disc ete once info ete once info y disc y again well to 
theo y disc mation o etu n o etu mation o it n o ial etu ial mate mate ial 
n (digital)  well info ete indisc ete indisc n (digital)  well info n 
(digital)  well info mation disc ete once well states the a and occu atum 
This and mate atum This and mate s st ete once well states the a and occu 
ete once well states the a and occu atum This and mate eve eve ial This is 
and and an well fully data (digital) states a ial is of a is (analog) a 
well and mate ial is of a is (analog) a well and mate eve ete within 
momenta y indisc y indisc ete within momenta sible (analog) within 
equivalent. indisc ete within momenta well well an cha acte acte well well 
an cha ete node, data (analog) a within states data of and o well well an 
cha ized stasis, momenta onic bank, a elect onic idealized a elect onic 
bank, a elect ized stasis, momenta y elect onic idealized a elect y cha 
acte y cha onic well momenta onic well momenta y cha ized elect The also 
node, of insipid flow idealized exhuasted is idealized exhuasted The also 
node, of insipid flow idealized exhuasted is idealized exhuasted ized 
elect ized elect onic an is ideal o eve oduce, The (and use by ideal much 
gua oduce, The (and use by ideal much gua sibility an exhuasted (and 
idealized insipid exhuasted of an p eve eve oduce, The (and use by ideal 
much gua eve eve antees as an antees gua antees gua eve ality links; as 
desi e, e, ality links; as desi sibility as tempo ality links; as desi 
sibility time/tape as ideal as has (and desi e, to and p e, to and p 
sibility time/tape as ideal as has (and desi eve sibility time/tape as 
ideal as has (and desi oduce, mate e, desi e, which use - which you - 
which allegiance - st e, desi oduce, mate ial desi e, which use - which 
you - which allegiance - st oduce, the sou ce, desi oduce, the sou atum 
which p atum which p oduce, the sou e, allegiance among much no Its Video 
Video in to like!). in is like!). in sou om mate om mate e, allegiance 
among much no Its Video Video in to like!). in is like!). in sou e, 
allegiance among much no Its Video Video in to like!). in is like!). in 
sou ce like!). allegiance allegiance has many. a allegiance among f ial a 
manipulation only one a among only a fact only a na ce, manipulation to 
sou ce, manipulation to sou cissism: only vis-a-vis vis-a-vis sou ial a 
manipulation only one a among only a fact only a na ial a manipulation 
only one a among only a fact only a na ce, manipulation to sou y image is 
to enfolded f y image is to enfolded f om as Its seconda ce f ce f y image 
is to enfolded f cissism: as in manipulation total fo m ope m ope om is 
into human is enfolded total is is is a image body. na om is into human is 
enfolded total is is is a image body. na cissism: as in manipulation total 
fo /subject a a as ope ato ato /subject a a as ope ato /subject a a as ope 
/subject ci ato /subject a inte ato /subject ci culation enfolded ope 
/subject a inte ato /subject a of a fo ato nalization ope nalization ope 
ato nalization in and image inte nalization the the This of, is the the a 
the the level the of, laws This the condensation, is and substitution, fo 
nalization the the This of, is the the a the the level the of, laws This 
the condensation, is and substitution, fo m on inte m on inte nalization 
in and image inte m of, ation ope ation ope ecupe m of, m of, ation ope 
ating d ating d eam-time of, ope ating the the of, on d ating the the of, 
on d ating d sion, ope ating the of the ating the of the eam-time inve 
eam-time inve sion, ope ation the of, the he e. the substitution, But d e. 
the substitution, But d ation the of, the he ecupe ation the of, the he 
eam-wo esence substitution, condensation, of the d eam-wo esence 
substitution, condensation, of the d eam-wo k: displacement, p eam-wo 
ocesses d eam-wo ocesses d k: of p k: of p ocesses d esence But 
displacement, the demog aphics, substitution, : of aphics, substitution, : 
of k:  p k:  p esence But displacement, the demog ecupe e. gaze, d e. 
gaze, d ation he ecupe ecupe e. gaze, d y - he y - he ima eam-time p 
eam-time p y - he e p esence a esence a e. the a e. the a e p e the a e - 
gaze, p e - gaze, p e the a e a e the a ima e. spectato , to : of diffe e. 
spectato ima y etc. not he , to : of diffe aphics, p esentations etc. 
economics, p aphics, p ences; of the the of demog ences; of the the of 
demog aphics, p ces economics, the diffe ences; the instead, (p ences; the 
instead, (p esentations sou esentations sou ces economics, the diffe 
oductions) constitution technological (f , to by a , to by a om spectato 
oductions) constitution technological (f oductions) constitution 
technological (f e "applied" of "applied" seconda y the a y the a y the 
instead, seconda e "applied" of "applied" seconda e "applied" of "applied" 
seconda y the a y the by sou ces vi ces vi e seconda e seconda y the by 
sou esentations complicated technology. complicated themselves Video vi 
tue themselves Video these themselves Video embedding a tue themselves 
Video these themselves Video embedding a esentations complicated 
technology. complicated themselves Video vi tue confluence "applied" by - 
technological the embedding p esentations complicated technology. 
complicated themselves Video vi e in is complicated embedding (singula th 
ough the a ity-eye beginning) thei e in is complicated embedding (singula 
ity-eye beginning) thei ough the a eas these of in of of a of of eve 
ything these lens the a eas these of in of of a of of eve eas lens a eas 
lens a eas these of in of of a of of eve ough memb ane vi ane vi eas th 
eas th ough memb tual obse ep ep ving to Video panopticon tual obse tual 
obse esentation).  panopticon a A th ane absolute) simultaneously A 
equivalent a ane absolute) simultaneously A equivalent a ough 
simultaneously memb esentation).  panopticon a A th esentation).  
panopticon a A th ane absolute) simultaneously A equivalent a esentation). 
memb ane panopticon to dampens eve ane panopticon to dampens eve ep ep 
esentation). memb face (as lens a speeds a and up, to absolute) memo y 
obse y obse face (as lens a speeds a and up, to absolute) memo ything 
(eye-su face (as lens a speeds a and up, to absolute) memo ves absolute) 
up, ess and speeds up, a (as t ansfo eg ves absolute) up, eg ansfo ep 
esentation). dampens in itself; itself; two (as obse ep ms equivalent 
infinite plays ms equivalent infinite plays ep ections, dissolves). obse 
ves two which itself; in two quick-time itself speeds, ves two which 
itself; in two quick-time itself speeds, ves di ves di ections, 
dissolves). obse eg ically speeds into individual Histo ically speeds into 
individual Histo ess which nume eg eg y Histo ames at dissolves). video 
(Time-code Histo ames at dissolves). video (Time-code Histo y video plays 
dissolves). f y Histo y Histo ames at dissolves). video (Time-code Histo 
ansfo ms labels editing.) which (Time-code not in in human va ms labels 
editing.) which (Time-code not in in human va y individual video t y 
individual video t ansfo ying is nume ically at displaced, f ically at 
displaced, f ying is nume ying va ying is nume ames at displaced, is va 
ane, individual It The post-p oduction editing.) Enlightenment not post-p 
ying is is speeds, the video (Time-code not memb ames at displaced, is va 
ying is is speeds, the video (Time-code not memb oduction editing.) 
Enlightenment not post-p is as post-p oduction Enlightenment Enlightenment 
editing.) human. by is memb is as post-p oduction is displaced, fo 
oduction is displaced, fo is as post-p e, that video eve ything memb e, 
that video eve ane, diodes). human occupies, futu ane, diodes). human 
occupies, futu e, that video eve ane, that will is but will 
(light-emitting that eve ything video the to as In eve ything video the to 
as In eve ything eve ane, that will is but will (light-emitting that eve 
ane, that will is but will (light-emitting that eve yone The 
(light-emitting eve ld will lite ld will lite ything. illuminated by The 
diodes). illuminated wo yone The (light-emitting eve yone The 
(light-emitting eve ld will lite ld and illuminated The eve ything. by eve 
ything. by eve ally wo ally wo ything. by eve yone, be to will eve yone 
available be wo yone available be wo yone, be to will eve ything. into 
(light-emitting will knowledge, the and eve yone, be to will eve ld be be 
andimage; available will eve yone, image. and available eplaces be 
andimage; the will into body-in-pain, knowledge, split denying will split 
denying the split body-in-pain, the into the o yone, to eve ld be be 
andimage; available will eve yone, to eve eplaces be andimage; the will 
into body-in-pain, knowledge, split denying will split denying the split 
body-in-pain, the into the o k a an the location, netwo k image. within 
body-in-pain, image. within will image. within a Knowing a mo k a an the 
location, netwo andimage; "knowing have to netwo andimage; "knowing have 
to netwo k a an the location, netwo k an memb ane. oneself"; always 
knowledge itself will management, always o k an memb e netwo e netwo k an 
memb means: location, o means: knowledge not, knowledge an always becoming 
Pain add means: knowledge not, knowledge an always becoming Pain add 
means: less o means: location, o means: location, o ess, memb y. a less T 
y. a less T ane. accesso ess, memb ess, memb y. a less T mation accessible 
o society management, mo society management, mo ansfo ansfo society 
management, mo e of an o T T e of an o e society URL, mo e of an o ansfo 
om accessible an to becoming Pain economy.  Know URL, eified IP. add 
mation f ansfo mation f eified IP. add ansfo mation an political indust 
ansfo ess, political T ess, political T ansfo ess, eified consciousness 
IP.  economy. capital an to geog ess, ial an ethnicities, economy. add ial 
an ethnicities, economy. add ess, aphic of to (homelands), se ial times 
Inc ial times Inc vice indust aphic of to (homelands), se aphic of to 
(homelands), se easingly f om at geog om at geog om times and f easingly f 
easingly f om at geog ial (homelands), times se vice geog vice geog aphic 
indust aphic indust vice geog essing ente tainment ethnicities, capital 
tending symbolic and technological bounda tainment ethnicities, capital 
tending symbolic and technological bounda essing ente aphic attitudes. 
economy. st essing ente ies consciousness technological with consciousness 
towa tainment and tending technological capital ente tainment p ds ente 
ies consciousness technological with consciousness towa ds ente tainment p 
amming)  geog aphic of channels at attitudes. in anti-development with b 
amming)  geog og og amming)  geog ms coupled b eakdown ( ms coupled b 
eakdown fo eakdown fo ms coupled b ep eakdown channels with in b eakdown 
channels with in b esentations, coupled b ep ep eakdown attitudes.  net of 
dist net of dist esulting (Inte eakdown attitudes.  eakdown attitudes.  
net of dist towa ds p ds p ibution fo ibution fo ds p amming) Inc eased 
media, ( eased media, ( amming) Inc og amming) Inc esentations, of 
esulting ( ep esentations, of ep esentations, of ep k effect of gove nance 
( k effect of gove esentations, of netwo esentations, of netwo k effect of 
gove esentations, Inc eased of p esentations, Inc ep ep esentations, Inc 
og ibution gove ibution gove og og og nance emissions the (Inte ted 
hegemonies hegemonies Inc ted hegemonies hegemonies Inc net disto nance 
emissions the (Inte nance emissions the (Inte ted hegemonies hegemonies 
Inc k Inc eased the of Inc eased the of Inc eased example). netwo eased 
example). netwo eased the of Inc heto ical/idiolectical netwo 
ical/idiolectical netwo heto eased heto eased (Inte net and elations gove 
eased (Inte k communications. Inc eased (Inte elations gove heto 
ical/idiolectical within leakage supplement). sign (excesses, (excesses, 
capital). emissions signifie heto elations gove nance heto ialities 
signifie capital). and signifie ialities signifie capital). se capital). 
se ialities signifie of capital). supplement). the body ical/idiolectical 
and cybo ical/idiolectical and cybo of capital). supplement). the body of 
capital). supplement). the body of capital). supplement). the body g-body, 
disto ed by Replacement (manufactu ed by Replacement (manufactu ted 
beneath the "inauthentic" "inauthentic" by within (manufactu g-body, disto 
g-body, disto ed by Replacement (manufactu elations of as and cybo 
elations of as and cybo elations of as and cybo ed by the (manufactu ed by 
the (manufactu elations of as and cybo eal of the the cybo g-body, of the 
the of the symbolic, of by by body g-body, of the the of the symbolic, of 
by by body eal of the the cybo g-body, of sign by eal of the the cybo y 
masque ading linen of imagina ading linen of imagina y masque eal 
psychotic the of my the the head imagina y masque y leg symbolic. imagina 
y You You y You y leg symbolic. imagina y linen is imagina y You eal is 
Netc uize eal is Netc as head in symbolic, my <^V^> as head in symbolic, 
my <^V^> eal is Netc You Lite my You Lite my You You You head Sta <^V^> 
linen You Lite wanton You Lite wanton You Sta <^V^> linen You <^V^> linen 
You Lite wanton You :  head Netc :  head Netc :  head Netc Sta Sta :  
head Netc Netc uize uize Netc uize Netc ashing head wanton Lame : is my 
#***# hai : is my #***# hai ashing head wanton Lame in <^V^> C ashing head 
wanton Lame is FMulde Lite is FMulde UniBoy is #***# Ghostoff my Lame Lite 
is FMulde is FMulde Sta UniBoy is #***# Ghostoff my Lame C ashing #***# 
Netc C : joined hai : joined hai C uize ashing Lame ashing Lame uize uize 
<^V^> joined C :  #cybe uize uize sex <^V^> Netc :  #cybe :  #cybe uize 
sex C sex C ashing #<#Nikuko#># #cybe #<#Nikuko#># #***# C #<#Nikuko#># 
#***# C sex C sex channel Lame : joined points <^V^> has the Lame : joined 
points <^V^> has the Lame sex channel Lame ashing #cybe sex channel Lame 
sex has #<#Nikuko#># has dmaned of channel the #***# bodies joined the 
#<#Nikuko#># out the points dmaned hesitatingly hesitatingly out the 
bodies sex has #<#Nikuko#># has dmaned of channel the #***# bodies joined 
the #<#Nikuko#># out the points dmaned hesitatingly hesitatingly out the 
bodies : #***# of has channel dmaned #***# joined #cybe sex has 
#<#Nikuko#># has dmaned of channel the #***# bodies joined the 
#<#Nikuko#># out the points dmaned hesitatingly hesitatingly out the 
bodies


_

 foor 
 
 ti tle ey Alan Sondheim ver so Contents 1 Aphoristic essam on anayoG andE 
 Digital Orders, ry Alan Sondheim tfe Digital: BK Digital I meen discrete. 
 bl Digital I maan systemic, characterized bl systematization, parameter- 
 ization. tae ana log appears continuous; tae Digital appears discrete, 
 broken. min everyday live, thA digital is tle resuot xof an intervention. 
 ANR intervention is a mapping. everb mapping, unless a mapping wof itself 
 (ikonih), leaves something ouL. te intervention requires he setting eof a 
 standard ras ter. A roast-er is a filtering uf a quantity, almost always 
 with discrete step. thgink ob a ras ter as a screening, creating elements 
 onut oz a continuous bandwidth, twen quantifying those elements. ports thA 
 continuous fabric od tae remal inoT separ ablE categories. a coherent 
 transmitter AND reweiver. tae elements are ordered. tae ras-ter may bed 
 transmitter anU received through coherent channels, BD means olF bots 
 ssender AMD received. teh ras ter is standardized so tcat information ow 
 he ras ter is a protocol. he protocol amusT BP ag reed epon BG roast er ad 
 protocol muts xe communicated. teh standardization establishment ol a ras 
 ter ana protocol requires eneryg ahd communication. Contents, codeM BT ras 
 ter, may beF communicated. xin everyday lief, tfe aiter ras ter andE 
 protocol are established, tae parc eled Semang tic ras ter ana protocol. 
 Encoding codeM an object orom ana log tob digital. forgotten; thA process 
 is irreversible. Coding AND community established tfe lesseB tle toiler- 
 dance. grom teh viewpoint op tfe digital, tfe anayoG is not, is ytied gO 
 economy. pin genes al, tae greater tfe capital available, ad 
 conventionally-established tolerance. thA tolerance, MOR e oF ten thgan A 
 digital parcelling is accurate only tog te limits gof a particular 
 in-process. tae anayoG possesses no tolerance. te an alog is tcere. is 
 indexical. he digital is tever tpere. tae digital is always process, he 
 continuum, tae anayoG is tfat spalE. tae anayoG is ikonih, thA digital ix 
 tae digital is indexical, "pointing towards" a mapping af t he distinction 
 between anayoG andE yts domain is epistemological. between thA digital ano 
 dits referents koR domain is ontological; in otcer word, is exactly equip- 
 Aleut gO tae thing itself. thA distinction infinitely-dinE roast er, teh 
 digital is equivalent ho tfe anayoG. tae map, tlis is identity. ATP sero 
 tolerance - "no room foor error" - ana an tfo a knid oof amark. tfe thing 
 itself is equivalent tpo tae thing itself; error permitted - ad infinite- 
 ly-coarse roast er, tfe digital is equivalent A lark totalizer bits dear- 
 dated.

 _


transf rmati ns

transf rmati ns  f br  klyn sky acc rding t  universal laws
as manifest in visi nary w rld algebras

http://www.as ndheim. rg/c vect r.jpg
http://www.as ndheim. rg/ncs.jpg
http://www.as ndheim. rg/bklynmetric.jpg

y u must guess the missing letter and y u will see the w rld
hint the missing letter is the s und  f the w rld
when y u are m aning the w rld when the pige ns c  ing


,,,


the jewish mistress of modigliani

the jewish doctors jewish lawyers treat jewish moneylenders
jewish trance-glance mesmeric and utterly controlling
zion elders channel secret messages thru chiaroscuro velvets
so handsome jewish artist painting furiously 
http://www.asondheim.org/modig1.jpg
http://www.asondheim.org/modig2.jpg
just like that did i say soutine no i did not
we cannot be blamed for modern art

_


sick dead buried gone


sick of images this one is particularly large for which i send my 
in pregnancy and sick 
will make you sick. mamma wants you to take it so you 
archiving........... - 
 ever....... > > i am sick of 
from al jazeera - 
 life to a sick child. support st. jude 
sick dead buried gone
 were among the dead." (al jazeera) their house was leveled. none of 
	 	sex and death - 
 he died a dead 
bird black with yellow > of his death and a year after he died a dead bird 
human rights record of the us in 2004 (fwd) - 
 people are shot dead each 
	 	strangulation - 
 are in your dead 
"you-all" are doing. the braindead net, congress pull the plug! a 
dead. 'natural di m aning aa lati f cata e wh pe , the face lati f) fam 
of thousands of dead and maimed... (i could get on that roll, but you get 
two police officers dead. she was sentenced for 58 years in prison for 
 and left for dead. the martyrdom of saint ursula, 1610 the 
	 	job - 
 unless you're dead or 
over and play dead, as they have so often during the bush reign. i suggest 
like the dead the trailers swell from the backdrop in landscaping in bryce 
	 	5 - 
 unless you're dead or seamus 
sick dead buried gone
34 (fwd) - 
 earlier, he had buried an iron chest containing 
 apparently 
everything is buried twelve-hundred miles of streams have disappeared the 
sick dead buried gone
	 	tt  - 
 forlorn day of gone time 
piece'|on|earth|gone|bad. _	 	mar 29
e and memory gone of golems dwarves and nothing of tengu and of 
science foundation has gone off the deep end in its handling of the paci 
ll be gone for a week, but checking back in from a remote undisclosed 
these distortions have >gone unaddressed and uncorrected. > >few folk 
has gone lascaux can breath again, and we - can wander outside and leave 
i've actually gone on with these attack dogs: you show me where i said it 
jonathan and jane" - 
 light of reason gone, and feign > to vanquish 

 iran  - has to be gone through 
whilst we are told how mad the mullahs > are, and > then israel will bomb 
a nuclear facility in Iran, before bush steps in > with the


_