of the music, an older of the music, an elder of the music, primordial of the music, authentic http://www.asondheim.org/miami98.mp3 of the music, authentic of the music, primordial of the music, an elder of the music, an older _ The Ion Sessions recorded with a 1900 larson parlor guitar, nylon strings, refitted with a tailpiece and saddle bridge. http://www.asondheim.org/ion1.mp3 http://www.asondheim.org/ion2.mp3 http://www.asondheim.org/ion3.mp3 http://www.asondheim.org/ion4.mp3 it is also brush necessary discharges to and avoid arcs, brush to discharges keep and all arcs, connections keep necessary all to connections avoid tight, other condenser parts plates of other free parts from of dust circuits and free tight, from condenser dust plates moisture, well antenna brush well discharges insulated. may may by be moisture, reduced and by antenna eliminating edges sharp on points conductors, or or edges by on coating conductors, the coating sharp the points metal guy with of paraffin. the guy should wires be should with divided with into insulators short between lengths them insulators reduce between the them flow reduce into flow lengths current coils in and them. the inductance gap coils must spark current gap in must them. properly waves designed. were waves the were same excited method same designed. method the which short we longer used waves. for it producing is longer that waves. the essential used that for pole the surfaces gap frequently that replenished, surfaces during the experiments they they should carefully protected protected from illumination illumination simultaneous simultaneous side side discharges; discharges; otherwise otherwise oscillations oscillations are spark not gap excited. is whether in a not satisfactory excited. state whether can the always by recognized appearance appearance of sound sparks. sparks. recognized _ The Radio of the Heart of the music, an older of the music, an elder of the music, primordial of the music, authentic of the music, authentic of the music, primordial of the music, an elder of the music, an older in the air out of it wyoming susquehanna river dike river-side chorus added thunderstorm front just off the radar furious light radio astronomy o angelic orders your streamers descend your streams steams your stems towards earth of ravished bounty astronomical astronomy i have yet to hear such beauty elsewhere as below above not anything this has moved me to tears, an unabashed recommendation more fantastic than the visible universe, tremendous praise and of the worlds thereof i give you copy of the stars spectral grit. in the near future you will hear new sounds they are coming from the ghosts hovering near the old covered bridge cows on the hill turned their backs on us early the electricity failed in large parts of the region there were violent thunderstorms and near the house, a crackle the crackle continued at regular intervals interspersed were the moans, they were murmuring to us few of them as something jostled for our attention moan, crackle, moan, crackle, crackle, sometimes a sheet of sound haunted they were, these hills haunted the bridge, haunted the dismal brook haunted the bullfrogs speaking and hearing the moans hearing the moans by the side of the pond we were radio radio radio by the side of the pond we were hearing the moans, we were listening the radio, we were listening, the aerial and the recording we were radio radio radio and the recording of it, the sounds, sooner or later on this site of the haunting, something moving through the bridge something there and moving, we were sure of it anomalous events within a morgantown recording very low frequency there are spherics and others near a covered bridge of which i have already spoken a farmhouse in the distance the moans i have already spoken of are these the ghosts of the dead i am certain these are the ghosts of the dead a poverty film of two frames two flickered images, there are others i am very sorry the waif in the garden who had so much wrong and yet she still wanted me because i am an american and she owns my monies which i have paid out to everyone but her and you can tell her clothes are very sorry but she will be very wealthy i will service her breasts on a sunny day on a cloudy day too my music is my soul i am revealing my soul to you I wanted to capture the grandeur and agony of the landscape! I have succeeded! yes yes full of the natural world we will build next to the mountains we will make the forests flourish again they will be better than ever each tree will have its tiny homeland with nothing to interfere with its life yes yes the natural world improves with every tree the natural world improves (i feel sorrow for the tiny tree the last of everything and surviving alone it speaks to all of those who are lonely and feeling despair at the mounting world) "the machine wrote, 'thoughtless the thoughtless words the that words are that spoken are here. spoken we were we with were electric-antenna-azure with / electric-antenna-azure landscape the 'was electric' electric' and and she she flew flew (moved/clogged/danced) (moved/clogged/danced) among among the particles 'was almost inaudible always swirling inaudible around swirling the around world world our in direction our almost direction always nothing all may of be this, made nothing, of however all there this, others nothing, nothing however may there be others of which and is unknown, unseen nevertheless unknown, us nevertheless in grips the us world against will thank you, thank you you're probably tired of these by now i'm hungry for your (absent) replies it's hard enough to get myself motivated much less you i try to respond to work i like mine is unlikeable though i work hard at it making it pleasing for you what it must mean to receive tender commendations while we travel across the united states whispering every stop through worldwind, thank you nasa you can meander the highways and the high lonesome places where vlf signals blew in from the outer reaches and you could follow the world in the world but you're probably tired of these by now these tired landscapes repeating themselves over and over again feeding the hungry is more rewarded than any replies i'll push myself until i die perhaps not soon enough for you yes yes i like no i love your work much better than mine (of work, yours / mine) always speaking is so unpleasant the tenderness of all interstates and tiny wayfarer's lanes we are here for you, they signal and nothing utters response universal plasma is never angelic but you have listened to every reply with considerable patience across the street is an electrical substation beneath the ground there are wires the building passes wires through brick, steel, and wood there are radiating pipes everywhere vlf broadcasting the roar of sixty cycles machines switch on and off i played music on a plant tenderly moving its leaves, the leaves speaking in my soft fingers, and for a moment floral murmur barely audible, the presence of the oldest world the choir of the forgotten fatal redundancy of all life on earth of the residue, speaking of the remnant, fatality well, the second is a surprise, the first is a surprise, almost constant chirping here close to inaudible with post-processing I desired more than anything even than the presupposition of the chirping so listen with earphones, all of these require them, you miss everything without them, and the second, well, this speaks for itself, or rather the confluence of grounded signalling requiring slowdown, you may feel you are hearing the world for the first time, this is true, you may feel, on the other hand, you have already heard too much one is always encumbered by war in the world in these moments of peace, listen to the collapse of invisible particles I render them within the spheres of enlightenment you are hearing me, you are hearing you without sun she speaks under the moon of the wood still owing and asks him i will service her breasts on a sunny day We have the start to finish scalpel, rain or sunny, funny? plenitude fecundity transformations cornucopia of accumulations vortex universe of wonder "for those who still believe" I'm really happy with this music. I play it over and over again. Weather wide Qpmdat drop drpt orig The drop drpt "orig The drop drpt orig drop drpt orig of drop drpt "orig of of drop drpt "orig of of drop drpt $orig of of drop drpt #orig of of drop drpt #orig of of drop drpt $orig of of drop drpt "orig of of drop drpt "orig of drop drpt orig in drop drpt orig in out drop drpt orig out drop drpt orig *wyoming drop drpt 6orig wyoming chorus drop drpt orig chorus %thunderstorm drop drpt 1orig thunderstorm drop drpt orig furious drop drpt )orig furious 4o drop drpt @orig o 2steams drop drpt >orig steams drop drpt orig 5astronomical drop drpt Aorig astronomical %elsewhere drop drpt 1orig elsewhere drop drpt orig 7this drop drpt Corig this ;more drop drpt Gorig more drop drpt orig and drop drpt %orig and i drop drpt (orig i drop drpt orig spectral drop drpt orig spectral drop drpt orig +in drop drpt 7orig in Dthey drop drpt Porig they )cows drop drpt 5orig cows 9early drop drpt Eorig early >there drop drpt Jorig there *the drop drpt 6orig the 6interspersed drop drpt Borig interspersed 2few drop drpt >orig few Amoan, drop drpt Morig moan, haunted drop drpt *orig haunted ,haunted drop drpt 8orig haunted 4haunted drop drpt @orig haunted )hearing drop drpt 5orig hearing 1we drop drpt =orig we ,we drop drpt 8orig we :the drop drpt Forig the we drop drpt %orig we Aand drop drpt Morig and 4of drop drpt @orig of .something drop drpt :orig something drop drpt orig /anomalous drop drpt ;orig anomalous 0very drop drpt orig i 4 drop drpt @orig though 1what drop drpt =orig what 4 drop drpt @orig while - drop drpt 9orig every 9you drop drpt Eorig you 1 drop drpt =orig where , drop drpt 8orig and )but drop drpt 5orig but ?these drop drpt Korig these 4feeding drop drpt @orig feeding orig on drop drpt orig ,one drop drpt 8orig one Hin drop drpt Torig in 1I drop drpt =orig I 'you drop drpt 3orig you drop drpt orig Kwithout drop drpt Worig without )i drop drpt 5orig i :We drop drpt Forig We drop drpt orig #plenitude drop drpt /orig plenitude cornucopia drop drpt 'orig cornucopia vortex drop drpt %orig vortex drop drpt orig "for drop drpt )orig "for drop drpt orig !I'm drop drpt -orig I'm I drop drpt *orig I drop drpt orig moov lmvhd trak \tkhd $edts elst mdia mdhd 9hdlr mhlrtextapp2 Apple minf Lgmhd gmin ,text 9hdlr dhlralisappl Apple $dinf dref alis stbl Xstsd Htext MS stts stsc stsz stco _ Radio, the World, the Discrete Not only is radio tremulous in its reception of the stars themselves; it is also analogic, requiring no decoding; what you hear, what you record, is what there is. The opposite holds for online radio, packet-protocol radio, no matter how shipped; like a jpg image, it requires specific constructs to make sense of it all. And such constructs tie into very notions of software coding, intellectual property, corporate and personal privacy. What the antenna registers, what the wires contact, may be contacted by all; they are primordial, inert. Give a wavelength or wave- length bundle, give a direction or directions or omni-directions, and what comes in, comes in to any living creature, ready for the interpretation or not, Rosset's idiocy, or the muteness of the world. Move to the Net, Net radio, already the raster is at work; there is a fineness, an absolute floor and absolute ceiling, of the recording/playback - of the apparatus itself - that cannot be bypassed; extrapolation is trusting at best - that nothing in-between, no out-of-packet information, exists to trouble the rest. This is the differend at work, surely, and it is the differend that characterizes the digital - what is not permitted to speak, what is literally circumlocuted. Radio brings the unknown to bear; the Net brings the known to the bearable. Given a text/image/audio/whatever file - that is all there is, nothing more; it exhausts itself and is exhausted and the play of content, the semiosis, exists in the perceiver, not 'out there.' This is secondary narcissism, looping through the machine; primary narcissism is the realm of the analogic, our cosmological identification. === The history of radio is merged with the history of the electromagnetic, and given the movement towards packet and protocol, it is interesting to observe a movement from externality to internality, from brass spheres through the Wimhurst generator, from the crystal detector through the audion. Within the audion, and early triode, the filament glow was visible, an electronic hearth boiling off electrons. This was the analogic pulse of vacuum-tube radio, a pulse of light and heat and the quietest of sounds still sought by rock guitarists and audiophiles alike. Transistors internalized current into the literal black-box, and integrated circuits and circuit boards eliminated almost all of the hand-wiring. With the digital, the unit becomes tight, compact, although as always, still hack- able; repairs are another matter. The analog was a transitive filter, passing along the cosmos within rough bandwidth; the digital is active sampling. The transparency of the analog was reflected in the transparency of the radios themselves (capacitors and transformers etc. notwithstand- ing); the opaqueness of the digital, the complexity of the protocols and their arbitrariness, is reflected in the opaqueness of CPUs. It's both ironic and fascinating that mod cases now bring the hearth-glow back into the heart of the machine, with lights that do nothing but illuminate silent circuitry. We still believe we are among beings; we always will, and that is part and parcel of our cosmic reach, no matter how mediated it becomes. The mistake is to take the mediation and machinic for things themselves; certainly, on the level of _object,_ and certainly not on the level of _function._ We design within the imminence of potential wells, both analog and digital; otherwise we would never hear a thing. _ extras http://www.asondheim.org/mudrah.mp3 http://www.asondheim.org/nudedescend1.mov http://www.asondheim.org/nudedescend2.mov he is a grand gentleman who stutters on the stares she is a grand lady stairing at the gentleman the gentleman carries a huge burden the lady carries a greater one monsieur duchamp, thank you very much for the human body and we appreciate your ability to run up and down stares _ believe me hon, this took a heck of a long time to make. why i didn't think i'd get through it. first there were all these places and some of the images were pretty much a wreck. and i couldn't find them all that easy; they were scattered hither and yon as anything's likely to be after a few weeks or so. once i got the images the whole thing took on a different character, a really big video, and i had to narrow it down for the net. i tried over and over again with the latest software but nothing seemed to work, so i went back to an older system. meanwhile i had to import the sound from somewhere and it seemed thin so i doubled it, nothing like a whoosh to give a kind of nervous quality to the whole thing, like i was playing guitar with one too many or one not enough, something in a between-state, i didn't know whether i was coming or going. finally it seemed i had another masterpiece so i thought why not, i'd give it to the public like another one of them last hurrahs that i keep having, some call them epiphonies or something like that, seems more phony than anything to be, but won't play on a phonograph, you know, needs one of them newer things to make any sense out of it all. not sure there is any sense to it but thought, heck, why not, i'd give it to the public like another one of them last hurrahs http://www.asondheim.org/antenna.mp4 _ Girls and Pigeons Is it now she tells me, or I'm told? If Juan Can's eyes had not been purblind with old age, he would have seen that in Alessandro's face which made him choose his words more carefully. ORead 1 O4 O9 O11 O3 O7 O O21 O6 O30 O42 O523/4e5.4 279 O81$ The patient rips to pieces clothes, fully conscious of what is doing. http://www.asondheim.org/girlspeer.jpg O61 O2 O70 O81 O5 O92 O102 O12 O71 KiB dat$ knows has knocked out a pane glass but really does want do it. O22 O41 O52 O60 O72 O82 O860 2 4 5 6$ An educated catatonic woman committed number silly acts during phase acute excitement. O90 O202 O31 O40 O50 6 7 O$ Thus insisted the Zurichberg (a hill) used be West, while Uetli (another East (in reality hills are located exactly reverse positions.) O80 O301 O95 3 $ O23 O32 O53 O83 O904 O10 O63 O502 O1 O34 O51 O78 O602 O20 O615 O3$ O91 O702 O44 O665 O73 O8 O85 40 Read 523/4e5.4 81 894101 4iB/sec. 71 data, 106 Ki7/810. 860 665 8 9 85 why diagonals long-face? lines shudder antenna joy video translation. Hey, long face! Why the pigeons! Pigeons are generalists, adapting to widely varying environments. As an example, here are two images taken at Laguna Beach; in both birds are resting on the sand, in a manner exactly the opposite of East Coast birds, even under roughly the same conditions. One can only assume that the behaviour is cultural, learned. http://www.asondheim.org/girlspeertoo.jpg and http://www.asondheim.org/girlspeer3.jpg . Yes indeedy, successful birds are generalists! _ The Pain of the World, is there any? If I write this poem to you, is it literal? The sky closes over it, but does it? The world's fury kills us all, but can it? Nature is as violent as ever. There is no justice in the world for strays, weeds, vermin, whatever we call what we don't want. That is true. Humans are strays, weeds, vermin, one to another, but are they? I would see them dead, I would see the President dead, but will I? I am frightened. Every night I dream of crashes, plane or car, or just human against human. That is true. The violence wakens me. Outside, people are doing nothing in particular, but are they? The animals here lead delicate lives. Snake, frog, and cat are rescued, everything hides in fear, but does it? This year, the world totters on the brink of catastrophe. It does not, the world does not totter, the earth pushes back like a plate, but does it? I walk across the earth and it pushes under me. It pushes harder, I think, but I may be wrong. The dead are on the earth, then under then no more, but are they? The dead claw up, but do they? Transformed into oil, gas, diesel, but are they, they drive our big cars, but do they? The literature of pain is painful, but is it? Designed to withstand suicide, it totters, but does it? Does literature totter? The world does not. _ she bobs she she bobs bobs her her head head and and she waves her feet she nods feet, weaves feet feet, she it's nods not her beneath head when and there's heave only and a seethe, sheet, see waters she heave weaves seethe, feet, see there's the a seams time or with "i'm hot in stuff hot in pursuit a of the time or with "i'm stuff hot car" sizzled geez off she's "" dad bobs gotta her get and sizzled car" off geez "" she's h hot fee she , bobs i her waves 's her no fee here's a shee here's wa a he, and he he, ers he ho a pursui a s in ime in wi a uff ho go wi ge her http://www.asondheim.org/trunc.mov she Confusion of the Split I keep searching for the _split_ everywhere, the appearance of the discrete which can, but must not, be rendered impotent / futile. There are dyadic theories - Laing, some communications theory, but these specify resonances among entities that need not be clearly defined. There is the ontological theory of quantum mechanics, in which electrons _are_ particles, in which the real is relatively grounded. There are theories beyond theories, theories I can't hope to understand, matrices of theories. There is everyday behavior among the signs and sign-systems of the world, and all of the sign-systems are far more culturally ideogram- matic, non-system / culturally founded, than first appearance indicates. The digital lies _either_ in fabrication or one-on-one codes, or deeper, on the quantum level. Let us at least momentarily call it the discrete. Perhaps a distinction can be made - _digital_ technology, but _discrete_ as epistemological (and perhaps ontological) split. The discrete is characterized by its lack of continuity with the analog. A spike, fold catastrophe, wave function collapse, are, perhaps discrete. A digital recording, for example, a CD, is discrete only in relation to the potential wells of conventionally-bound domains. A CD is analogic as an object; the 0s and 1s _resolve._ However, given a decoding/playback, the hills and valleys _register_ as 0s and 1s. The sound transforms back into the analogic through the playback system (speaker, earphone, etc.). The registration of the 0s and 1s are dependent upon an conventionally- adopted _protocol._ We've been over this territory. The protocol appears _real_ although it functions only in relation to specific technology. The coding is discrete on an ideal level; the signals themselves have onset and trailing. But within the given potential well of the technology, they _read_ as discrete. Your money or your life: discrete, yes, or no; it veers. -money = +life, but (+money = -life) = -money. Life is an _entanglement._ All choices are braided, contingent, contiguous. The the discrete is always a barrier. A vast distinction must be made between discrete _codes_ which are designed conventionally systemic, and what might be termed the _external discrete,_ i.e. stochastic, an appearance, unplanned-for. The difference between a digital CD and particle decay. This is the fundamental difference; one we construct with what is given to us, the other is given to us. I would think that the digital/constructed barrier can always be circum- vented; the discrete of the world, however, like the analogic, is _just that._ == (In relation to _ideality,_ the discrete is simpler; any given integer, for example is E or -E, even or not-even. If the integer ends on {02468}, it's even. The sets E and -E are complementary, discrete; their inter- section is the null set, and their union constitutes the set of all integers. On the other hand, in non-ideal life, the life-forms of the every-day world, there may be for example a number of plums which are neither odd nor even - for example, pluots may or may not be included, hybrids may veer off, partially-eaten plums, seeds, etc., all form fuzzy cases. (Now with the plums, let us open a distribution center: It is then economically necessary to count plums. The raster/protocol is created, the result is a digital screening.)) Discrete < on and off | 0 and 1 | other sign and other sign > Digital implementation. In this scheme, the protocol is scheme / noise within the system: [Referent | operative field] < Implementation > Digital mapping ....^..............^..................^.................^.......... 0-resonance|boundary delineation|protocol-parasite|machinic display (idiotic) (circumscription) (cultural convention) (economy) (On and on and on... stumbling into science, realms of ignorance.) _ Journey of the Radicals Looks like sun at three to five in the afternoon. Abscond or default with what I can make out of the feet. No, not at all, not even one. Mother of vinegar, the wine! Seize the hand, hunt with it, angle it upward! Mend first, then patch the billion with a tree - a billion of them make a forest. Eat a meal in the afternoon with a roof over your head. The arena is on the plain with a port at one end connected to a valley. I'm going to ask you to requisition me for a particular service at this time. I will use then the divining rod, tell you everything you want to know. Come. I see low walls, a ward, all resting on the earth. Did I tell you about the plain? The village name is "Earth" as well. We're going there. No, not again! Take a step, just one pace, then stop in that direction. This is the beginning of prophecy. Arrange the cloth; we'll make a roof over our heads for our afternoon meal. We're on our way. Just like a human being to extend herself. Don't stop, even though your heart is afraid. Open out, scatter yourself to the billions. Here, I'll give you a hand. We have to register at the bamboo gates of the village port. Did I tell you about the valley? This is the class of Radicals; beware of Pu! The village Board has given us permission to pass to P'u. _ Location,Collocation known or relevant. Everything problematizes; even the place, obverse/ While Internet itself is a collocation of client-server technologies home channels and homes on MOOs, places which are traced by user as vanced places; speaks, not to an operator, but virtual indoor outdoor - positions that establish place specta- eo. So spill garners weight. altera- This memory. It's atoms there paper. Your location another. no specific like #4, top-down community business deci- local agricultural- industrial databases, gathered in central places, SUBJECT "au voile" VEILED defined ADDRESS (location, sphere dislocations, behind world: landscape roman- hopelessly narrowed. Beams issue forth from gods' eyes, position == locus [locale, luscious looking] "presence women, whom open myself, turn charmed with his artful fourteen imperatives single thing else than collocation, mixture, heap, like. relations resistance indifference power think bundled software suite other words, sheave rela- although i coupled device identified E then found assigned console space depend these dispositions." (Bourdieu) perhaps even, conflagration, notices. 10-20 My is: city university known, _exact_ usually isn't. Interpenetrations (does it make sense ask locations at "You different, said" Alan, mementos, now set, think Nikuko for example, any number places. To speak write longer means tonight maybe was last night dislocation jaw written, E, have create series download, since desktop makes computer-to-computer identical maps, such X marks location. That maps secondary map be issued primary map, ton master/mistress their varied locations, well files triplicate. loose, linkages difference between What mean am machine? Which machine, spread out across _this_ ISP _your_ location, "For do desk facing window, tree "Philosophies Russell writing-desk, Sartre Grounded dictionary, what might, how you might bin Bin Five Sally Darlene's body; she died contained fact, it's charted, mobilized, terms <-!- "Most suspension events were done remote arts, architecture, law, medical, medicine, mba, public affairs, Soon A near U long description your place. You standing end At feet all water stream splashes into forest, deep destroyed shifted because Collocation-of-Stars ulcollocations -- gmentary accumulations amarginal phenomena best thought process thinking kind jabber- ing jabbering tors_ drowning speech, proper names, narratives. Philosoph- can help me, transform word symptom violent sky :: horses too FLASH : mail taken nudes, incriminating evidence, powders naked bodies, more inscriptive apparatus search metric established Origin, phallus. strategic game, i.e. played out" alligators, female-female, male|male, {young}. later accumulation interspersions. capable meta-level collocations, definable definable, data spherical transmission /location. skins expand backward Cartesian coordinates. Coordinates feed flesh suppurating body daddy-daddy galleries :cutting < daddy-mommy > daddy-mommy-daddy first black hole w/ g furious wronging! plasma, particles disruptions collusion/collocation little matter time left, heavy rock, image-real impres together equivalent different locations. look instantiation residue file. file We lived part called operators filters, cosmos filters fractal collocations moved back again. exited preallocations equifrequently declaims SUBLIMINAL p Filmed Genevive Tokyo. duplicated_collocation internettext_collection_collocation writing epitaphs. Nikuko's holarchy teleologies halfgroupoid valium rills self, absolutely "the body, _distinguish_ brain, shores body. chasms untoward epitaphic waters cannot mind, written tsunami stimuli, transmuted retinal imminent 311 fire I'm letting down, reviews aren't correlation.' Code system (not necessarily same) arbitrary origin. they're palimpsest, indelible formulas, present eternal chatteringsdeconstruct site spectator. machine% body-in-pain, o k netwo image. within andimage; "knowing memb ane. oneself"; always means: knowledge not, becoming less ess, y. T grep -h location ??.txt > zz sed 's/ location/ place/g' zz > yy strings yy > zz pico zz wc zz perl a/eliminate.pl < zz > yy The location is _unique._ The collocation is _unique._ _ Various swingle: CZ101 work, roothrone: from anomalous shortwave signal (recorded on Sony 2010) http://www.as.wvu.edu:8000/clc/Members/sondheim/ - for two new pieces: swingle, roothrone soon http://www.asondheim.org will be no more; it's consuming too much bandwidth and the owner can't afford it. Do try this site. Take what you want frm www.asondheim.org; it will soon be gone. also: http://www.as.wvu.edu:8000/clc/projects/plaintext_tools/AnalogDigital - new theoretical work on the phenomenology a/d added regularly and http://www.as.wvu.edu:8000/clc/projects/plaintext_tools/Codework - theoretical work on codework you will also find on the site http://www.as.wvu.edu:8000/clc/projects/plaintext_tools/PornographicCoding - Florian Cramer's essay - there is also much new by others - - check regularly, thanks - alan - _ at 3am in the morning it's the dark night of the soul part 69 23 days into the residency, i've done nothing i am waiting for my physicist to tell me the yes/no of the wave equation i am waiting for a job to descend from god forever i am waiting for death so everyone will be relieved this body will be relieved, that's for sure, maybe my sister for that matter when i die i will miss azure forever, now i just do not deserve her my guitar and shakuhachi will miss me and my long lonesome sound dear god, i am tired, as my friend tom might say, of scrambling upon the face of the earth, it is hard scrabble times i might say, now god, do something about it, and while you're at it, cure disease, save the animals and plants, save the innocent, almost all of us, end disease, end poverty, paint a smile upon heaven's face 24 days and i still will have done nothing today we are releasing a california toad back into the wild, we are searching for surplus equipment, our teeth are fine, i no longer sleep, do not want to return to new york where there is so much sickness and pollution, dear god i may want to die before my time, but not that way i want to echo space into space, i do not know enough electronics, this space loop magnetic field receiver transmitter antenna, such a sudden pulse! i am about to lose my website, jim andrews, august highland, simon biggs, simon penny, will be glad, it is ragtag, just a bunch of stupid files, last night i would step on them, they didn't budge, they just sat around, sometime soon i will sneak in and erase them my meditation on analog and digital, i can't even distinguish between digital and discrete, is unbearably lazy, i know that in my heart, but today i wanted to see the one-armed teenager in the fourth of july parade in huntington beach, but she passed invisibly by, she was a wonder-surfer and is still a wonder-surfer, i am reading microbiology microbiology says, 'exchange with me' now i will try to sleep again, recently it has been all plane and car crashes, violent beatings, houses falling apart, einstuerzende neubauten, curved roads narrowed to points, all in the 3am dark night of the soul, and a war and a war and a war soon i will have my forty-three lines, i did not mention the measure of all things _ RX RY LZW sex, but MAG. Note that MAH. MSI MSW, especially when wet. It's MWE. As far as the QHN, QHO, QHP, QHQ, QHX, QIA, who cares? QIM QFY RNZ IDX. I'm IHY. GWF, QVK, enormous breasts, I NGM my load. NDS! It's all RIP, she's KVU, NIK, EZV NJJ of my prick bringing MRL LVY. Call me MAA... Call me ENL... Women, I have number indicated women on board. I have no women on board. Have you any women on board? QUM. Girl. FQQ. Entrance bears from me as indicated. Entrance is blocked. Entrance is dangerous. Entrance is difficult. Entrance is impassable. Entrance is narrow. FRE. What sort of entrance is it? WX. I CAN NOT stop to communicate with you. ZO. I am dazzled by your searchlight. UN UO UP UQ UR US UT. May I land my sick? What is the sickness. SU I wish to enter dock (wet). QM, your cunt lights my way. RS RT you? RV RW Where are you bound? Where are you from? Where are you bound? Where are you from? _ Bad weather. I. QHN QHO QHP QHQ QHR QHS QHT QHU QHV QHW QHX QHY QHZ QIA QIB QIC QID QIE QIF QIG QIH QII QIJ QIK QIL QIM QIN QIO QIP QIQ QIR QIS QIT QIU QIV QIW YZ QIX QIY Clear Cold Dry Fair Fine Finer Good Heavy Hot Rough Settled Squally Thick weather on account of snow. Threatening Unsettled Very bad Wet Change coming; take necessary precautions. If the is favorable. permits. prevents. too bad. outside suggest you try. Owing to Stress Until moderates. Weather has cleared up. clearing. foggy. moderating. thick. When Is expected? What outside? have had? II. Bad weather. Clear Cold Dry Fair Fine Finer Good Heavy Hot Rough Settled Squally Thick weather on Thick account weather of on snow. account Threatening Unsettled Very bad Wet Change coming; Heavy take weather necessary coming; precautions. take If the is If favorable. the permits. prevents. too weather bad. is outside you suggest try. you If try. the Owing to Stress Until moderates. Weather has cleared up. clearing. foggy. moderating. thick. When Is expected? What outside? is have had? weather? __ geld the tiny absent www.asondheim.org will be up soon II hope and here is a report because you are interested. Dear beloved walking in the Grace of God, May your Family be Happy and prosperous in the Sight of the Lord. expanding vlf signals 10000 times in order that the digital interference of the computer is manifest. In the Eyes of the Lord you might think clicks and lowered tones, you might think silence. YOU WILL BE MISTAKEN. when we march we make beautiful music to which Lohengrin responds, we send Lohengrin his MARCHING ORDERS. clack clack tick clack clack the train of waves continues onward, what have we here. SO HELP ME GOD II will make a piece of it, in the Comfort of the Lord, may your family be. For here are the invisible sight, the silent sound, the visible sound, the absent sight. Soon, FIL FIM FIN without no damage. may your family be blessed and loved by the Beatification of Our Lord, may Our Lord "This coincidence and not a greater purity of blood has preserved its Celtic speech." II am so fearful of narrative, II run from it. Lorelei is next, one of the highschool girls. the Rhein-matrix of St. Goar. soon, brilliance, and what then, Barque of God? II follow the river down. theory makes tawdry narrative, narrative tawdry. II want different. Lorelei of Bacharach, where are you now. O Devil, you melted stone with her heat < stone > you, Eternal Love of God, may your blessings fall bountiful upon you and your family. Now II am God, now you. What I Can't Put On New Server Volume in drive G is New Volume Volume Serial Number is B0DE-DB74 Directory of G:\image\problems 07/10/2005 09:25 PM . 07/10/2005 09:25 PM .. 06/17/2005 10:24 PM 42,316 01trilby.JPG close-up of cunt in night-vision green 06/17/2005 10:26 PM 398,637 37.jpg woman on sofa with black velvet dress open at waste with exposed cunt 06/17/2005 10:38 PM 132,736 antensex.gif cunt opened with fingers reconfigured in mathematica grid 06/17/2005 10:42 PM 12,000,953 birth.mov female masturbation against animated stillborn twisted fetus 06/17/2005 10:26 PM 41,751 C2.JPG greyblue cunt and cock 06/17/2005 10:26 PM 29,263 C3.JPG cunt and cock in wind and blue ice 06/17/2005 10:26 PM 36,133 C6.JPG true color cock cunt ass ball leg 06/17/2005 10:26 PM 23,288 C8.JPG white fuck with fractal pattern on penetration hinge 06/17/2005 10:51 PM 174,023 dancemenu.jpg nude shaved female body on dvd software program menu configuration 06/17/2005 11:21 PM 167,545 fetish.jpg male nude body from below, dripped erect cock between robe folds 06/17/2005 11:22 PM 58,104 ff4.jpg pda image of susan graham cunt closeup with inserted digital pearl 06/17/2005 10:22 PM 168,589 florid0.jpg water image and i can't remember anything anymore 06/17/2005 10:22 PM 158,994 florida.jpg exposed tits i'll drown myself and then i'll drown you 06/17/2005 10:22 PM 129,389 floridb.jpg exposed tits then i'll drown everyone else 06/17/2005 10:22 PM 144,499 floridc.jpg swimming pool you're out here i can feel you 06/17/2005 10:22 PM 159,442 floridd.jpg swimming pool then i'll drown everyone else 06/17/2005 10:22 PM 135,260 floride.jpg exposed tits lying back over poolside think of you fucking me drown 06/17/2005 10:22 PM 180,464 floridf.jpg exposed tits your eyes are on me your dead eyes are looking at me 06/17/2005 10:22 PM 192,244 floridg.jpg exposed cock leaning back over poolside i'm thinking about everything 06/17/2005 10:22 PM 105,462 floridh.jpg exposed cunt cynthia i want your tongue against me, alan 06/17/2005 10:22 PM 205,049 floridi.jpg exposed cunt, sitting in deckchair, i am made, i am completely out of my mind 06/17/2005 10:22 PM 183,350 floridj.jpg exposed erect cock, i'm writing this, lying back in deckchair 06/17/2005 10:23 PM 161,639 floridk.jpg empty deck chairs 06/17/2005 11:33 PM 13,952 hole.jpg digitally enlarged prick hole into open cunt 06/17/2005 10:23 PM 175,994 mens1.jpg nude bloody woman's body lying on bed with hand holding erect cock, man standing over her 06/17/2005 10:23 PM 199,010 mens2.jpg color two, nude bloody woman's body lying on bed with hand holding erect cock, man standing over her 06/17/2005 10:23 PM 193,219 mens3.jpg nude bloody man's body lying on bed with hand fingering woman standing over him 06/17/2005 10:23 PM 195,441 mens4.jpg color two, nude bloody man's body lying on bed with hand fingering woman standing over him 06/17/2005 10:23 PM 135,742 mens5.jpg digitally altered closeup of bloody female cunt 06/17/2005 10:28 PM 143,485 NEW.JPG woman with spread legs pulling man's cock in renaissance motif on bed 06/17/2005 10:29 PM 65,930 NIKU7.GIF standing woman with hand over cunt pulling standing man's cock 06/17/2005 11:53 PM 226,450 pearl1.jpg digital green pearl inserted in cunt of susan graham 06/17/2005 11:53 PM 163,073 pearl2.jpg digital blue pearl inserted in cunt of susan graham 06/18/2005 12:01 AM 921,654 seam1.bmp woman with shaved cunt spread legs on couch, she is watching her, i am watching her 06/18/2005 12:01 AM 921,654 seam2.bmp same, she thinks subject, i am watching her thinking 06/18/2005 12:02 AM 921,654 seam3.bmp same, not both a and b, neither a nor b 06/18/2005 12:02 AM 921,654 seam4.bmp blurred house, she speaks to herself, the primal scene 06/18/2005 12:02 AM 921,654 seam5.bmp same blurred more, home and she hears her voice and thoughts 06/18/2005 12:04 AM 385,497 snapshot16.png desktop image of indexed jpegs and gifs including theory, below 06/18/2005 12:07 AM 11,549,699 splice.mp4 masturbation and nude woman sitting on man, digitally aged 06/17/2005 10:23 PM 322,756 theory1.jpg cock and asshole from rear, to read, create the conditions for arousal.. 06/17/2005 10:23 PM 276,402 theory2.jpg cunt and asshole from rear, it's addition by zero, multiplication by one.. 06/17/2005 10:23 PM 302,479 theory3.jpg cock and asshole from rear, it dreams huddled when.. 06/17/2005 10:23 PM 293,133 theory4.jpg cunt and asshole from rear, you are giving me no room, you want to cross me.. 06/17/2005 10:23 PM 300,316 theory5.jpg cock and asshole from rear, i'll follow it, it comes closer.. 06/17/2005 10:23 PM 245,574 theory6.jpg cunt and asshole from rear, are you breathing, are you breathing 06/17/2005 10:23 PM 233,133 theory7.jpg nude male body lying on sofa back, light - it's all over 06/17/2005 10:23 PM 232,403 theory8.jpg nude female body lying on sofa back, light - it starts again 06/17/2005 10:23 PM 230,494 wryting.jpg closeup of menstruation and bloody pad, exposed genitals recent work up http://www.asondheim.org should be up http://www.asondheim.org/new has recent work; lorelei will be added to the lohengrin at http://www.as.wvu.edu:8000/clc/Members/sondheim/ are trunc trunc.mov or the bobber sondheim's Home rootthrone anomalous shortwave signal around 5 mhz but just about everywhere, could it be similar or identical to the Australian signal, in any case, modified here, the original blocking just about all the shortwave bands in the vicinity of Santa Ana, perhaps elsewhere, we'll find out, but now 'soundwork' sondheim's Home swingle CZ101 synthesizer using multi-tone setting for solo work, a tune I'd worked on years ago, this is a newer version, improvisatory as usual, hope you enjoy it. sondheim's Home stret4 stret4 - very low frequency radio spikes stretched out 100-10000 times. recorded with Sony mini-disk, edited in CoolEdit. the digital stretch collapses to fundamental operating frequencies which then are parsed in relation to the original content; i.e. this is what happens. unlike analog stretch - which bottoms out into silence or parasitic noise - digital stretch tends towards continued spikes. sondheim's Home stret1 stret1 at lower magnification. insect-sounds from an entirely different region, the dialectic of digital computers with analogic space-time collapsed to digital spikes. sondheim's Home lohengrin lohengrin dances to the beat of the fourth of july! to the beat of credit manipulation! to the uneasiness of shock explosion tactics fireworks. first in a series of parallel video presentations plus text. more as usual at http://www.as.wvu.edu:8000/clc/projects/plaintext_tools/ http://www.as.wvu.edu:8000/clc/projects/plaintext_tools/AnalogDigital _ http://www.asondheim.org/new/lorelei.mp4 http://www.asondheim.org//new/lohengrin.mp4 if possible looped and played simultaneously pink blend into background curtailed blue for boys red for girls blueblack for boys redwhite for girls marching for boys and smoke for boys skirts for girls and pouting for girls the boys do the girls the girls do the boys lorelei plunging into the sea, now see, red stain on the waters o lohengrin o lorelei "I, Lohengrin, son of Parsifal, the world-renowned king, was sent hither by the Holy Grain, to save your duchess from the oppressor's hand. Now the Holy Vessel summons me, and I must go, but ere I depart, I enjoin upon you to watch faithfully over my little ones and to wipe away their mother's tears. Farewell!" "I, Lorelei, am not a witch, but let me die. I'm so unhappy. My lover has forsaken me, and his silence has lasted so long that I am sure he is either faithless or dead." i love listening to you sing lorelei i wish you godspeed lohengrin how useless it is to be a knight! how silly! "lorelei and avatar" by lord byron lorelei and avatar, the avatar will fall and lorelei will remain posed, because lorelei is real flesh and blood, and the avatar will disappear when she falls, she fails, o lorelei http://www.asondheim.org/lowl.jpg http://www.asondheim.org/lowl2.jpg o lorelei, o wonderous avatar! o wonderous lorelei! o avatar, wonderous the the and the the remain will lorelei lorelei and is is remain blood, is is avatar flesh and when blood, she she avatar o falls, she http://www.asondheim.org/lowl2.jpg she lorelei o o o wonderous http://www.asondheim.org/lowl2.jpg lorelei! avatar! wonderous o lorelei! avatar, o the the and the the remain will lorelei lorelei and is is remain blood, is is avatar flesh and when blood, she she avatar o falls, she http://www.asondheim.org/lowl2.jpg she lorelei o o o wonderous http://www.asondheim.org/lowl2.jpg lorelei! avatar! wonderous the o avatar, the lorelei! the the the lorelei remain the is will and is lorelei is is is when avatar is she flesh blood, falls, when falls, she she o http://www.asondheim.org/lowl2.jpg she wonderous she o avatar! o avatar! wonderous wonderous o wonderous lorelei! avatar, wonderous the the and the the remain will lorelei lorelei and is is remain blood, is is avatar flesh and when blood, she she avatar o falls, she http://www.asondheim.org/lowl2.jpg she lorelei o o o wonderous http://www.asondheim.org/lowl2.jpg lorelei! avatar! wonderous the o avatar, the lorelei! the the the lorelei remain the is will and is lorelei is is is when avatar is she flesh blood, falls, when falls, she she o http://www.asondheim.org/lowl2.jpg she wonderous she o avatar! o avatar! wonderous wonderous o o wonderous and lorelei! the remain o remain will and is lorelei will blood, lorelei is avatar is avatar flesh blood, she and flesh o when she http://www.asondheim.org/lowl2.jpg she http://www.asondheim.org/lowl2.jpg she o o lorelei she lorelei! o wonderous the o the o lorelei! the avatar, o lorelei the the is the is will lorelei is and will when is is she is she flesh when falls, blood, flesh o falls, she wonderous falls, wonderous o o avatar! o she o avatar! avatar! avatar! o! an accident waiting to happen http://www.asondheim.org/new/carr.mov http://www.asondheim.org/new/probe1.mp4 a hospitable call for help the analog vibration meter responds to perhaps .1 hz through 1000 hz. the wall is scarred with crashes black rubber designates histories of pain and suffering the convulsive body flees the automobile the world is a silent film only you know how to make it speak you are making yourself speak i am tired of saying this _ }~}}}~}~}}}~~}}~~~} after the accident http://www.asondheim.org/new/probe2.mov * vibration meter falling thru ecstatic ** mdhd :hdlr mhlrsounappl Apple Sound Media Handler minf smhd 9hdlr dhlralisappl Apple Alias Data Handler $dinf dref alis stbl 4stsd $raw stts (stsc stsz stco trak \tkhd $edts elst 3-mdia *** mdhd :hdlr mhlrvideappl Apple Video Media Handler minf vmhd 9hdlr dhlralisappl Apple Alias Data Handler $dinf dref alis 2Rstbl fstsd VSVQ1 SVis Sorenson Video stts stsc Dstsz stco free wide mdat wide mdat **** ~~}}}|~}}}}~~}}|}}~|}}}|~{}{}|~}}|~{}{~|}}~|}}~|}{~|}}|||}}|||}|~}}|~} }~}}}~}~}}}~~}}~~~} ~~~~ ~~}}}~~} ~~~~~ ~~~~}~~ |~}~|~}~|~}~~ ~~~} ~~}~~ ~~~~~ }~~~~~}~~~ ~~~~~ ~~~} ~~~}}}~~ ~~}}~~}}~}}~~}}~~}}}~~} ~~}}|~|}}}~~~ ~~~~ }~~~~~ }~~}}~}}}}}|}}}|}|}|~|}}~| |~|~}}|~|}}}|~}}||}}||}}~~~}}||||}}~}}~~ }~~~}~}~~~ ~~~~ ~~}~~~ ~~~}~~~}~~~ ~~}}}}~~ }~~}}~|}}~}}~~ }~~~} }~|~} }~~}}}}~~ ~~}}}}~~ ~~}~~ }~~}}~~}}}}~}}}~} }~}}} ~~~~~ ~~}}~~ }~~~ }~~~}~}}~~}~~ ~~~~~ ~}~~~ }~|}|~|}}~|~}}~~} ~~~~ ~~}~~ }~}}}}}~~ z~x}~ ~~}|~~} }{}| x{sv wyvz |~vz y{z| ~~|} y|~~ |~{z xx{x xn}s y|z| ~~~} |z}y }~~} }|~~ |}~} }}|}| }~|}| }}~u ~}~} }|}}~ |}z~ ~|~~ }}~} |}}~ }~~}~~ ~~~~ {~~~~ }~~~ }~}~ z}y|~ * very poor quality, it is all i could do to make this accessible ** meter registers impact then centimeters/second *** meter recently calibrated **** meter recently overhauled _ VLF acoustic == at the moment I'm typing and feeding this into a motion detector which is reproducing the words at an unholy rate; you can hear the result if you dare, listening to the mp3 that will eventually come out of this. In the meantime I'm watching the result on a screen, simultaneously typing and recording the strange mechanisms that are underway.... now for a moment will say something at quite great volume - ok now back into it, see what happens on the recording, goodbye. http://www.asondheim.org/compu.mp3 http://www.asondheim.org/compu2.mp3 frequency raised into audible domain the motion detector is acoustically coupled to a metal table coupled to a cement floor. the room has a number of resonances. objects on the table include the laptop, a large (linux) desktop and small flat-screen monitor. the desktop contributes; the other objects are too small and loosely coupled at best. "Recently I've been at a loss in relation to my work. My projects are just that, projects; they could stop now or go on forever. I want to work on a 'summing up.' No one knows how much time they have, and my work seems so utterly disparate. I'm in a permanent state of being distraught. What I've done up until now is nothing but spew." _ digital touch of the avatar http://www.asondheim.org/shouldher.mov oh how i wanted to be there this isn't true, it's a construction, there's no avatar, there's only an image, there's no touch, there's just conflation, there's just dictionary not numeric ordering, there's just, there's just something or other gnawing at the touch and the shoulder and the wire bending tenderly to touch the shoulder one of the best films of the year, pascal and chris evert vlf audio 3 vlf audio recordings in cement room; probe4 = guitar acoustically coupled only; nervoussystem = heart/body sounds; probe3 = local ambient to be honest i haven't heard anything like these; they are elephantine (in the sense of elephant hearing bandwidth) raised 71-80% if vlf radio = digital collapse/decay (and does it?); vlf audio = analog spread across the floor of the imaginary real http://www.asondheim.org/probe3.mp3 http://www.asondheim.org/probe4.mp3 http://www.asondheim.org/nervoussystem.mp3 = - for Alan Seeger there is something one will always know our generation is the last to go we're born, great-grandparents whisper down like ghosts then pass away, we learn that there are hosts of others, those we will not know, our generation is the last to go grandparents age, wither, die before their time we're on their hinge, we're entering our prime, or so we think, there's something more they know, our generation is the last to go our burdened parents follow us, their friends surround us, until it's clear their ends aren't ours, we wither in their dying, for they know our generation is the last to go and now, we're almost there, our children know our generation is the last to go In lieu of book or interview - a summing-up: My work deals with the relationship of consciousness to the world vis-a-vis the mediation of problematic and 'dirty' symbolic domains. My work deals with the wonder of the world as new bandwidths, vistas, histories and geographies, are made available. My work deals with the problems of foundations, Absolute, primordial, originary, in terms of debris and scattering. My work is a continuous dialog, itself scattered among distributions. My work evades biography, diary, autobiography, the anecdotal, whilst plunging into the simulacra of personal narratives. My work exceeds itself, resonates with itself, with others; the others inhabit my work which curls around fictivity. My work is my obsession, to an unhealthy degree; however, when filled with despair, there are moments of exaltation as distant shores are glimpsed. My work is fearful of being found out; it is worried close to death. My work is a stripping away of irrelevance; my back to the wall, I inhabit the world. My work is a constant meditation on the world, on its diffuseness, its encapsulations, circumlocutions, circumscriptions. My work has pretensions towards the philosophical and the scientific; I strip my work away from my work as well. My work touches language, body, and sexuality, all in relation of an inert real. My work insists on the fragility of the good, of stasis, of permanence; it embraces the plasma, is swallowed by holocaust, dissolves in detritus. My work covers the same ground repeatedly. My work is simultaneously excess and denudation, artifice and natural deployment, ornament and structure, text and subtext, suture and wound. My work is simultaneously hypothesis and hypothetical, a proffering or wager. My work inscribes my work, deconstructing inscription and the walls surrounding the Torah. My work hedges and devours death; I work furiously, death will allow even this and one other final flourish. My work penetrates to the state of inversion; what is negative, is positive, and what is positive, negative. My work is based on the fissure, not the inscription; it is based on substance, not dyad, on ruptured continuities, not positives and negatives. My work is a collapsed ecstatic; my work is a collapsed aesthetic. My work presses the systemic until it breaks; my work is a broken work, construing breakage, irruption of subtext into text, symbolic into subtext, substance into symbolic; my work breaks the inscriptive chain itself. My work carries equivalence across media, genidentity across protocols and virtualities, sexualities across avatars and bodies, politics into the flesh-heart and ideological strangulation. My work is discontinuous on the surface, tending towards stylistic extremes. My work explores epistemologically and ontologically shifted bandwidths; my work brings the uttermost into the vicinity. My work explores the desperate exigencies of the flesh, the shock-tactics of annihilation-creation, the degeneration of generators. My work tends towards the unaccountable, the unaccounted-for; my work emphasizes the inconceivable. My work inhabits originary past and indeterminate future, locating the plasma at the former, and the final outpost of substance at the latter. My work runs from wavelengths universe-spanning to particle wave-lengths, listening everywhere; my work is a reporting from the limits. My work inhales information-annihilation, being-annihilation, its own absence and every other. My work inflates, exhausts; I have a desperate relation to my work; I tend my work in the meager hopes of its survival beyond me. My work is its own; my work is centered in the dissipated locus of the histories of the self; my work is beyond my work. My work occurs within non-aristotelian logics, within logics of non- distributivity; my work occurs within dusts and radiations; my work exists in relation to the death of the symbolic. My work decodes my work; my work brings the code of work, the code of labor, to the surface. My work is codework, operational research for the flesh; my work abjures absolute frameworks, definitive infinities. My work explores the inaccessibly high-finite, the inaccessibly low- finite, numeric flux dissolution into physical-material real. My work is the future of philosophy, the future of intellectual work, of the propriety of the intellectual; my work is the afterthought of the past, the afterthought of the future, the thought of thought and its draining. 'My work' or 'my work' but one may say '*' in lieu of the phrase; my work is a place-holder, shifter. My work is neither this nor that; my work is not both this or that; my work is vulnerable. My work is analog-stumble, digital clarification; the real is inescapable and production is discrete; my work is never done. My work is trauma-therapeutic; my work is beyond that, bypasses that, circumvents that; my work is unconscious, of the dream of the real, of the dream of a real; my work stands on its own, ignores me; my work is in spite of me; my work is a collocation; my work circumscribe confusion; my work is insistent; my work is philosophy in the highest and lowest degree; my work is the world's unconscious; my work is the true world of the dissipation of worlds, of the imminence and immanence of death; my work is a bulwark and a fiction; my work is non-fiction, languorous; my work is neurasthenic; my work is the neurosis of the world; my work is never done. _ Universal Studio tour, time echoes, so many memories http://www.asondheim.org/studio.mp4 http://www.asondheim.org/studio2.mp4 these words surround you, Universal Studio tour, welcome! _ here is an example carrying forth an attempt to slur the digital it spreads into spikes it collapses into roar and fissure it is a broken corporation http://www.asondheim.org/astroslo.mp3 http://www.asondheim.org/astrofast.mp3 it is culture State of new media from strawberry fields forever - The work I'm doing isn't much different from the work you're doing. It will disappear when the net goes down or when it's no longer tended. Nobody tends things forever. It's amazingly ephemeral; there's nothing to it; it's stillborn, passed in email or on a website, that's all. It's not as if we're contributing to the well-being of humanity; the idea that art makes any sort of social or political difference is long outmoded, repeatedly proven wrong. We're not even making paintings which have a modicum of a chance of survival, 'being as how' they're concrete, inert, almost idiotic things (in the sense of Rosset or Sartre). Certainly we haven't made any contribution to physical theory or the sciences in general, and our work is rarely entertaining. At our performances and readings, only the rest of us show up. The 'culture' such as it is, follows mass media, corporate distribution systems, subtended radicalities; the best one hopes for is museum sponsorship. We've saved no one's lives through our art - turn the machine off, and we're pretty much done for. We engage in outmoded theories, bouncing one theorist off another, as if any of it mattered in the universe at large. We work through fast-forward intellectual fashions, situations in which phenomenology, existentialism, postmodernism, deconstruction, and so forth - name your 'movement,' name your theorist - are considered outmoded, as if philosophy had advanced since Heraclitus. We ignore scientific theory, or borrow from it, on a simplistic or meta- phoric level, as a form of legitimation, as if we're somehow connected with scientific 'advances.' We confuse science with technology, substituting cleverness for any real disciplinary understanding, in fields ranging from psychoanalysis through physics. Our theoretical work is written as if it somehow matters, somehow says something about the world, which we hardly understand. We substitute cultural politics for political action and depth; we ignore war or illustrate it. We entertain ourselves endlessly, as if our work had nothing to do with entertainment (some might call us failed comedians, novelists, what have you, substituting surface transformations for that hypothetical depth that seems to infest the canon). I am guilty of all of the above. We go on and on and on... _ theoretical tension as a result of curve-cutting and raster change. what happens when intermediate discrete limits are passed. http://www.asondheim.org/twistl.mov or so I'm led to believe, having worked through the equation. short video and easily downloadable. details, details... Moth Radio - an unpublished letter by Edwin Way Teale found in a copy of Near Horizons, Dodd, Mead, and Company, NY, 1942, bought at Heights Books in Brooklyn, NY, May 2005 - Edwin Way Teale 93 Park Avenue Baldwin, L. I. New York January 10, 19(4/5)3 */typewriter overstrike; the date is unclear/* Mr. Harold Watson, 68 William Street, New York City,N.Y. */sic/* Dear Mr. Watson: So far as I know, the hypothesis that the Cecropia and other moths may employ a kind of radio in attracting their mates, is merely an interesting theory unsupported by concrete evidence. There have been numerous suggestions that the insects have some sixth sense or other mysterious faculty. I don't think that either you or I can say with absolute finality that they do or do not. But I am sure that the burden of proof is on the person who makes such a proposal rather than vice versa. Until more evidence that */sic/* I have seen so far is brought forth, I, personally, will continue to believe that the acts of these amazing little creatures are governed by the senses we know rather than by some vague or mysterious factor whose existence remains to be proved. Unless the scent organs are also the centers of the "moth radios," I don't see how we can get around the experiments which reveal that male moths fly to the scent organs rather than the moth itself--or even to a container in which the female has rested rather than to the female herself when she is enclosed in an airtight container from which no odor can escape. And radio waves can go through glass. It is an interesting subject, but, as I say, the burden of proof is on the proponents of the new and radical theory and researches */sic/* should be made before such a theory is accepted, even tentatively. Most Sincerely Yours, Edwin W. Teale _ please listen to the building every building is a cosmos every corner resonates with every other, ceiling-diaphragm against inclement weather, floor coupled through vertical beams, suspended, just like the hollow suspends, hear, you can hear them, frequency raised, breathing, the building, sub-sonic early morning traffic industrialization, engines against the chaotic wind, beam expansion, every building is a universe, collapsing, plasma-inhabited, temporary stasis of _the thing_ http://www.asondheim.org/gcacbldg.mp3 resonances from the Grand Center Art Center building, 2nd floor. http://www.asondheim.org/gcacsonata.mp3 sound construction project using roof ladder http://www.asondheim.org/gcacsonata2.mp3 sound construction project using roof ladder modified small files, 3/1/1 megabytes the fulsh sex-mother-scape this is large, 11 megs, but worth it, fulsh.mov has been in my head a long time, i reduced it at one point to fulsh.mp4 but the detail wasn't there http://www.asondheim.org/fulsh.mov i know you have difficulty downloading such large files; perhaps they could download in the background? they're worth it, i'm breaking new ground here, as well as with the vlf audio materials sent earlier again i apologize, i'm making these for your pleasure and for that matter for your research, making these as small as possible, the devil's in the details they say, and it's certainly true with these this was dream-scape, this was maternal-scape, sex-mother-scape, es-cape, e-scape, this was scarp, it was all there before i began the construction, the same is true of the vlf audio, listening to the building, caressing it from the inside out i am doing my best work now please take your time, listen, look at it you won't be disappointed the heart of the world physical mental flesh mathematical plural singular space prespace explicate implicate wave-equation collapse from an old Mathematica notebook, revived, modified http://www.asondheim.org/uphigh2.jpg from a modified Mathematica program http://www.asondheim.org/vvv.jpg _ INTERNATIONAL CODE OF SIGNALS and Level Intermingling INTERNATIONAL CODE OF SIGNALS (AMERICAN EDITION) VOL 2. - VISUAL 1931, UNITED STATES NAVY DEPARTMENT HYDROGRAPHIC OFFICE I've been poring over this book, which presents signals by sound, flag, semaphore, morse, and flashing light. Each medium has similar problems: 1 How to accommodate other languages than English (which is the default); 2 How to distinguish code from meta-code. In terms of the latter, for example, the International Flags and Pennants, are the following: Afirm, Baker, Cast, Dog, Easy, Fox, George, Hypo, Int, Jig, King, Love, Mike, Negat, Option, Prep, Queen, Roger, Sail, Tare, Unit, Victor, Gillian, Xray, Yoke, and Zed; 1, 2, 3, 4, 5, 6, 7, 8, 9, 0. But there are also Repeaters: 1st Repeat, 2nd Repeat, and 3rd Repeat; and a CODE or answering pennant (red and white vertical stripes). So that for example: Art. 69. When several flag hoists are displayed simultaneously they are to be read in the following order: (a) Masthead, (b) Triatic stay, (c) Starboard yardarm, (d) Port yardarm. Art. 70. When more groups than one are shown on the same halyard, they must be separated by the tackline and be read in the numerical order of their superiority. Physical support, meta-symbol, symbol, and image/imaginary intertwine. Art. 78. Similarly, if she [the ship] can distinguish the signal but can not _understand the purport_ of it, she should hoist the appropriate signal VB, signifying, "Signal is not understood though flags are distinguished." The Use of Substitutes (Repeaters) Art. 79. The use of substitutes is to enable the same signal flag to be repeated one or more times in the same group while still only carrying one set of flags. For instance, it is obvious that without substitutes such a group as AAA or 1000 could only be made if three sets of signal flags were carried. By the use, however, of three additional signal flags, called substitutes (named first, second, and third substitutes respectively), any 2, 3, or 4 letter group can be hoisted by means of a single set of flags. How to Spell Art. 86. Names in the text of a message which is being signaled by flags are to be spelled out by means of the alphabetical signals which consist of-- Answering pennant over E (Alphabetical signal No. 1.) Indicates that until alphabetical signal No. 3 is made, the letters following do not represent signals from the code, but represent the letters of the alphabet spelling a word. Answering pennant over F (Alphabetical signal No. 2.) Indicates the end of a word being spelled or the dot between initials. Answering pennant over G (Alphabetical signal No. 3.) Indicates that the spelling of words is completed, and that the signals which follow are to be looked up in the code in the usual manner. In Morse Signaling, beyond the Alphabet, Numerals, and Punctuation, there are Procedure Signals and Signs: Call for unknown ship and general call - AA AA .- .- .- .- Answering sign - TTTTTTTTTTT... ---------... Space sign - II .. .. Break Sign - BT -...- Erase sign - EEEEEEEEE... .......... Repeat Sign - UD ..--.. ... Repeat word or group before WB .-- -... Ending sign - AR .-.-. From - De -.. . You are correct - C -.-. Repeat back - G --. Message received - R .-. Word (plain language) received T - I am unable to read your message owing to light not being properly trained or light burning badly - W .-- International Code groups follow - PRB .--. .-. -... Semaphore Alphabet signaling consists of the following: A, B, C (answering sign), D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z, ATTENTION, BREAK The _Signal Code_ itself is complex - 1, 2, and 3 letter combinations for content, 4 letter combinations for location (i.e. AODR = Cape Sacratif) and name (i.e. ship name). The _content_ is based on an alphabetical listing of English phrases equated with the letter combinations, both in _independent alphabetical order._ Single letter signals are used for primary communication and begin: A - I am undergoing a speed trial. B - I am taking in or discharging explosive. C - Yes (affirmative). D - Keep clear of me - I am maneuvering with difficulty. and so forth. Double letter signals are based on major _alphabetical thematic content_ - for example the first several themes are: ABANDON ACCIDENT AFLOAT AND AGROUND AIRCRAFT and the last several themes are: WEIGHING WHISTLE OR SIREN WIND So for example: WHISTLE OR SIREN ZK - I shall signal with whistle or siren during fog. ZL - You should sound whistle or siren at intervals. WIND ZM - Direction and force of wind is. ZN - What is the wind direction and force? ZO - I am dazzled by your searchlight,s; douse or lift it, them. The three letter codes begin with numerous lists: Points of the compass: NNE - JUQ NE by N - JUO NE - JUM Points: ABH - 2 points on the starboard bow. ABI - 3 points on the starboard bow. Degrees: ACA - 60 degrees to starboard ACB - 70 degrees to starboard Standard Times: ACS - + 9 Japanese central. ACT - + 8 Chinese (Japanese western). ACU - + 7 Straits Settlements and so forth. Grammatical meta-symbols: ADW (An order); AEW Do not; ADX I (do); AEY (He, she, or it, does not); AFW do I?; AGG Did I? etc. - all followed by the proper verb. Punctuation: AGQ - Period (FULL STOP). AGR - QUESTION mark? AGS - The following is in PLAIN LANGUAGE. AGT - The following is a REQUEST. AGU - The following is ADVICE or a SUGGESTION. and so forth. The GENERAL VOCABULARY proper is doubly alphabetized. For example: ... LTV - QUESTION, s (Interrogate, ion). Questioning - Am, Is, Are. LTW - Questioned - Has, have, ing. LTX - QUICK, ly, ness. LTY - As quickly as possible. LTZ - Too quick, ly, for, to. LUA - QUICKEST, The. LUB - QUICKSAND,s. LUC - QUIET, ly, ness. LUD - QUININE. LUE - QUINSY. LUF - QUITE LUG - R., RACE Race,s (Tide race) - RLJ LUH - Race,s (Propellers, Engines, etc.). Racing - Is, Are. LUE - Raced - Has, Have, ing. LUJ - Radiator,s (Cooling). LUK - RADICAL, ly. LUL - RADIO,s. Radioing - Am, Is, Are. LUM - By radio. Operator,s - KEO Receiver,s - MAB Transmitter,s - PHU Radio apparatus - BCP LUN - Radio direction finder,s. LUO - Fitted with radio - Am, Is, Are. LUP - Not fitted with radio - Am, Is, Are. ... This double-indexing depends, with the triplets, on strict dictionary ordering; and, with the referent, on SUBJECT / examples in dictionary form. There is no implicit link between signifier and signified; for example: NSD - SOS. (Interestingly, the SOS triplet is omitted.) After the triplets, the book presents a DECODE section, which contains additional symbols useful for "decoding messages from ships or stations not using the English edition." For example: SPP Dressing, a (Surgical). SPQ The least. SPR Last month. SPS Half way. These would be used by an English speaker working with incoming partly in another language. So far we are only dealing with a. English language and b. standardized punctuation. It should be noted in terms of the latter, for example: Art. 147. There is no equivalent of the apostrophe "s" (possessive) in most foreign languages, and it has, therefore, been omitted from the code. The possessive sense must be expressed by means of the possessive "Of (Belonging to)." ... and in terms of the former: Art. 139. It is obvious that when making up the Italian edition of the code, each of these Italian words, which, it will be appreciated, have other meanings not expressed by the English word "report," must be allotted a different code group. The following procedure has therefore been adopted. If a word, say, in English, requires more than one word to express its meaning in, say, Italian, and these Italian words are quite distinct from one another, the code group which has been allotted to the English word is inserted only in the Italian _decode,_ with the necessary Italian equivalents against it. These Italian words, when and if inserted in the Italian code, are assigned different code groups, which are then printed in the English decode but not in the English code. ... Example 9. - Specimen decoded message. STN - Picked up (Has, Have, ing) , Collected - Has, Have, ing. EDR - Crew, s. 3 - 3. CEC - Boat, s. RCZ - Belonging to. , Of. IBNS - S. S. Leme RHL - Sunk - Has, Have, ing. 13 - 13th. VFB - Instant. Current. Existing. AGQ - Full stop. RKD - Mine. My. LDK - Next port of call. AACF - Aden. AGQ - Full stop. AEM - I will < > OTB - Telegraph, s. , Telegraphing - Am, Is, Are. TVJ - Name, s. KVP - Person, s. MWJ - Saved - Has, Have, ing. Have picked up crews three boats belonging to S. S. Leme, sunk 13th instant. My next port of call Aden. I will telegraph names persons saved. In all of the above, codes/metacodes/referent-trees all intermingle. Distinctions among the categories blur in favor of other exigencies. In some cases, i.e. signal flags, it's possible to add an additional pennant for clarification (i.e. CODE). In other cases, i.e. morse code, distinctions are more problematic, since they are made within the primary code lexicon of dot/dash/space. The ordering of the general vocabulary leaves no room for additional terms; i.e. between MXA and MXB there is nothing; to this extent the code remains highly discrete. (MXAA already implies either place or ship name.) The code encapsulates the major situations that might occur among mariners at sea (or air); everything else is spelled out. With the thousands of entries in the International Code of Signals, decoding occurs by means of lookup; it would be impossible to memorize all of them. There are parallels between this system and Chinese characters; in this sense, the International Code contains only 26 radicals, arranged in one to four groupings. The "messiness" of the system has implications for anyone hoping for a clean and clear reading of "discrete" or "symbol" in relation to code-work - as in many other systems, heuristics takes over. While the system remains discrete on one hand (i.e. a limited number of signal elements), the referent "splatters" - it's difficult to contain, and the strategies of containment extend the usage of signal elements to meta-levels and beyond. _ the island no, nothing happens, nothing moves some iceplants move in the foreground is it an island or artificial coagulation structures are oil pumps and attendant machinery the island is perfectly poised i do not know, does it float? surely it is anchored sometimes in enormous seas islands have difficulty perhaps this can float away men live on the island for a week i'm peering behind some iceplants i couldn't see the men but could see the palms the palms perhaps are real and perhaps not what would anchor the palms? what would anchor the men on the island? what anchors the men anchors the palms both are anchored to the earth and its bodhisattvas http://www.asondheim.org/theisland.mov the island is not an island not an island is an island if this is an island is it not an island? if this is not an island is it an island? Nine: The Album Please download! Go to: http://www.asondheim.org/nine/ There are nine guitarworks here, a full lp album's worth. These were recorded absolutely flat in a silent recording studio, one microphone, no equalization or effects. The guitar is the old unlabeled Larson (?) parlor guitar, from around 1910. It's tuned to D, more or less. I'm happy with these pieces - all mp3s - they represent my stumbling or stuttering in relation to the scales/soundwork/chords I'm using. The labor comes through, which is important to me. (It represents literally 40 years of work.) The pieces were recorded first take, within an hour and a half. - No Tags - Check Out - Hi - please go to the DVblog and check the work out - published 12 of your work on DVblog 'Disorders of the Real' http://www.the9th.com/DVblog/ DVblog Vlog and blog for quicktime work July 21, 2005 Disorders of the Real Filed under: documentary, short movie, animation, ephemera, experimental, netart admin WolfTCs.mov WolfTCs.mov (24MB) Alan Sondheim is, in fact, a sort of art maniac, whose fixed idea is to read the world in as many different ways as possible each reading confounding all the others and then to reread it. Sondheim s works seems at once tenuous and aggressive, blurs the distinction between self and other, male and female, theory and fiction - extracts from Keith Waldrop and Glenn Harper. Published here are 12 quicktime projects by Alan. Imposed animation projects fluxs.mov fluxs.mov (18MB) spritess.mov spritess.mov (17MB) family.mov family.mov (15MB) Body-nature projects nature.mov natural.mov (9.7MB) thongs.mov thongs.mov (2.3MB) 1947.mov 1947.mov (1.5MB) Actuality works gra.mov gra.mov (3MB) aftershock.mov aftershock.mov (2.4MB) america.mov america.mov (1MB) Text movies spool.mov spool.mov (1.4MB) start2.mov start2.mov (2K) Tags: none _ 2 short silent videos sometimes you find beauty in the love and forbearance of god http://www.asondheim.org/sermonmount.mov what if the mountain moved in ecstatic relationship to god what if god were on the mountain god were in the mountain if god were by the mount if god were beneath it http://www.asondheim.org/myloveofwater.mov wet with the sped-up fury of the lord, i will do no evil i will point to the wash of the real (lord, i will testify, the wash of the real on the mountain within the lord i will testify) sometimes you do not mons http://www.asondheim.org/nine/ mons series around the hills of Los Angeles where the lonely woman looks out of the Western Motel sometimes they burn and everything human is lost and we are happy the plants and animals are happy too the Western Motel is at the end of the world of course of course of course _ from gates and buildings substation gates, plateglass front window, display case surface http://www.asondheim.org/speechofbuilding.mp3 please be careful while listening, even at low volume; subsonic rumbles about 3/4 the way through tend to rattle speakers entities mouth speak, it's the nature of the world resonance where and when coherency occurs the same for partial entities, for no entities at all world murmuring the world things are temporary coagulations they're not yet torn apart they're speaking as if they were one, coherent, as if someone said unity as if the saying made it so as if the saying made it so for all time and all transportation from one space to any other i recording the mouthing of the world, mouthing of the cosmos what you might ignore shuddering somewhere in a building or before a wooden gate perhaps you're thinking of entering perhaps you're thinking of nothing, walking on _ 3 l 1 flicked 7 speechofbuilding 8 astrofast stret4 3 astroslo bcffils elek 6 elk f probe4 gcacsonata2 ion2 4 mgnanoml probe3 q rooting2 ion3 rootthrone 0 slcmod1 crack 5 3 7 l speechofbuilding 1 8 flicked astrofast 7 stret4 speechofbuilding 3 8 astroslo astrofast bcffils stret4 3 astroslo 1 bcffils flicked elek gcacsonata2 6 ion2 elk 4 f mgnanoml probe4 probe3 gcacsonata2 q ion2 rooting2 4 ion3 mgnanoml elek probe3 6 q elk rooting2 f ion3 probe4 rootthrone 0 slcmod1 crack rootthrone 5 0 1 crack flicked flicked astrofast flicked flicked astroslo speechofbuilding stret4 6 astrofast elk elk astroslo ion2 elk elk probe3 probe4 4 ion3 ion2 rootthrone rootthrone probe3 5 0 rootthrone slcmod1 5 hrone 0 slcmod1 crack 5 3 l 1 flicked 7 speechofbuilding 8 as s s 3 l 1 flicked 7 speechofbuilding 8 as 3 l 1 flicked 7 speechofbuilding 8 as 3 l 1 flicked 7 speechofbuilding 8 as re roslo bcffils elek 6 elk f probe4 gcacsona roslo bcffils elek 6 elk f probe4 gcacsona 4 3 as re re roslo bcffils elek 6 elk f probe4 gcacsona a2 ion2 4 mgnanoml probe3 q roo a2 ion2 4 mgnanoml probe3 q roo hrone 0 slcmod1 crack 5 The literal speaking of the world while we listen this goes on. and on and on and on. today we saw endangered least terns plunge diving we saw a flock of willets as well, these shore birds are somewhat drab when standing, but their wings are brilliantly designed patterns from below there were other sounds (i.e. than the birds calling) http://www.asondheim.org/nine/cablespeak.mp3 http://www.asondheim.org/nine/willetfil1.mp3 http://www.asondheim.org/nine/willetaud2.mp3 I want to learn these languages. _ Prespace 9 guitar works recorded flat with 1920 Larson parlor guitar. Audio works from VLF (very low frequency) radio recording. Audio works from VLF audio recording with frequency shifting. Audio works with tottering granular synthesis. A subset of VLF radio signals are ducted in the atmosphere. Digital modifications of such signal transform ducting into inhabited space. Nearby movement in moist conditions couples and uncouples antenna operation. Subsonic VLF audio is the speech of worlds and buildings. We bring you the resonant ducting of the world. Into the world we bring the developing structure of fast guitar. Organism makes itself felt, murmurs, disappears into plasma. This is the order and disorder we identify with things. We hold them tenderly, they are burning fiercely. They are burning fiercely, we have no memory of ducts. Our space and time are surface phenomena, ashes of inordinate processes. Wave equations collapse and the digital is born. The digital expands, leaving the things of the world behind. Worlding and structure intermingle in discordant resonance. We are listening to listening, hearing to hearing, ear to ear. 3 guitar l guitar with granular synthesis 1 guitar flicked vlf radio with granular synthesis 7 guitar speechofbuilding vlf audio of Grand Central Art Center 8 guitar astrofast highspeed vlf radio mod stret4 ultraslow vlf radio mod 2 guitar astroslo ultraslow vlf radio mod bcffils vlf radio mod elek vlf radio coupled with regal mandolin mod 6 guitar elk vlf radio mod f vlf radio mod probe4 vlf audio coupled with guitar mod gcacsonata2 vlf audio mod ion2 guitar with granular synthesis 4 guitar mgnanoml vlf audio with anomalous moaning mod probe3 vlf audio mod q guitar with granular synthesis mod rooting2 vlf radio mod with dance antenna coupling ion3 guitar with granular synthesis rootthrone unknown vlf mod 9 guitar slcmod1 vlf radio unknown mod crack vlf radio mod mod 5 guitar thanks to Azure Carter / dance Matt Frantz / production / studio Andrea Harris / production Alan Sondheim 2005 Santa Ana, California silent guitar guitar dreams sleeping guitar http://www.asondheim.org/gu.mov accouterments these are worth seeing http://www.asondheim.org/surfrodf.mp4 http://www.asondheim.org/karnival.mov museum studies visit to an imaginary museum of the real http://www.asondheim.org/degaslegs.jpg i wanted to know what was under her iron skirt her bronze stockings panties patina always wanted to know always wanted to penetrate http://www.asondheim.org/degasdancers.mov my name is diaghilev i get to fuck ballet http://www.asondheim.org/eve.mov my name is nikuko i get to play wherever i want now i want you http://www.asondheim.org/eve0.mp4 (but i will cover you up) (but i will point you out) http://www.asondheim.org/duanehanson.jpg hello, we are modern sculpture, we are watching everything http://www.asondheim.org/nring.mov my name is tiny baby, i am teething ring, i am watching everything too _ Prespace 9 guitar works recorded flat with 1920 Larson parlor guitar. Audio works from VLF (very low frequency) radio recording. Audio works from VLF audio recording with frequency shifting. Audio works with tottering granular synthesis. A subset of VLF radio signals are ducted in the atmosphere. Digital modifications of such signal transform ducting into inhabited space. Nearby movement in moist conditions couples and uncouples antenna operation. Subsonic VLF audio is the speech of worlds and buildings. We bring you the resonant ducting of the world. Into the world we bring the developing structure of fast guitar. Organism makes itself felt, murmurs, disappears into plasma. This is the order and disorder we identify with things. We hold them tenderly, they are burning fiercely. They are burning fiercely, we have no memory of ducts. Our space and time are surface phenomena, ashes of inordinate processes. Wave equations collapse and the digital is born. The digital expands, leaving the things of the world behind. Worlding and structure intermingle in discordant resonance. We are listening to listening, hearing to hearing, ear to ear. 3 guitar l guitar with granular synthesis 1 guitar flicked vlf radio with granular synthesis 7 guitar speechofbuilding vlf audio of Grand Central Art Center 8 guitar astrofast highspeed vlf radio mod stret4 ultraslow vlf radio mod 2 guitar astroslo ultraslow vlf radio mod bcffils vlf radio mod elek vlf radio coupled with regal mandolin mod 6 guitar elk vlf radio mod f vlf radio mod probe4 vlf audio coupled with guitar mod gcacsonata2 vlf audio mod ion2 guitar with granular synthesis 4 guitar mgnanoml vlf audio with anomalous moaning mod probe3 vlf audio mod q guitar with granular synthesis mod rooting2 vlf radio mod with dance antenna coupling ion3 guitar with granular synthesis rootthrone unknown vlf mod 9 guitar slcmod1 vlf radio unknown mod crack vlf radio mod mod 5 guitar thanks to Azure Carter / dance Matt Frantz / production / studio Andrea Harris / production Alan Sondheim 2005 Santa Ana, California deconstruction of deconstruction of Degas deconstruction of Painting deconstruction of Impressionism deconstruction of The West deconstruction of Culture deconstruction of Perception deconstruction of The Real http://www.asondheim.org/degaslegs3.jpg http://www.asondheim.org/degaslegs4.jpg http://www.asondheim.org/degasribbon.jpg _ Transitive Lan.[ ]ondes Nan.[ ]marmotter Sai.[ ]ouies de poisson Tun.[ ]bouiller Yao.[ ]jarre Hu.[ ]corail Fei.[ ]calomnier Hang.[ ]sorte Kuan.[ ]avancer Li.[ ]amande Lung.[ ]licou Hsiang.[ ]reciproque Ni.[ ]triste T'sun.[ ]hameau Shuan.[ ]serviette Po.[ ]cent Mang.[ ]desert Kun.[ ]rouler Chin.[ ]serre Fa.[ ]amende Shai.[ ]gaze P'eng.[ ]mettre a couvert Yu.[ ]herse Wei.[ ]hormis So.[ ]navette _ silent movie a series of event http://www.asondheim.org/contactreleasedance.mp4 or serie of events something happened that we will slow up the ob-scene ob-scene, obvious scene, obvious seen the plot obvious seen What happened to the fish? http://www.asondheim.org/myrealwork.mov http://www.asondheim.org/mytruework.mp4 I used to think I could work in tiny spurts, 30k was what I told my students and that sufficed surely for a while, but As the digital began to coalesce and approach the real, It turned it it didn't matter what you or I might feel, We had to adjust to the times. The analogic breathed down our necks, And while the image turned truer, video retained its specks. Soon we analyzed the image, found it was just the same as before, And the video, already swollen, the same but a little bit more. In the depths of the ocean I took the image with the fish, Carefully erased it for the other, it's gone for you, I wish It's disappeared and safe and snug within the tentacles and arms Protecting it against carnivores who come to eat and do it harm. I wanted to show you the smoothness of the digital jelly Besides the tiny fish who would not wish it in its belly, But glides nonetheless in and out following sun, moon, and tides And there is so much more, I'm sorry for the megabytes, besides. _ X-Ray Fuji Fuji remains down to the silver grain; the original is sharp. But the grain dissipates; it refuses the exhaustion that height and brea/d/th can bring. As for beauty, it is only skin deep. The skin is plastic; the sheen is digital; the skin is digitized; the sheen spreads analogically across the memory of skin and its absence. The x-ray is plastic protrusion; its sheen is digital; the bones are digitized. Buddha would visit the house of this woman and clothe her with skin. The woman (who is Buddha) would visit the house of atmosphere, house of air-with-no-harm. http://www.asondheim.org/fuji.jpg http://www.asondheim.org/fuji2.jpg http://www.asondheim.org/skindeep1.jpg http://www.asondheim.org/skindeep2.jpg http://www.asondheim.org/skindeep3.jpg Though we say 'a step', this connotes te whole body; that is to say, the whole body undergoes change; the aggregates of the whole body undergo new births, new growth-and-decays, and new deaths. If a hundred steps or a thousand steps are taken in the course of a walk, then a hundred or a thousand new births, new growth-and-decays, and new deaths take place in the whody. A step may also be divided into two, as the lifting-up aggregate and the laying-down aggregate of the foot. And in each single step, birth, growth-and-decay, and death must be noted. The same holds good with regard to all the postures of the body, such as standing, sitting, sleeping, stretching out, drawing in. Only, what is to be understood here is that all tired, wearied, inflammatory, irritative, painful states are changes in the continua of aggregates produced by temperature. Both in exhaling and inhaling, beginnings, middles and ends are all discernible. The phase of continuance, of stability in the existence of the aggregates, is immediately followed by decay which, in connectioon with such matter, is called exhaustion or weariness. [...] Exposition of Tirana-Parinna The three salient marks or features are: 1. anicca-lakkhana: the mark of impernanence 2. dukkha-lakkhana: the mark of ill 3. anatta-lakkhana: the mark of no-soul. [...] Thus if we look with the mind's eye, the mark of impermanence in all the matter of the whole body will be clearly discerned. - Mahathera Ledi Sayadaw, The Manuals of Buddhism, Bangkok, 1978. (I strongly recommend this work, which is available second-hand online.) _ My Sixty-Five Failures I dread this. My first failure is an inability to sleep through the night, no matter what; insomnia and nightmares occur constantly. My second failure is a failure to relax, to take time out and enjoy things, to not see the world through pessimistic eyes. My third failure is never to feel at home, anywhere, to remain nomadic no matter what, to be unable to inhabit a place. My fourth failure is an inability to make money, to have a stable income, to stop this constant scrambling after decades of making-do. My fifth failure is my real lack of university affiliation, to play the penniless scholar for the rest of my life. My sixth failure is not to be accepted as a serious scholar, however that be defined. My seventh failure is a lack of books of mine and others bringing together the theoretical work I do, as if my career is based on diary, anecdote, hypersexuality, obsessiveness, neurosis. My eighth failure is an inability to feel at home on the net, to have my processes accepted as somehow fit. My ninth failure is the lack of a conference circuit due to poverty, which tends towards a lack of face-to-face meetings. My tenth failure is an inability to program well, and to remain in one mental space long enough to learn a language, both natural and computer. My eleventh failure has been a miserable personal life in the past, and a real difficulty in seeing the external existence of others outside my narcissistic circuitry. My twelfth failure is a lack of high mathematical skills. My thirteenth failure is an inability to produce anything beyond dribble- works, small fragments in lieu of the masterpiece which would temporarily ensure my place in the cultural cosmos. My fourteenth failure is a lack of critical attention given to my work, which appears increasingly to exist in a vacuum of my own making. My fifteenth failure is to slow down, to stop producing an obscene quantity of materials, largely of interest to myself. My sixteenth failure is that of controlling my sexual desires which tend towards annihilations and collapse, towards exhibitionism and uneasy dreams. My seventeenth failure is that of lowering my stress so that constant anxiety won't kill me at a relatively young age. My eighteenth failure is a lack of a PhD. or other intellectual legitimation which might have gone a long way towards stability. My nineteenth failure is that of devouring others, as if they were on the planet only for my benefit. My nineteenth failure is an inability to relieve the almost constant depression that accompanies me everywhere, and is itself accompanied by weight gain, nervousness, occasional crying jags, anxiety attacks. My twentieth failure is to develop musical skills to the extent of reading music and playing compositions with others. My twenty-first failure is not responding to others demands at a sufficiently fast rate. My twenty-second failure is an inability to get beyond recognizing myself as a fraud, and understand that perhaps I am not. My twenty-third failure is constantly being unable to exist independently of my family and their concerns, and to stand up to them in a reasonable manner. My twenty-fourth failure is to have a satisfactory appearance, at least to the extent of being able to look into a mirror. My twenty-fifth failure is an inability to face the current political crisis without suffering an emotional collapse. My twenty-sixth failure is putting my partner through one terrible depressive situation after another. My twenty-seventh failure is not being able to take more time out with my partner, working more around the house, even cooking for myself on a regular basis. My twenty-eighth failure is being unable to cope with my Judaism and being far too paranoid about anti-semitism. My twenty-ninth failure is not being a mathematician or physicist. My thirtieth failure is not exercising enough, and not being good at any sport. My thirty-first failure is feeling uncomfortable around people and crowds and being unable to enjoy myself at a party. My thirty-second failure is being far too loud and defensive, talking far too much about sexuality, and not taking my own work seriously in public. My thirty-third failure is being unable to deal with authority, and to exercise authority, without appearing overly neurotic or belligerent. My thirty-fourth failure is being unable to avoid getting angry in situations where I should be more laid back. My thirty-fifth failure is to avoid thinking about death, which is constantly on my mind, and to avoid a constant fear of death as well. My thirty-sixth failure is an intolerance of organized religion. My thirty-seventh failure is the inability to feel anything but regret in relation to the life I have led. My thirty-eighth failure is an inability to see a way out of the trap I have set for myself as a failure. My thirty-ninth failure is an inability to leave things well enough alone. My fortieth failure is to stop being a nuisance in situations where I am ill at ease. My forty-first failure is not to have had the funding to go to China and Japan for a reasonable period of time. My forty-second failure is somewhat of an inability to express my love. My forty-third failure is an inability to stop crying, literally, when confronted by a wounded bird, or insect, or mammal. My forty-fourth failure is a deep-rooted inability to love humanity. My forty-fifth failure is to stop thinking about money all the time, and accept my situation in life. My forty-sixth failure is to stop attacking myself and secretly agreeing with others when they attack as well. My forty-seventh failure is to find my successes almost non-existent, and recognize them only through muted consciousness. My forty-eighth failure is a lack of grounding in traditional philosophy, for example reading the longer canonic texts all the way through. My forty-ninth failure is dropping names as a means of justification. My fiftieth failure is a feeling I've accomplished nothing of substance that has made my poverty and dependencies at least equitable. My fifty-first failure is an inability to feel comfortable around drugs or alcohol. My fifty-second failure is not having been able to perform well enough on stage, as to occasion a career. My fifty-third failure is not being accepted by either the net art world or the art world, or for that matter, the worlds of poetry, film, video, soundwork, theory, experimental writing, and performance. My fifty-fourth failure is an inability to stop whining. My fifty-fifth failure is an inability to be classified or accepted as an 'artist' in any category. My fifty-sixth failure is an inability to slow up and work on my failures and regrets through self-administered therapy. My fifty-seventh failure is a complete suspicion of authority and an inability to give myself over to a therapist, guru, or other mentor. My fifty-eighth failure is poor health, poor hearing, poor eyesight, and thus always feeling at a distance with others. My fifty-ninth failure is an inability to thereby feel comfortable at the beach or poolside, or any other situation where my body appears. My sixtieth failure is not having hiked across the country, not having mountain-climbed, not really having lost the fear of the dark. My sixty-first failure is not having real savings, and not being able to provide well enough for my partner. My sixty-second failure is being far too ambitious and unable ever to satisfy myself. My sixty-third failure is being unable to sleep if I have not worked at least some, every day of my life. My sixty-fourth failure is always having to keep what I see as my addictive personality, under control. My sixty-fifth failure is an inability on every level to stop the self- hatred from overwhelming me. My sixty-sixth failure is the lack of a book of mine which would explain 'everything,' and bring both theoretical and personal coherence to my life. Mommy 1938 All I wanted to do was to capture her! Remember her! They said I did all those horrible things! http://www.asondheim.org/mommy2.jpg When she would come to me in the middle of the night! Oh delusion! Oh illusion! I'm all grown up! I need the Mommy! I need the Mommy to fuck-fuck! Oh elision! They weren't horrible! They were wonderful! Slurp! All I have is the memory, the drugstore! The soda fountain! Lana Turner, you are mine! 1943 I captured her! _ o america before we came to you http://www.asondheim.org/bsdawnflock.mpg before any of us came with our machines necessary to right the wrongs of our machines Bolsa Chica 6 in the morning 81 million dollar rehabilitation of the wetlands they've been destroyed in the LA area this was an exchange flocks of caspian, least, other terns what it was once filling the blue-grey sky (we heard ibis that made more noise) with the brilliance of ten thousand wings yes, it's true, the exact location. digital map error with bump mapping and difference fade. http://www.asondheim.org/presterjohn.jpg mapping the digital map. it's conceptual. Anthracite Casualties The estimates of the number of men and boys dying in the anthracite minefields of Pennsylvania from the mid 1800s through the first few decades of the 20th century seem to vary a great deal. The particular volume illustrated below lists 1622 deaths for the three years 1910-1912. The fields covered a very small area, including Scranton and Wilkes-Barre, my home town. I believe the total deaths during this period reached 50,000. The 11 images are from an illustrated booklet, used to teach miners safety measures, as well as limited English. Most of the miners were from Eastern Europe. The images are from the Report of the Department of Mines in Pennsylvania. http://www.asondheim.org/nine mine jpgs _ Live Performance: No Audience: Recorded Screen for Playback ### First try (not really satisfed with this): open for business, this performance is open for business. this is or is not a performance. this is a moment in the history of western art. this is the distortion or social distortion of the movement of culture or cultural movement. hello hello out there can you hear me. i can't see you. i am blinded by the beauty of the united states of america. i am blinded by you. by your beauty. every day the world soars aloft into the sky. the sky is welcoming, the sky turns sound into chaos. hello, i'm tired and hiding out in this corner of the world. can you see me here. hello hello (this is what one can say in the corner of the world.) come in and stay awhile. come in and stay awhile. you might be aware of this as an improvisation. i am writing this just about at the speed you are reading this. now we'll see something. moving up and down affecting the atmosphere. you are seeing the atmosphere under effect. you are seeing just what - just what is that woman doing in the upper corner of the screen. it gets harder to hear things as things compress, join uselessly together, as if there's a message coming from the upper atmosphere. i am afraid there is, this is the message. something there is that does not fear the flesh, highspeed and in motion, this is the furious gaze of the onlooker of america. you get what I mean? we're twelve minutes into the _thing_ and it's hardly clear yet, neither to you nor to me. Degas' dancers have always disturbed me... something there is that does not love the flesh, yes yes, what is the world but a series of emanations? the world is indefinite, the world is a series of emanations, things in constant motion, nothing fixed, nothing present but in the imagination's temporary hold on you. and you'll disappear soon enough. hello, are you enjoying this? I hope you're watching this (personally I think it's terrific- but why wouldn't I?) - large and electronic manipulation. God, I'm trying to entertain you - I hope you can at least appreciate that? the sun sets furiously. no, the black sun sets furiously over the islands of greece. This is the running of all forms of emanations, atmospheric sounds, ghosts, wraiths... I AM MEDIOCRE! NO, I AM NOT! NOR AM I PERFECT IN THIS PERFECT WORLD. later that night, they considered this a sombre moment, something unthought-of in the history of human culture. "It was the machine in them that did the talking, it was the machine in them that did the talking." Hello, please come in, join us. We are PRESENTING at the moment. everyone is watching the train-wreck of the twentieth century. the world horrifies in the wreckage. Come in, please be my guest, you're welcome to sit and watch the videos for as long as you like. Thank you for coming! I'm glad you're here, I really am. Ah, perfect, how we stumbline through our beautiful lives. one might say, "We're really "meandering" through the twentieth century?" or not.... Somehow these images seem incredibly sad... one, I gathered, nothing was heard. but here, that proved to be impossible; in fact, sound was everywhere, one just had to At this point, the room went silent. Nothing made any sense, certainly not now. He had nineteen minutes to go, at least that, before "the world ran out." Samuel thought, I'm being suffocated and I'm not sure why. The mah-jong game burned itself into his memory. Time and again, he'd go over it, but to no avail. It was all the same. The world! How beautiful! Only... something was missing... The mountain doubled back with tremendous fury, driving all other landscape into oblivion. I AM HOLDING MY BREATH. Now, I WILL RELEASE. I know that when they entered the space, they knew that something was going on. HI THERE! PLEASE COME IN AND BE SEATED! The show's maybe 2/3 the way over, but it will begin again. Thanks so much for coming! I know, it's not the same thing as if you see me here typing live, but that's the beauty of Okay, I know you saw the car-wreck. It's late at night, I'll just, I don't know, LEAVE YOU ALONE FOR A MOMENT, and SLIP INTO SOMETHING comfortable... Every movie has another movie... How long can I hold your atention? Really, thank you for staying; it's been wonderful. I hope some of the more... risque offerings didn't offend you, believe me! There are more risque offerings that I didn't dare show, with the open window and all. Still, one can breathe deeply, can't one? Late at night... Was anything happening... in the darkned studio... Hours passed... they didn't know what was happening to them... On the left, it's almost as if... as if ... as if ... as if .... the dots were getting away from him. all right, there are three minutes left. I want to end with... I'm not sure, really, I'm not, almost just about two minutes now... Of course thank you very much for coming. ### Second and Final Try (quite satisfied with this): Welcome Welcome Welcome! This is my friend, he is a very great dancer. Please don't be shy, please come in. Take a seat - over there, there should be some room, hardly anyone has shown up at this point. Maybe, ah well. In any case, I'm beginning, this is the world of emanations - you can CLEARLY see something is happening here, something... extraordinary, almost one might say, supernatural, the whole earth is full of radiations.... You can hear them, preternatural perhaps would be a better world, they're just beyond your pleasance... I record these, these emanations, these ghosts, there are more of them than are alive, more of them than are here in this room, right now. This woman is dancing to 'em. She is listening to the ghosts and making the ghosts appear. It is the saddest thing, as as the ghosts, as the ghosts, the ghosts, witness the disappearnce of their kindly earth... Such things as are destructive, as are deadly, for example the electronic substation across the street, what is that all about. More and more we are dominated by electronic emissions. LOOK AROUND YOU! THERE ARE NO MATERIALS OF ART HERE! THERE ARE ONLY RADIATIONS, ONLY NOISE, NOTHING ELSE THIS IS THE FUTURE OF THE WORLD. I HAVE BEEN THERE. please please come in and sit down, have some time, spend some fun time with this, enjoy yourselves. You are witnessing, you are witnessing, the chaos of the world, what the world was like when ghosts roamend, those were times. They are furious, these ghosts. They are furious with us. They are sucking us dry. WE, WE, WE, WE, WE. Eliminate the comma: WE WE WE WE WE - we join together in our flight towards destruction, our personal best / fury: We will become THESE MATTERS. The machine in them is writing this. Or writing these, every writing is plural. The body is its own machine. The tendency towards repetition... "is the greatest force for good in this universe." Please, I beg you, have a seat, stay a while, there's nothing frightening here, nothing untoward, whatever was sacred is still sacred. And WELCOME! Please join us in our project. Look carefully, examine the interstices of the composition, what goes on before, and what comes afterwards, when least expected. These are times when it is almost dangerous to remain alive. We must We must bear bear these consequences We must We must Measure TO HONOUR AND TO OBEY YES YES YES PLEASE DO PLEASE DO COME IN We are calling for help, these ghosts, they they, DESCRY us late at night late at night Surely if they are coming for me they are coming for you. Surely if they are coming for me they are coming for you. PLEASE PLEASE COME IN, make yourself at home as if this were YOUR HOME and these were YOUR THOUGHTS SOMETHING IS VERY BROKEN. please please pardon me you were you were not meant to see this. ah, you are wondering perhaps - Wait a minute, I'm sorry, give me a second - You're perhaps wondering (that's better) what happens, what is the story? There are a man and woman in the room. The man holds up the woman. The woman falls. The man has contact with the woman. The man begins to fall. Someone is watching this. (You can hear the sounds of the future.) If we remain on this planet, after the nuclear war, this will happen. And this. And this will happen as well. A black sun will illuminate the sky and the sun will fall down over and over again. How sad it is to see the dusk. As I was saying (before I interrupted myself), this is the time to come on in, no, "Come on in!" and make yourself comfortable! How sad the world is! How comfortable! Now Hello, Hello, to the weather. Each will swell in turn and disappear. You will know "the weather." See how foreign planets tell so little when they have, have more than enough time, more than enough chance. This is no. 1. This is number 2. And this is "The Stormy Day" of number 3. And this is Titan, a very distant moon. Which is number 4. And this is number 5. "In the Water." You are hearing, honestly, very low frequency (VLF) antenna coupling with the metal strings of a musical instrument. It's enough to raise the dead. The dead are being raised. There are lessons to be drawn from this. "Nervousness is no excuse for the innocent, just as calm provides solace for the guilty." Once a pon, no, once upon a time in America. If you don't love this country, please leave it. Thank you. WELCOME! Come in and watch the show. I am making this show ESPECIALLY FOR YOU. I am not making this show FOR ANYONE ELSE. This is your special show. LOVE IT OR LEAVE IT. A momentary interlude while you contemplate.... This appears to be an armageddon moment. I honestly wish you would stay, I would give you something worth it, honest I would. Don't go away! I'm working on it! I'm still working on it! You can see how the ... emanations... the machinery of the universe... all at work... all at once... Yes, yes, yes, I want to thank you, I want to thank you for coming. "I think we have all learned something here." (Exeunt all as the plane crashes in for a landing.) ###