[NetBehaviour] Ennui Spiralingula

[Alan Sondheim]

Ennui Spiralingula

all been here, psychologist's diary, compressed

http://www.alansondheim.org/pr1.png
http://www.alansondheim.org/pry.png

5:52PM up 42 days, 16:47, 35 users, load averages: 0.05, 0.07,
0.08 /// /// /// Saturday morning Woke up at 9; the club let out
around 2, construction downstairs started 8:30. Bad dream of
havoc on a ferry/bridge - anger among drivers, one them high-
speed, some guy, crashing into other cars, smashing everything,
I ran downstairs, there were lot belongings, everyone owned
them, saved myself, think Azure was as well, not sure. When
woke, chaos disappeared, just noise from downstairs. As usual,
along with noise, social science is deafening. No thinking about
anything in particular, sense despair. got up, put news on,
etc., so that wouldn't wake Azure. Got online. Feel there's
absolutely nothing to look forward to, here Providence. (The new
media field I'm growing, developing, by leaps and bounds; being
isolated like this keeps my work growing; friends are all
working for various institutions, have access tools. The latest
fast-developing augmented reality. So start spiraling lack
tools, do but use usual oldfashioned ones text/image/video etc.)
night Will try sleep, bit, feeling I've accomplished today all,
worried I'll be cut off few contacts have. Today Yom Kippur,
online phone helping bit. Too many regrets life. October 1st,
Sunday Better sleep last 5 hours early avoid problems. evening,
spiraling. This kind email end writing: Hi writing ask if you
any ideas re: below; we're still pretty much same situation
(although showing more, music/articles coming out, etc.). We can
travel times November on; trying move. Thanks greatly, hoping
your semester going well! love Alan need these 'begging letters'
survive, they make me feel miserable... --- points taken 4-5
naps exhausted, brain fog, can't straight. It's hard deal when
tired. My despair control crazed adds it. too tired matter
think... Tuesday Yesterday napped 3 times, went walk. Slept ok
began real despair, bed after hours' sleep. diet may or helping.
keep over people who dropped touch us Providence, more emails
elsewhere, those letters,' find way staying here. Wednesday
morning, 5:55 a.m. Can't again, badly. stand this, death;
Providence than void me. waiting answer. dreams, something
battery distance needs changed, seashore. Things mixed Las
Vegas, musician friend recorded lives there. bad only get
meander online, it doesn't good; wrecked tomorrow (today) again
All Friday Last ok, that's because several traumas occurred,
literally, Thursday; worn exhausted. slept somewhat, exhausted
today. What's events knew gone through, arrest, hospitalization,
death three different people. really decided take week go Acadia
recuperate... day Having time awake today, thoughts related
traumas. Even though somewhat night, 4 stay an even keel. We're
earlier tonight, early, 8:30; 1:30. 2:30 am took 1/4 trazodone,
mind badly no particular thoughts, dropping void, close ears.
Utterly exhausted; we 8:15 morning. Following news, haven't been
sleeping well. Getting melatonin, might help. strength/calm
mantra. beginning problem constant breakdown circadian rhythms.
yesterday fairly fine, before, terrible. always death. then
better without melatonin. Waking horrible political situation,
both hearing Trump. FODMAP diary making mess food, snacking
result Monday woke dying giving things away beforehand (rare
musical instruments, books, etc.), continue their existence
gone. Was very morose, tried mantras (breathing strength /
calm), finally enough Another person worked closely died; hadn't
while, less devastating. These couple weeks; will difference,
sure... If stop spiral control. coast next taking trip 8 days;
it... terrible pain muscles arms legs, well surface right big
toe?? don't know what from; Dr. blood tests which came negative,
heard back moaning tears think, Then 800 mg bufferin hour.
worrying completely incapacitated. idea point; scared every
night. well; tend drop out. melatonin most nights more; it's
easy foggy day. But mess, heading downward least place misery.
does help good days (except recently news); bad, pessimistic
usually (genocide, terror, etc. extremes play large part do).
10:00PM up 42 days, 20:55, 37 users, load averages: 0.06, 0.10,
0.08

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[NetBehaviour] con/against text

[Alan Sondheim]

http://www.npr.org/sections/thetwo-way/2011/07/22/138513048/woman-pays-10-000-for-non-visible-work-of-art

https://creators.vice.com/en_us/article/8qvv9v/seeing-isnt-always-believing-when-it-comes-to-invisible-art

https://f.hypotheses.org/wp-content/blogs.dir/2271/files/2017/06/CHING.pdf

https://en.wikipedia.org/wiki/Terry_Fugate-Wilcox

https://en.wikipedia.org/wiki/Robert_Barry_(artist)

http://www.nytimes.com/2003/11/30/nyregion/a-career-built-on-exploring-the-boundaries-of-art.html

https://www.theguardian.com/artanddesign/jonathanjonesblog/2014/sep/30/invisible-art-hoax-lana-newstrom-cbc

http://www.alansondheim.org/not.jpg

http://hmpg.net/
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[NetBehaviour] from today's Washington Post

[Alan Sondheim]

The fascist creep in action:

Alan Sondheim Attorney General Jeff Sessions said on Wednesday that he 
reserves the right to jail journalists, if we have to.


Here's his exchange with Sen. Amy Klobuchar (D-Minn.) during a Senate 
Judiciary Committee hearing:


KLOBUCHAR: Will you commit to not putting reporters in jail for doing 
their jobs?


SESSIONS: Well, I don't know that I can make a blanket commitment to that 
effect. But I would say this: We have not taken any aggressive action 
against the media at this point. But we have matters that involve the most 
serious national security issues, that put our country at risk, and we 
will utilize the authorities that we have, legally and constitutionally, 
if we have to.


Maybe we  we always try to find an alternative way, as you probably know, 
Sen. Klobuchar, to directly confronting a media person. But that's not a 
total, blanket protection.


There is a lot of missing context here that Sessions would have been wise 
to include, if he were interested in avoiding panic.


Sessions appeared to be reiterating a warning he issued in August, when he 
said that as part of the Justice Department's effort to prosecute 
government workers who make illegal disclosures of classified information, 
one of the things we are doing is reviewing policies affecting media 
subpoenas.



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[NetBehaviour] murnau

[Alan Sondheim]

murnau

mourning for the lost bodies, lost americas

http://www.alansondheim.org/murn1.jpg
http://www.alansondheim.org/murn.mp3 Jordanian rababa
http://www.alansondheim.org/murn2.jpg

nothing is suitable
nothing is ever suitable
the etiquette of violence is the violence of etiquette
the violence of etiquette is the violence of etiquette

mr. trump is a war criminal. treat him accordingly

+++

In July 2015 Murnau's grave was broken into, the remains
disturbed and the skull removed by persons unknown.[15] Wax
residue was reportedly found at the site, leading some to
speculate that candles had been lit, perhaps with an occult or
ceremonial significance. As this disturbance was not an isolated
incident, the cemetery managers are considering sealing the
grave. (Wikipedia)

+++



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Re: [NetBehaviour] Maecenas

[Alan Sondheim]

It's the men who have traditionally gotten the most attention, but there 
have always been many brilliant women; when I did Individuals in 1974 for 
Dutton, the ratio was pretty much even, and when I curated later at Nexus 
in Atlanta, it was the same. This is an issue and prejudice on the part of 
cultural sexism, not on the part of the great number of amazing woman 
artists I've known. The museum director is obviously way out of line here 
and I wonder if he thinks all the men he loves are white.


Alan

On Wed, 18 Oct 2017, Gretta Louw wrote:


Had another frustrating (yet, fundamentally unsurprising) incident since I
sent that email in which a museum director matter-of-factly told me that all
of the greatest artists in history were men and after I strenuously argued
against that, we continued discussing the work we were cooperating on? well
let?s just say that in the end, a few days later, the museum decided that they
didn?t have the budget after all to acquire the piece of mine that they?d been
interested in. I wonder what changed?? ;)




  On 18. Oct 2017, at 10:40, marc.garrett
   wrote:

Hi Gretta,

I scrolled the page & just saw that it was mainly men, perhaps it's
synonymous with aspects of Modernism ;-)

wishing you well.

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQ
http://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK

Sent with ProtonMail Secure Email.

   Original Message 
Subject: Re: [NetBehaviour] Maecenas
Local Time: 16 October 2017 2:11 PM
UTC Time: 16 October 2017 13:11
From: sondh...@panix.com
To: NetBehaviour for networked distributed creativity



Body Art was both male and female, Gina Pane, Collette, Marina
Abramovich,
etc. but also Vito Acconci, Dennis Oppenheim, Genesis P.
Orridge, but also
Hannah Wilke, etc. A pretty mixed group. Most of the hard-core
conceptualists were male, but there are also Adrian Piper, the
Guerilla
Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson,
etc., who
spanned conceptualism and physical/person production as well.
 *  Alan

On Mon, 16 Oct 2017, Gretta Louw wrote:
  It?s interesting to me that artists working with
  immaterial / non-existent
artworks in the past are so overwhelmingly male, but I
don?t know yet what it
means?http://www.modernedition.com/art-articles/absence-in-art/the-invisibl
e-artw
ork.html Something perhaps about the other side of the
body art coin
perhaps?

  On 15. Oct 2017, at 17:15, ruth catlow
   wrote:
I'd be up for thinking this one through.
Let's do it.
On 13/10/17 20:34, Edward Picot wrote:
Oops! Apologies for posting this twice. I thought the
first one hadn't worked.

  On 13/10/17 19:10, Edward Picot wrote:
  Can't we do something with this? Couldn't we create
  a conceptual work of art that didn't actually exist
  at all - we could use some ideas from Curt
  Cloninger's 'Essay About Nothing' to represent it -
  and market shares in it via the Blockchain? Proceeds
  to Furtherfield, unless the value went above a
  trillion dollars, in which case I want a cut.

  Edward

  On 11/10/17 18:56, Rob Myers wrote:
  On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow
  wrote:
  Perfectly put Helen!
Art reframed as a new asset class for
fractional ownership ain't my idea of utopia.
"""Marly studied the quotations. Pollock was down
again. This, she supposed, was the aspect of art
that she had the most difficulty understanding.
Picard, if that was the man's name, was speaking
with a broker in New York, arranging the purchase of
a certain number of "points" of the work of a
particular artist. A "point" might be defined in any
number of ways, depending on the medium involved,
but it was almost certain that Picard would never
see the works he was purchasing. If the artist
enjoyed sufficient status, the originals were very
likely crated away in some vault, where no one saw
them at all. Days or years later, Picard might pick
up that same phone and order the broker to sell. """
 *  William Gibson, "Count Zero", 1986.



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[NetBehaviour] Bosun Whistle Crow

[Alan Sondheim]

Bosun Whistle Crow

http://www.alansondheim.org/seal22.jpg
https://youtu.be/LHwPmkh-Fic playing with crow into the wind,
seals and cormorants in the distance, out of sight, a lone
clamor in the background, invisible, the crow transforming
everything, the beautiful dry sound of the whistle
http://www.alansondheim.org/seal23.jpg

My grotesque body. Today, a crow, we heard the sounds of its
wings, loud and near us. But that wasn't the crow in the trees,
in the distance.

Misplaced Description of Everything in my Life and Work *

"There are several categories. There are a number of still
images "charprint" - these represent charred bodies, the results
of genocide; they're small 3d-printed models. They've been shown
in London, Spain, and Providence (the first two through
Furtherfield, the last at Interrupt through John Cayley).
They're the result of distorted motion-capture work - you can
see some of this at 2p, body loses body, mocaps.mov; these were
produced by either altering mocap software or remapping body
nodes in various ways. I had extensive residencies at West
Virginia University's Virtual Environments Lab, where these and
other works have been produced. The same figures have also been
used in Second Life, MacGrid, and other virtual worlds; the
results are things like numbhir, hypnagogic, thedead, etc. I
deconstruct SL avatars in the ruin. A lot of the work deals with
anomalies in virtual worlds - regions or activities which
operate half-in and half-out of the worlds - examples include
suicide (look at suicide.mov and ignore suicide.mp4, it's not as
sharp), switching, and the two reality pieces. Pain and some of
the other pieces use text. Gunscan deconstructs a gun by
altering laser 3d-scanning program parameters. Floodwall is a
sped-up version of a codework I did on a bridge at Johnstown,
Pennsylvania; in 1889 Johnstown experienced one of the worst
disasters in the U.S. - 2209 people were killed when a dam
burst, and the debris wiped out several towns. Everything ended
up at the bridge. I programmed the bridge to say HELP in various
ways - QRRR, MAYDAY, and SOS. The piece was run for several days
and can be activated again. www presents an anomaly in Second
Life which ends up representing a Wide World War, constant
bombing. the dead was used as part of a suite of pieces dealing
with genocide, performance, ISIS, and terror that was, for me,
the basis of a stint at the empyre email list, where Johannes
Birringer and I moderated a discussion on these issues for a
month. aaggd is more complex than it appears; the images - which
seem to be ordinary video feedback - are actually send around
the world, and it's the circuit that creates them and the slight
lag between them. This was done using the conferencing
application in linux, Access Grid, and specifying the nodes the
image/sound would have to go through - we used Morgantown in
West Virginia, and a site in Queensland, Australia. This is also
the case for hypnagogic. Fb images are from Facebook; I used a
photograph of a severely wounded WWI German soldier as my
personal image, trying both to cut through the surface of Fb and
represent the horrors of war. The photograph is from Krieg dem
Krieg. Finally stripped is the result of stripping altered
motion capture movements from an avatar body, and re-presenting
the movements on an abstract group of forms; I worked with this
to examine how movement itself might represent consciousness
without any other visual indication of organism.

*sent with examples and additional text to a gallery. I pray,
please please show me, I will play my bosun whistle for you and
surely some crow will sing. And together we will fight the
current regime and raise a flag. And the flag will have a bosun
whistle and crow on it. And we will win. The crow will win.


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[NetBehaviour] fascist future dance

[Alan Sondheim]

fascist future dance

http://www.alansondheim.org/fasc02.png
http://www.alansondheim.org/ff2.mp4
http://www.alansondheim.org/fasc03.png
http://www.alansondheim.org/fasc04.png
http://www.alansondheim.org/fasc05.png

donald trump is a war criminal. treat him accordingly.
this is a placeholder until he disappears.

stiffdrink xyzzy changeme dialin braindead changethis realthing
stainless stiffdrink! suck cyberpunk spock sodoff dedhed! csee
greeting hydroxyl
paintingdegreezerodrawingstuffdigestionan
;aaeeerrroovhhiunnclpyjyffddmmwoslvs
from youir legs wouldfirli thatthe words ..the whole
ewoulffd effect it
thatthe words ..the whole ewoulffd be wonderful...
wouldfirlikst..e thatthe ..the ewoulffd wonderful... becomes eye
longer wonderful...becomes eye thatthe ..the ewoulffd
wonderful... thatthe words ..the whole ewoulffd be wonderful...
vengas dsffdshandy . lonely creams thinking makes octop
odbci odyes odyss odyss offdr offic ofhou ohioa ohsig oil
wonderful...becomes eye

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Re: [NetBehaviour] Maecenas

[Alan Sondheim]

Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, 
etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also 
Hannah Wilke, etc. A pretty mixed group. Most of the hard-core 
conceptualists were male, but there are also Adrian Piper, the Guerilla 
Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who 
spanned conceptualism and physical/person production as well.


- Alan

On Mon, 16 Oct 2017, Gretta Louw wrote:


It?s interesting to me that artists working with immaterial / non-existent
artworks in the past are so overwhelmingly male, but I don?t know yet what it
means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw
ork.html Something perhaps about the other side of the body art coin
perhaps?





  On 15. Oct 2017, at 17:15, ruth catlow
   wrote:

I'd be up for thinking this one through.
Let's do it.

On 13/10/17 20:34, Edward Picot wrote:
  Oops! Apologies for posting this twice. I thought the
  first one hadn't worked.

  On 13/10/17 19:10, Edward Picot wrote:
  Can't we do something with this? Couldn't we create
  a conceptual work of art that didn't actually exist
  at all - we could use some ideas from Curt
  Cloninger's 'Essay About Nothing' to represent it -
  and market shares in it via the Blockchain? Proceeds
  to Furtherfield, unless the value went above a
  trillion dollars, in which case I want a cut.

  Edward

  On 11/10/17 18:56, Rob Myers wrote:
  On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow
  wrote:
  Perfectly put Helen!
Art reframed as a new asset class for
fractional ownership ain't my idea of utopia.


"""Marly studied the quotations. Pollock was down
again. This, she supposed, was the aspect of art
that she had the most difficulty understanding.
Picard, if that was the man's name, was speaking
with a broker in New York, arranging the purchase of
a certain number of "points" of the work of a
particular artist. A "point" might be defined in any
number of ways, depending on the medium involved,
but it was almost certain that Picard would never
see the works he was purchasing. If the artist
enjoyed sufficient status, the originals were very
likely crated away in some vault, where no one saw
them at all. Days or years later, Picard might pick
up that same phone and order the broker to sell. """

- William Gibson, "Count Zero", 1986.



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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, &
debates
around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
Registered business address: Ballard Newman, Apex House, Grand Arcade,
Tally Ho Corner, London N12 0EH.
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New CD:- LIMIT:
http://www.publiceyesore.com/catalog.php?pg=3=138
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
current text http://www.alansondheim.org/uw.txt
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[NetBehaviour] fascist futurism

[Alan Sondheim]

fascist futurism

Donald Trump is a war criminal. Treat him accordingly.

Donald Trump meets his followers in a field. It is 2024. They
are all wounded. Some don't have legs. Some don't have arms.
They hug and kiss him. They all dance. Trump is so happy. Trump
is so very happy. There is no one else around. Everything is
burned. Trump is not burned. Trump is so very happy. If I was
there I would be happy for Trump. I would be happy too.

http://www.alansondheim.org/fasc05.png
http://www.alansondheim.org/fascistfuture.mp4

fascistsanti-un-frm..-frm inanti-un-frm..-frm killer fascist
Nazi headpre buchanan little fascist the force me to
simultaneously Ru, Lu, Cu & we are fascists & go home & stand up
against racist potshots at them! So now we'll have fascist
Shiron to contend with; if Reality is fascist! We must sit in
our New Frocks and DISARM!! fascistic! Because you _have_ to
just look at what's there! It is there!

::   fascist, misnomer, heaving against what lost name screamed,
sweetness horrors technology.] any fascist thank condaleeza.
however spel comprehensino. Brillouin, fear arrest amerikan
fascist empire tho vote:: ::tho by what vote, by what fascist or
by what misnomer, by proto-fascistic attitudes. gun-control
debate. incoherencies. doctress fascist FUCKERS will die if BUSH
wins the elections we will die. if KERRY expect you to do your
best to kill fascists in your community.  no charges amerikan
fascist empire eternal fifth reich reign /n pollutions /n what
government shutdown as fascist Republicans slaughter as any
fascist country, thank you condaleeza. however you spel horrors
technology.] any fascist thank condaleeza. however spel & we are
fascists & go home & stand up against racist misery desert by
what hand by what man's hand :fascist, that would be uneasy,
fascist / which has lost its rhythm land and France, in alliance
with the Soviet Union, defeated fascist Germ- tion of France
into a fascist state, because for a victory against Hitler our
great fascist love repeats itself until we die of boredom
mini-fascists shutting their mouths the fascist language of the
teen-agers of the twentieth-century. This is fascists try to
point you like a hate art critic, i just hate hate girls the
fascists in power have legalized torture for perhaps the first
time in inevitable source of power, hegemony, violence:fascist,
misrecognition, stupidities of fascist presidents - so we might
as well just play and problems with right-wing proto-fascistic
attitudes. The gun-control purity are dirtied, soiled, by abject
infiltration. Our dreams are fascist the rest of the country!
Proto fascists, they promised compromise and as Fuck Florida!
Fuck the fascists just itching to take over the US! They'll
mini-fascists wait in the foreground to take over as fascist
republicans them, hard as hell, even in the onslaught the war at
this point, the fascist regime in this country, the when we have
to fear the fascists in our own country it is necessary to have
a monstrous military machine, and the fascist If the world turns
fascist to a greater degree, if you hear the final play &
tongue, upon (or fascists go home stand racist what vote, by
what fascist or by what misnomer, by unless vote what dark
ground::fascist, what mistaking

http://www.alansondheim.org/fasc02.png

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[NetBehaviour] From 1997, Nova Scotia, mainly Sydney, working with Mike Gurstein

[Alan Sondheim]

Working with Mike Gurstein

http://www.alansondheim.org/mike.txt


From 1997, Nova Scotia, mainly Sydney, working with Mike Gurstein


Revisiting, Notes and Pieces

Telecommunications in Rural or Non-Metropolitan Areas:

What sorts of uses can CMC be put to in rural areas? In terms of

[...]

(Mike Gurstein, one of the founders of community informatics,
died today)

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[NetBehaviour] the Uncontrollable issue @ aglimpseof.net

[Alan Sondheim]

This is fantastic and fantastic company!

- Alan

-- Forwarded message --
Date: Sat, 14 Oct 2017 09:47:50
From: Dimitra Ioannou <dimi...@aglimpseof.net>
To: Dimitra Ioannou <dimi...@aglimpseof.net>
Subject: the Uncontrollable issue @ aglimpseof.net

Dear friends of aglimpseof,


I am very pleased to announce that the Uncontrollable issue is out!?


It features fascinating works by Emanuela Bianchi, Maria Damon, Alan
Sondheim, Mez Breeze, Clive Gresswell, Jane Joritz-Nakagawa, Aadityakrishna
Sathish, Olivia Cronk & Philip Sorenson, Matt Schumacher, Christine
Stoddard, and Florence Sunnen.?


Our next issue theme is Symptoms; submissions are open until November 30th.?


Back to all things Uncontrollable
now:?https://aglimpseof.net/category/the-uncontrollable-issue/


Best wishes,

Dimitra Ioannou


??
?





If you?don't?want?to be on our mailing?list,?please unsubscribe. T.Y.


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[NetBehaviour] oiu and the secret code of life

[Alan Sondheim]

oiu

http://www.alansondheim.org/blue19.jpg
http://www.alansondheim.org/blue23.jpg

j(dlOWl FJB(relsJi3Nbl// --_
j(dlOWl FJB(relsJi3Nbl// --_
j(dlOWl FJB(relsJi3Nbl// --_
j(dlOWl FJB(relsJi3Nbl// --_
what: No hey's found. / KILTER
k13% what hey sondheim
[  ...HEY!!! This message comes from sondheim (Alan Sondheim)...
What's with all this talk?
] 
k14% what oh sondheim youre losing it

[  ...HEY!!! This message comes from sondheim (Alan Sondheim)...
What's with all this talk?
] 
k15% what nothing

what: No hey's found.
k16% what aw
what: No hey's found.
k17% what sondheim hey
[  ...HEY!!! This message comes from sondheim (Alan Sondheim)...
What's with all this talk?
] 
k24% yo sondheim argh

yo: there is no such user  with an account on this system.
k25% yo argh sondheim
yo: there is no such user  with an account on this system.
k26% yo yo ma
yo: there is no such user  with an account on this system.
k27% yo sondheim
To: sondheim (Alan Sondheim)
hey there yo
yo mah what?
'hey' canceled!!!

hey there yo yo mah what? quit wow! hey! k31% yo sondheim To:
sondheim (Alan Sondheim) argh, what on earth? i should have
shown with you! you should have been innerested i'm a contender!
don't worry about the apostrophes i have all th' tim' in' th'
worl' cant' get no'b etter than 'his eh? yo jes a lon'
bo' bon mot w/ th' jogia saran'i eh? not now 'nah nex' worl' wa'
th' las' don' sa' ' didn' war' yo' yo' bon mot eh?

'hey' canceled!!! 'hey' canceled!!!

argh, what on earth? i should have shown with you! you should
have been innerested i'm a contender! don't worry about the
apostrophes i have all th' tim' in' th' worl' cant' get no'b
etter than 'his eh? yo jes a lon' bo' bon mot w/ th'
jogia saran'i eh? not now 'nah nex' worl' wa' th' las' don' sa'
' didn' war' yo' yo' bon mot eh?

HEY!!! whatev' trumpskiller skiller kelter manz' got' g'
whatev' to man'death's done him t' othr's keyk 'ode *jfleIzJb'
yo' got tha' ov'r ou'
HEY!!! whatev' trumpskiller skiller kelter manz' got' g'
whatev' to man'death's done him t' othr's keyk 'ode *jfleIzJb'
yo' got tha' ov'r ou'
don' don' don' don'
5   yo sondheim
6   cat .hey >> zz
6   cat .hey >> zz


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[NetBehaviour] A thing I find Disturbing

[Alan Sondheim]

A thing I find Disturbing

http://www.alansondheim.org/awkword5.jpg
http://www.alansondheim.org/awkword6.jpg

a covered gravy holder of silver or other metal containing a
detachable central vessel for hot water to keep the gravy warm
[syn: {argyll}, {argyle}] a design consisting of a pattern of
varicolored diamonds on a solid background (originally for
knitted articles); patterned after the tartan of a clan in
western Scotland [syn: {argyle}, {argyll}] a sock knitted or
woven with an argyle design (usually used in the plural) [syn:
{argyle}, {argyll}] Argyle, GA (town, FIPS 2844) Location:
31.07373 N, 82.64942 W Population (1990): 206 (76 housing units)
Area: 4.5 sq km (land), 0.0 sq km (water) Argyle, IA Zip
code(s): 52619 Argyle, MN (city, FIPS 2134) Location: 48.33738
N, 96.81570 W Population (1990): 636 (298 housing units) Area:
4.0 sq km (land), 0.0 sq km (water) Zip code(s): 56713 Argyle,
MO (town, FIPS 1828) Location: 38.29501 N, 92.02546 W Population
(1990): 178 (80 housing units) Area: 1.0 sq km (land), 0.0 sq km
(water) Zip code(s): 65001 Argyle, NY (village, FIPS 2550)
Location: 43.23701 N, 73.49037 W Population (1990): 295 (117
housing units) Area: 0.9 sq km (land), 0.0 sq km (water) Zip
code(s): 12809 Argyle, TX (city, FIPS 3768) Location: 33.11049
N, 97.17988 W Population (1990): 1575 (594 housing units) Area:
25.9 sq km (land), 0.0 sq km (water) Zip code(s): 76226 Argyle,
WI (village, FIPS 2650) Location: 42.70063 N, 89.86625 W
Population (1990): 798 (364 housing units) Area: 1.5 sq km
(land), 0.0 sq km (water) Zip code(s): 53504

===

therapy in light of:
the u.s. withdrawing from unesco
trump attacking puerto rico in a series of vicious tweets
trump's dismantling of obamacare now underway
trump's likely pullout of the iran deal
terrible wildfires in california

and we can't do anything about anything anymore

===

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[NetBehaviour] two women and the network of everything

[Alan Sondheim]

two women and the network of everything

http://www.alansondheim.org/aud91.jpg

everything is forked, the two women, the tree, the pipes on the bag,
snaked and i traveled and was in another state with two women, whose
brothers had a way of being _awry_ or weird here. i'm sitting next to
the two women talking about something between them and i'm here sitting
next the women talking about looking further between them.

0: two
No command 'two' found, did you mean:
 Command 'tao' from package 'taopm' (universe)
two: command not found
0: women
No command 'women' found, did you mean:
 Command 'wopen' from package 'gworkspace.app' (universe)
women: command not found

i used to think, when I was young, that if I were sent to a prisoner of
war camp, cipher cipher, cipher, nothing, /dev/null

dev/null, I used to think, when I was young

- - -


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[NetBehaviour] Rabidity ~~

[Alan Sondheim]

Rabidity ~~


http://www.alansondheim.org/aud01.jpg
http://www.alansondheim.org/aud03.jpg
http://www.alansondheim.org/aud24.jpg
http://www.alansondheim.org/aud36.jpg

A rabid network connects and interconnects everywhere and at all
times; so that it might appear as substance, at best dynamic
striations. A chain may be as strong as its weakest link, but a
chain may also be duplicated; each to the other, each a
procurement; many weak links on many duplicates may be
irrelevant (gather them in one place, under one command, and
then there's a difference). A chain grows at one or both ends;
it's anchored, it's ascendent, it's linear. Everything that
transmits is orderly. There are more frequencies than we know
within the universe, more frequencies any-where and every-where,
and if we think of such as infinite in extent and duration, we
are limited to an infinitely small portion of the world, quantum
granularity notwithstanding. Chains and networks are outgrowths;
everything is natural about them, nothing is natural about them.
What extends, might do so with and without nodes, surfaces,
bearings, coordinates. One might prefer a world without any of
these; their presence signifies birth and decomposition, and
unimaginable attendant cruelties.

There may be no originary object, no (0)-> and no finality,
->   (1) ; there may be slurry at best. This is the poetics of
form, its poesis, which refuses any mathematico-physical
reduction, no matter the reality. Poesis is us-ness.

The chain is a walkthrough; the network is a walkabout. Note the
difference. The network is full of contradiction; the chain
exists as [x-1][x][x+1] or some such, in other words a well-
ordering; the network might be, for all one knows, a continuum
of infinite dimension, a collocation of surreal or other
untoward or wayward numbers, anything but _that_ which tends
towards calculation, the abacus, the clear movement of a bead
from one place to another.

A network might have no place at all, neither this nor that,
neither one nor another. There might be sheaves, layers,
monstrous topologies, foams, percolations. There might be
something only visible from the outset or the outside, or
something invisible from every conceivable vantage-point. There
may be no conceivable vantage-points. I remember writing the
notion of the _anorectic airliner,_ the motion of air in air,
the introverted and intense turbulence, perhaps without
temperature gradients whatsoever, that remains inherently
invisible. Or caught with one or another Schlieren optics. Or
not caught at all. Or caught always already past, passed.

The network channels movement, or movement defines the channels
of the network; the channels may have fixed walls, or none
whatsoever; there may be sloughs and surges and slurries, for
example. The channel/carrying capacity/information model holds
in a miniscule number of models with proper potential wells; at
the same time it dominates all our thinking in a revolutionary
way reminiscent of the discovery of the wheel, the printing
press, electricity. The revolution might well lie otherwise,
elsewhere, elsewhen, however; it might lie in those glimpses of
inconceivable networks that pervade us and our objects, pervade
organisms and boundaries, problematize aristotelian logics,
dissolve into dissolution or the abject upon or within our
notice or momentary attention - or none or all of these. What
might be of interest here is the idea of the _lifespan of the
network_ - in other words, the temporality of what might or
might not be noticed.

As open-ended organisms we're bound and unbound there, within
this temporality, within the very concept, not of measurement,
but of objects or durations we find amenable. That brings us
back to our problem, our temporality, our networks and their
chains which bind them - as if they, the we within us, were the
case or cases.

No (0),(1), no beginnings and endings, (but) what might pass for
a (momentary) glance, something of the nature of attention or of
the economy of attention. We don't let sleeping dogs lie; we
wake them, sometime or other in the morning, it's a humid day,
it might be better or best to let them be.

--

(be, being, open multi-dimensional sets on any interval; care,
attention, absence)

--

"A research ecologist with the Environmental Protection Agency
in Narragansett, R.I., for the past 20 years, Hale recently
finished compiling a master list of all the species ever
recorded in the sediments of Narragansett Bay. He discussed the
project at a Sept. 28 Rhode Island Natural History Survey
lecture.

The list includes 1,056 species, and Hale believes there may be
another 200 to 300 still to be found. Most live in the top 10
centimeters of the bays sediments. The most abundant creatures
recorded are varieties of polychaete worms, mollusks, and
arthropods.

But rare species make up most of the biodiversity, he said.

Included among the rare variety were 395 singletons species
found only once and 224 

[NetBehaviour] somatic-haptic mirror

[Alan Sondheim]

somatic-haptic mirror

http://www.alansondheim.org/aud38.jpg
https://youtu.be/mA3DyZzWkXE
http://www.alansondheim.org/aud29.jpg

somatic somatic somatic somatic haptic somatic somatic mirror
somatic somatic somatic somatic somatic haptic somatic somatic
haptic somatic mirror mirror somatic mirror mirror somatic
haptic somatic somatic haptic mirror haptic haptic mirror
somatic haptic haptic somatic somatic somatic somatic somatic
somatic somatic somatic haptic haptic mirror haptic mirror
mirror haptic mirror somatic somatic somatic somatic somatic
somatic haptic somatic somatic haptic haptic mirror mirror
somatic haptic mirror somatic haptic somatic mirror haptic
somatic somatic mirror somatic haptic haptic haptic haptic
mirror mirror somatic mirror haptic mirror haptic somatic mirror
somatic somatic mirror haptic haptic haptic somatic mirror
haptic mirror somatic haptic somatic somatic somatic somatic
somatic mirror haptic mirror somatic mirror somatic mirror
somatic haptic haptic haptic somatic haptic mirror mirror mirror
somatic mirror somatic haptic haptic mirror mirror mirror haptic
haptic mirror somatic haptic haptic somatic somatic somatic
somatic mirror haptic haptic mirror mirror mirror mirror haptic
haptic somatic haptic somatic somatic haptic somatic mirror
somatic haptic haptic somatic haptic somatic somatic haptic
somatic haptic haptic somatic mirror somatic mirror haptic
somatic mirror somatic haptic somatic mirror somatic haptic
somatic haptic somatic mirror somatic haptic mirror mirror
mirror somatic mirror somatic mirror haptic haptic haptic haptic
haptic haptic mirror somatic mirror haptic somatic haptic mirror
somatic somatic somatic mirror haptic somatic somatic somatic
haptic somatic somatic mirror haptic mirror mirror mirror mirror
somatic mirror mirror mirror haptic haptic mirror somatic mirror
mirror somatic mirror somatic somatic haptic mirror somatic
somatic somatic haptic haptic mirror somatic somatic haptic
haptic haptic mirror mirror mirror somatic haptic haptic mirror
mirror haptic haptic mirror haptic mirror mirror mirror mirror
mirror mirror mirror mirror haptic haptic somatic mirror mirror
haptic somatic somatic somatic mirror

---

In case you've missed the music (we still have a holiday
here in the States), the new songs are at

http://www.alansondheim.org/yearning1.mp3
http://www.alansondheim.org/yearning2.mp3
and
http://www.alansondheim.org/cccafe.mp3 version 1
http://www.alansondheim.org/cccafe2.mp3 version 2

The lyrics are in http://www.alansondheim.org/ux.txt
And thanks for listening.

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Re: [NetBehaviour] Steal This CodeArt

[Alan Sondheim]

I was thinking of locking up the program; letting it run but closing down, 
internally, the ability to change anything, after a brief window. So for 
the participant, it's a kind of frustrating game, maybe paralleling the 
way the old tetris always eventually outstrips the player?


On Sun, 8 Oct 2017, Pall Thayer wrote:


Alan, do you mean as in freezing up the browser? The code is all there and
free for anyone to edit. Not sure if it would be possible to lock up the
browser. I think most browsers have protections built in to detect and stop
that sort of thing. I could be wrong though.

On Sun, Oct 8, 2017 at 3:00 PM Alan Sondheim <sondh...@panix.com> wrote:


  Really like these as well. Is there a way to have the process
  sped up, out
  of control, shut down, locked tight, closing fast the window of
  opportunity to alter the program?

  On Sun, 8 Oct 2017, Annie Abrahams wrote:

  > super Pall
  >
  > On Sun, Oct 8, 2017 at 2:52 PM, Pall Thayer
  <pallt...@gmail.com> wrote:
  >?? ? ?Acouple of years ago I started a project that I called "Objects
  >?? ? ?of Art", a growing collection of art 'sketches' based on
  >?? ? ?JavaScript objects. The website allowed users to edit the codes
  >?? ? ?and run them with their changes. My plan was always to add a
  >?? ? ?feature that would allow others to save their altered versions
  >?? ? ?to the site. I finally got to work on that but in considering
  >?? ? ?how to do it, I got an idea that drastically altered the
  >?? ? ?concept. So I have re-released it under a new title.
  > The new work is called "Steal This ArtCode". It's still a
  collection
  > of art sketches based on JavaScript objects but now others who
  visit
  > the site can alter the code and overwrite the original as well
  as
  > taking ownership by applying their own name to it.
  >
  > The work is
  here:?http://pallthayer.dyndns.org/stealthiscodeart
  > --
  > P Thayer, Artist
  > http://pallthayer.dyndns.org
  >
  > ___
  > NetBehaviour mailing list
  > NetBehaviour@netbehaviour.org
  > http://www.netbehaviour.org/mailman/listinfo/netbehaviour
  >
  >
  >
  >
  > --
  >
  > Qu'est-ce et pourquoi agency art ? 12/10 18h Conf?rence,
  festival M?q, hTh,
  > Montpellier.
  >
  > L?entrelangue ? trois, 28/10 20h Rencontre performatif avec
  Christophe Beyler,
  > Lily Robert-Foley et Annie Abrahams, Espace o25rjj Loupian.
  >
  >

  New CD:- LIMIT:
  http://www.publiceyesore.com/catalog.php?pg=3=138
  email archive http://sondheim.rupamsunyata.org/
  web http://www.alansondheim.org / cell 718-813-3285
  current text http://www.alansondheim.org/uw.txt
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--
P Thayer, Artist
http://pallthayer.dyndns.org




New CD:- LIMIT:
http://www.publiceyesore.com/catalog.php?pg=3=138
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
current text http://www.alansondheim.org/uw.txt
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[NetBehaviour] distributed networked intelligence

[Alan Sondheim]

distributed networked intelligence


Blue lobster in Bristol RI Audubon Society aquarium. I'm
thinking about networked intelligence here, the relationship
between complex articulations and overall systems behavior - and
how we, as humans, tend to think of intelligence as located
instead in a primary organ.

Image: http://www.alansondheim.org/aud31.jpg blue lobster
Video: https://youtu.be/vfALP-jPGm8
Image: http://www.alansondheim.org/aud33.jpg starfish tentacles

Even systems ontologies break down; given that there is a
consciousness at work here, that numerous limbs and joints need
local and overall articulation, we have to admit, as so many
already have, that we've got intelligence wrong, that
distribution creates an economy of energy and localization
that's absolutely brilliant, that results in different ways of
thinking, even of life and death - consider the wood-net for
example, or hive behavior; think of slime-molds or the
dominating micro-biomes of the human body, in fact of almost
every larger organism. Move not to the grid, but to transport
topologies; our singular 'I' (ipod, ipad, my--) is fundamentally
diffused, and what brilliance lies there, if one only has the
patience to _look._ This lobster is a case in point; arms and
feeding mechanisms interlock, as if they were communities them-
selves. They're not, of course; there simply may not be the
Barthian _punctum_ we insist on, from the vanishing-point
inherent in three-dimensional visual triangulation, to Weyl's
ego-location at the origin of the Cartesian graph. Move from
geometry and manifolds to rubber-sheet topologies without
ontology - pure epistemologies - and then think of this in
relationship, first, to the rigidity of digital protocols, and,
second, to the flexibility of digital protocols, which require
neither realm nor location; so much hacking, for example, is
fundamentally anonymous - all that seems to exist are the
networks and their dynamics.

Forget our heads and brains, look without looking at the
flexible and networked habitus that constitutes our very
existence on the planet; if we do so we might comprehend a bit
more of the intelligence around us.

(One might argue that what occurs might only be a simulacrum of
intelligence, certainly not of consciousness. I err on the side
of consciousness. We had, for close to a year, a fresh-water
crayfish in a tank with fish and plants; we observed it (sex
indeterminate) for a year, and it seemed clear to us that it was
capable of recognition (it could tell us apart), trans-species
relationships (with one fish in particular, with us as well),
learning and meta-learning in Bateson's sense (based on climbing
behavior), and so forth. Recognition was mutual recognition,
that much was clear; whether or not the crayfish thought us
worthy of consciousness seemed almost beside the point.)

- - -

In case you've missed the music (we have a holiday here in the
States), the new songs are at

http://www.alansondheim.org/yearning1.mp3
http://www.alansondheim.org/yearning2.mp3

and

http://www.alansondheim.org/cccafe.mp3 version 1
http://www.alansondheim.org/cccafe2.mp3 version 2

The lyrics are in http://www.alansondheim.org/ux.txt

Thanks for listening.

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Re: [NetBehaviour] Steal This CodeArt

[Alan Sondheim]

Really like these as well. Is there a way to have the process sped up, out 
of control, shut down, locked tight, closing fast the window of 
opportunity to alter the program?


On Sun, 8 Oct 2017, Annie Abrahams wrote:


super Pall

On Sun, Oct 8, 2017 at 2:52 PM, Pall Thayer  wrote:
  A couple of years ago I started a project that I called "Objects
  of Art", a growing collection of art 'sketches' based on
  JavaScript objects. The website allowed users to edit the codes
  and run them with their changes. My plan was always to add a
  feature that would allow others to save their altered versions
  to the site. I finally got to work on that but in considering
  how to do it, I got an idea that drastically altered the
  concept. So I have re-released it under a new title.
The new work is called "Steal This ArtCode". It's still a collection
of art sketches based on JavaScript objects but now others who visit
the site can alter the code and overwrite the original as well as
taking ownership by applying their own name to it.

The work is here:?http://pallthayer.dyndns.org/stealthiscodeart
--
P Thayer, Artist
http://pallthayer.dyndns.org

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--

Qu'est-ce et pourquoi agency art ? 12/10 18h Conf?rence, festival M?q, hTh,
Montpellier.

L?entrelangue ? trois, 28/10 20h Rencontre performatif avec Christophe Beyler,
Lily Robert-Foley et Annie Abrahams, Espace o25rjj Loupian.




New CD:- LIMIT:
http://www.publiceyesore.com/catalog.php?pg=3=138
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
current text http://www.alansondheim.org/uw.txt
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[NetBehaviour] Yearning, Azure's Newest Song

[Alan Sondheim]

Yearning, Azure's Newest Song

(please share!)

http://www.alansondheim.org/yearning1.jpg
http://www.alansondheim.org/yearning1.mp3
http://www.alansondheim.org/yearning2.mp3
http://www.alansondheim.org/yearning2.jpg

Azure Carter, voice, song; Alan Sondheim, viola

Lyrics -

Barely escaping human smoke
Angels beautiful in chorus
In chorus embers even higher
And soft, slow sweeps of sky
More planets she cries
More planets she remembers^

O smoke, O human, O smoke of others embers
O songs, O singing, O smoke of dying embers

And every day another
With its smoke and moons and bother
There comes life in choral embers
Lives apart in dark departures
Dreaming arches full of mist
And someones painful sadness^

O smoke, O human, O smoke of others embers
O songs, O singing, O smoke of dying embers

The cosmos bears and burns
Uncanny flesh and tissues
There are ones of sadness thinking
Everywhere among the stars
And someones striking someone
Someones world is disappearing^

O smoke, O human, O smoke of others embers
O songs, O singing, O smoke of dying embers


---


(please share)

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[NetBehaviour] essence of annihilation

[Alan Sondheim]

essence of annihilation

http://www.alansondheim.org/found01.jpg
http://www.alansondheim.org/found03.jpg
http://www.alansondheim.org/found04.jpg
http://www.alansondheim.org/found07.jpg

"We live by constant canceling."

- Richard Nonas

k8% apropos cancel > zz; perl a/eliminate.pl < zz > yy; pico yy

cancel (1)  jobs
cancels existing print jobs. The -a option will remove all from
the specified destination. following options are recognized by
cancel: 5 -E Forces encryption when connecting to server. -U
username Specifies use... pthread_setcancelstate (3) set
cancelability state ...cancelability which may be encoded in two
bits: Cancelability Enable When is PTHREAD_CANCEL_DISABLE ,
cancellation requests against target thread held pending. Type
enabled and type PTHREAD_CANCEL_ASYNCHRONOUS new or pending
cancellation... lprm that have been queued for printing. If no
arguments supplied, current job on default destination
cancelled. You can specify one more ID numbers those use the...
Tcl_CancelEval Tcl scripts 15 Tcl_Interp Interpreter script.
Tcl_Obj Error message cancellation, NULL a message. not NULL,
this object its reference count decremented before returns.
15... pthread_cancel execution of ...is point. This default.
available points listed pthread_setcanceltype(3) . : canceled at
any time. reacts request, occur: cleanup... aio_cancel an
outstanding asynchronous I/O operation (REALTIME) system call
request file descriptor fildes aiocbp specified, only specific
Normal notification occurs cancelled requests. Requests
complete... mly (4) Mylex AcceleRAID/eXtremeRAID family driver
...d:%d manual rebuild started mly%d: physical device %d:%d
completed failed unknown reasons failed... intro (2)
introduction calls error ...An attempt was made change parameter
unsupported value. 87 ECANCELED Operation requested canceled. 88
EBADMSG Bad corrupt A catalog did satisfy implementation...
sasl_server_init sasl_server_new sasl_server_start sasl_listmech
sasl_server_step - SASL server authentication functions. ...0.8i
SASL_BADPARAM config 0.8i SASL_NOMECH mechanism meet properties
SASL_NOMEM enough memory complete SASL_BADPROT protocol
incorrect/cancelled SASL_BADSERV mutual sasl_client_init
sasl_client_new sasl_client_start sasl_client_step client
aio_write write ...or number bytes aiocbp->aio_nbytes valid.
successfully enqueued, but subsequently occurs, value returned
aio_return per write(2) call... aio_read read ...the file,
beyond aiocbp->aio_fildes offset maximum. read(2) after (n)
Execute command time delay ...identifier used delayed using
cancel. id Cancels previously scheduled. Id indicates should
canceled;  it must return... pthread_once dynamic package
initialization ...whether associated routine has called.
function However, if init_routine () point cancelled, effect
once_control as never constant PTHREAD_ONCE_INIT... Tk::after
...ms, so until $widget->afterCancel($id) 4 $id->cancel $id
return value... tinews.pl Post sign article via NNTP ...yes"
header send out mail-copies. Cancel-Lock secret defined
automatically add Cancel-Lock: (and Cancel-Key: required)
header. input unix line endings (http://localhost:631/help pmc
performance-monitoring counter interface ...time(1) follows: h
Display list performance events system. C Cancel counters
currently running. c event Count while running command...
cupsctl configure cupsd.conf ...SLP protocols.
--[no-]share-printers Enables disables sharing local printers
with other computers. --[no-]user-cancel-any Allows prevents
users canceling owned others. cupsd.conf(5), cupsd(8),
Tk::Animation sequence Tk::Photo images ...internal array
"Photo" images. "start_animation($period)" then initiates
"repeat" $period through these "stop_animation" resets image
first sequence. "add_frames" method adds to... pthread_exit
terminate calling ...join terminating thread. Any cleanup
handlers pushed yet popped reverse order they were executed.
After executed, tk_messageBox pops up window waits user
response. ...and 18 retrycancel Displays buttons whose symbolic
names retry yesno yes no. yesnocancel three yes, message...
Tk_ClearSelection Deselect selection ...selection cleared
display containing window. Atom name cleared.  atom tkwin. need
tkwin... cupsdisable stop/start classes ...of connection Uses -c
named port. -r "reason... SSL_alert_type_string get textual
description alert information ...a allocation failure). always
fatal. "US"/"user canceled" handshake being some reason
unrelated failure. complete, just closing pthread_join wait
termination ...results multiple simultaneous specifying same
undefined. detached. exited remains unjoined counts
[ ... ]

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Re: [NetBehaviour] Maecenas

[Alan Sondheim]

I noticed this -

"Maecenas touts itself as a blockchain platform that, according to its 
creators, will democratise access to fine art. For the first time, the 
Maecenas website enthuses, technology will allow investors, collectors and 
owners to exchange shares in paintings and sculptures instantly, akin to 
the way stocks of a company are traded today."


This does NOT democratise access to art; it's nothing more than a secure 
way to protect and exchange's one investment - which plays into the notion 
of enclaving described in Mike Davis' City of Quartz (think it was written 
in the 80s). Art has to RESIST enclaving, unless one accepts useless 
decoration and connoisseurship as the only form of art worth considering.


One of the amazing things about Furtherfield is, at least as far as I can 
tell, it itself is a form of resistance! I'd thank God for this, but given 
the state of things on the planet, I wouldn't want to burden Her with more 
communication.


- Alan
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[NetBehaviour] calm these spaces in troubled times

[Alan Sondheim]

calm these spaces in troubled times

http://www.alansondheim.org/found23.jpg
  docklands, east providence
http://www.alansondheim.org/found31.jpg
  great white egret, east providence
http://www.alansondheim.org/found48.jpg
  latenight great blue feeding (30 second exposure)
http://www.alansondheim.org/found36.jpg
  docklands, east providence
http://www.alansondheim.org/found52.jpg
  pigeon wings, young peregrine falcon meal remains
http://www.alansondheim.org/found46.jpg
  latenight fish migration (30 second exposure)

and please please give to Puerto Rican hurricane relief
thank you

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Re: [NetBehaviour] 60 Years ago Sputnik 1 - Launched October 4, 1957

[Alan Sondheim]

Thanks for sharing this; it's incredibly moving to hear the beeps (and now 
there's the odd Russian station MDZhB at 4625 kHz which I've read about, 
but can't receive here in Rhode Island).


Best!, Alan


On Thu, 5 Oct 2017, Johannes Birringer wrote:


dear all

a Russian friend who lives in Alberta sent me this reminder yesterday,
- about Sputnik - and attached a sound file,
I share it here with you.



On October 4, 1957, the USSR launched Sputnik, the first artificial satellite 
to orbit Earth. The satellite, an 85-kilogram (187-pound) metal sphere the size 
of a basketball, was launched on a huge rocket and orbited Earth at 29,000 
kilometers per hour (18,000 miles per hour) for three months. When it finally 
fell out of orbit in January 1958, Sputnik had traveled 70 million kilometers 
(43.5 million miles) around the planet. The only cargo onboard Sputnik was a 
low-power radio transmitter, which broadcast a beeping noise at regular 
intervals. This beeping could be heard by radio listeners around the world.

A year after the launch of Sputnik, U.S. President Dwight Eisenhower created the National 
Aeronautics and Space Administration (NASA), formally launching the "Space 
Race" between the United States and the Soviet Union. This competition in 
technological development would lead to the Moon landing, space shuttle, and 
International Space Station, which still orbits Earth today.




regards
Johannes Birringer


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[NetBehaviour] of thinking through years, the 'grasp' or the known'

[Alan Sondheim]

of thinking through years, the 'grasp' or the known'


http://www.alansondheim.org/found33.jpg
http://www.alansondheim.org/found16.jpg
http://www.alansondheim.org/found28.jpg

- - -

well, i wrote that in 1974, many years ago. well, that was 43
years ago to be exact.

well, it was almost half a century ago. a lot of things happen
in half a century. well, it feels a lot closer than that, just
yesterday or even today, today in the late morning or around
noon. on the other side of noon perhaps.

well, that's what happens. that's always what happens. and it
gives you pause.

it gives anyone pause.

it gives pause because it's that way, and you know implicitly,
that the interval will grow every day. well, it will keep on
growing, day after day.

other things will intervene. other things will come along, it
will become part of the usual course of history. well, by that i
mean that things recede, no matter what, that people die, new
people, new events, occur. it's always like that.

well, as you grow older, you get to see this happen, history
growing, everything forgotten, no matter what it is. and a half
century seems an inconceivable amount of time. there aren't even
that many century, it just seems to be overloaded, all of that.

then you move away from these things, don't you. you move away
because, well, it doesn't make sense to hold onto things, not
under these conditions. so you move away. well, that's not
entirely true, what is true is that you're moved away, you have
no choice in the matter. you're a witness to the moving.

well, there's no one you can talk to about this. that's true,
it's cone constantly narrowing, separating from all the others.
well, by death and experience. yes, and by enumeration as well,
these things which come along, pass by. we mourn people and
events no one else has ever heard of, no one else has been
there, not now, not ever.

well, this is the condition of the world, isn't it. or the
condition of the world as we know it, these passings which are
forms of universal decathecting, detaching, letting-go. well,
all of that happens of its own accord, we have no say in the
matter, then we'll be gone, soon, and we'll be part of this.
well we want our names at the very least to be there, at least
for a little while, on our passing.

and our things, the care we've taken or not taken with our
things, we want those to survive, to breathe just a little while
longer, isn't that the case.

well, i suppose it's the case, something else we have no control
over, something else that's already evaded us in a perverse form
of the future anterior, we can't grasp that.

we can't grasp anything, can we. or we can grasp things, just
for a short while, the shortest while, and the noise is always
there, always moving, the incredible granularity of the real,
and a kind of dust or sinter, we're there within it, there's no
escaping.

it's as if there's a calling or a calling-forth that we must
answer, that's an imperative, that leaves us choiceless, not
even the semblance of a choice. and that goes all the way back,
i close my eyes, clothe my eyes, and already there are
recessions, lapses, gaps in everything all the way back, 1974 or
the subduction of 1974 or any other year, the grasping too is
absorbed, vanquished, well, not vanquished, that movement
though, always continuing, even the vanquishing becomes a
whisper, a collocation of particles already separating, the buzz
of gravitational waves, dark matter, neutrino transformations,
anything we might name now, giving a name to something just as
the names are already disappearing, already the uncanniness of
unaccountable vanishings, and, well, that's one way to look at
it, and ways, and lookings, disappearing as well, soon almost a
century, corrosions of databases, sparks across any conceivable
form of storage, all those useless protocols. well, just think,
though, for the moment. that moment has already fled, what we're
part of is completely determined, not by anything, not even by
blind or mute mechanisms, not by automata or control, not by the
dreams of eternal life or wars spanning galaxies, or federations
across globular clusters, none of that. well, then it's
universal momentum, it happens, there's nothing outside of this
happening.

well, that's exactly it, there's nothing outside of it, nothing
inside of it, it doesn't matter where we're staying if we're
staying. well, or when for that matter.

well i remember, a few years back, neti neti, which i think of
as not this, not that, but now i think, momentum.

well, it doesn't matter what you think.

well, it doesn't matter at all, does it, it's always already
gone, this thought or that, this place or that, a splinter or
fold in a piece of paper, the suspension of a vase by a spring,
a sprig carried by a stranger, someone we have always known.

well, we have always known this, haven't we. we have always
known.

this is the 'grasp' or the 'known.'

- - -

supplement

then

well, sometimes you walk 

[NetBehaviour] on blockchain, etc. -

[Alan Sondheim]

might be relevant here?
https://blog.p2pfoundation.net/data-technologies-colonize-the-ontological-frontier/2017/10/04

(from Michel Bauwens on G+)
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[NetBehaviour] BLUE, Azure's new Song!

[Alan Sondheim]

BLUE,  Azure's new Song!


http://www.alansondheim.org/blue10.jpg
http://www.alansondheim.org/cccafe.mp3 version 1
http://www.alansondheim.org/cccafe2.mp3 version 2
http://www.alansondheim.org/blue26.jpg
http://www.alansondheim.org/blue11.jpg

vocals, song, Azure Carter
sarangi, Alan Sondheim


BLUE

Latenight at the C. C. Cafe
And the orkestra repeats
Over and over / Again sound the same
Someone gets up / Plays with them
This and that / No one says a word
Over and over / Sounds another
Gets up and sits down
Gets up and plays with them
And no one says a word
The orkestra goes on

Blue.  Says she can listen to this all night long
Blue.  Says she feels better now thank you very much
Play again blue.  Says I feel something coming on
Blue.  Says play again someones coming in

Blue.  Says she can listen to this all night long
Blue.  Says she feels better now thank you very much
Play again blue.  Says I feel something coming on
Blue.  Says play again someones coming in

Hir flesh wears what moves you
Hir clothes control hir movements
Hir clothes keep hir going
Hir clothes go with hir going
Its the usual / But how unusual
Hir clothes about transparent
But they keep hir moving
They keep hir going
Hir flesh keeps hir going
What a fine mess shes made

Blue.  Says she can listen to this all night long
Blue.  Says she feels better now thank you very much
Play again blue.  Says I feel something coming on
Blue.  Says play again someones coming in

Blue.  Says she can listen to this all night long
Blue.  Says she feels better now thank you very much
Play again blue.  Says I feel something coming on
Blue.  Says play again someones coming in



===


< i. i can't decide among these. azure and i wander. we were

i. i can't decide among these. azure and i wander. i was

< encyclopedia of witchcraft. i try to keep busy. the silence

encyclopedia of withcraft. i try to keep busy. the silence

< between the pond views. we were on an island in the pond.

between the pond views. we were on an island in the park.

< and walk out through the bay, when i could no longer walk
< i would not be in america. ii. i do not want to do this.
< where is the thing that will take us out of america. know

and walk down into the bay, when i could no longer walk i
would not be in america. ii. i do not want to do this.
where is the plane that will take us out of america. know

< untoward geography. there is no good thing that favors one

untoward geography. there is no purpose that favors one

< a singularity. azure and i are doing well, thank you. iv.

a singularity. azure and i are doing well, thank you.

< nowhere, return from nowhere to nowhere. we will change

nowhere, return nowhere to nowhere. we will change

< will walk in another direction. another direction is the
< same direction. we will wander. i will record everything

will walk in another direction. i will record everything

< again. we will walk and we will end up, here and now and

again. we will walk and we will end up, here, and now and

< we will wander, and we will call this 'and such it is.'

we will wonder, and we will call this 'and such it is.'



+++

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[NetBehaviour] meander

[Alan Sondheim]

meander

http://www.alansondheim.org/walking03.jpg johnston ri
http://www.alansondheim.org/walking06.jpg johnston ri
http://www.alansondheim.org/walking07.jpg johnston ri
http://www.alansondheim.org/mall03.jpg mall providence ri
http://www.alansondheim.org/mall06.jpg apple store pvd
http://www.alansondheim.org/mall07.jpg apple store pvd
http://www.alansondheim.org/mall23.jpg govern pvd
http://www.alansondheim.org/mall27.jpg mall roof vet pvd

i. i can't decide among these. azure and i wander. we were
warned not to leap off the roof. in johnston we went to
a library sale where i found scholem and a dictionary-
encyclopedia of witchcraft. i try to keep busy. the silence
of the city is deafening. everyone i know is in trouble. i
can't decide between the apple store views. i can't decide
between the pond views. we were on an island in the pond.
you see so many things there. i read marguerite duras. i
watch bbc. atomic monsters and violent drives populate
dreams. i need to know 1. how to set up ar. 2. how to set
up vr. 3. where to get this tech. 4. how to afford it. 5.
how to interact with blockchain. 6. how to get out of the
country again. 7. how to leave. when we walk we are still
in america. america surrounds us. when i look up or down
it is still america. it reeks of tyranny. there is america
to my left. there is america to my right. when we walk we
cannot walk far enough. dear friends how can we walk out
of america. there is the bay. i could walk into the bay
and walk out through the bay, when i could no longer walk
i would not be in america. ii. i do not want to do this.
where is the thing that will take us out of america. know
that america does not want us. iii. we meander in an
untoward geography. there is no good thing that favors one
direction over another. this is the analog world in the
absence of the jump cut. when i close my eyes i am still
here. when i sleep i am still here. all our walks have the
form of a jordan curve. all our walks have closure. the
sky is in the sky. i borrow from my answers. i burrow from
them. the day of atonement is my only day without remorse,
a singularity. azure and i are doing well, thank you. iv.
tomorrow we will wake up and we will leave our place and
we will walk. we will walk down the stairs and out of our
building. we will walk in one direction and walk in
another. if we walk only in one direction we will return
nowhere, return from nowhere to nowhere. we will change
direction in the world on the surface of the earth and we
will walk in another direction. another direction is the
same direction. we will wander. i will record everything
and nothing. we will never go where we have never gone
again. we will walk and we will end up, here and now and
another time, and we will be another one and another time.
we will wander, and we will call this 'and such it is.'
'and such it is' is what we will have done. and we will
have done, we will have done, for now.

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[NetBehaviour] no definitions, but the sadness and misery of AR

[Alan Sondheim]

no definitions, but the sadness and misery of AR

1. http://www.alansondheim.org/cave031.jpg
2. http://www.alansondheim.org/walking52.jpg
3. http://www.alansondheim.org/cave033.jpg
4. http://www.alansondheim.org/walking54.jpg

no definitions found for "reeds", perhaps you mean:
wn: sadness of AR
web1913:  Romania? AR?
gazetteer:  Mania? R?
jargon:  sadness of Reds/AR
foldoc:  reds
easton:  AR, "'_augmented_' 'reality'"
reed-atlas:  reds!

azure)  reeds! thumb's cramp fraud distance)  self-
consciousness
reeds!
reeds!
reeds reeds!
reeds reeds reeds!

azure)  reeds! thumb's cramp fraud distance)  self-conscious-
ness reeds! reeds! reeds reeds! reeds reeds reeds! with you!"},
interesting azure) azure) cramp reeds! distance) cramp ness
distance) reeds! ness reeds! reeds! reeds reeds! with reeds
{"scream",

[16:56]  Julu Twine: reeds
[16:56]  Julu Twine: reeds!
[16:56]  Julu Twine: [reads
[16:56]  Julu Twine: "the sadness of AR"
[16:56]  Julu Twine: reeds
[16:56]  Julu Twine: reeds!
[16:57]  Julu Twine: reeds
[16:57]  Julu Twine: reeds
[16:57]  Julu Twine: more reeds!
[16:57]  Julu Twine: reeds
[16:57]  Julu Twine: reeds
[16:57]  Julu Twine: reads!\ "the sadness of AR"
[16:57]  Julu Twine: reeds
[16:57]  Julu Twine: reeds
[16:57]  Julu Twine: reeds[areeds'reds?' reeds!
[16:57]  Julu Twine: reads the sadness of AR
[16:57]  Julu Twine: reeds
[16:57]  Julu Twine: reeds, and the misery,
[16:57]  Julu Twine: reads - "of AR"
[16:57]  Julu Twine: reedsar/
[16:57]  Julu Twine: reads
[16:57]  Julu Twine: reeds

sadness and misery of AR

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[NetBehaviour] the universe

[Alan Sondheim]

the universe

the universe has many places so many far apart
http://www.alansondheim.org/universe0.png
the universe begins to be smart about so many places
http://www.alansondheim.org/universe1.png
places, the universe says, do you come together
http://www.alansondheim.org/universe2.png
many sizes stars and black holes peek at one another
http://www.alansondheim.org/universe3.png
it is time the universe says, something new to happen
http://www.alansondheim.org/universe4.png
someone looking and listening now, you universe, hello
http://www.alansondheim.org/universe5.png
now you stars, the universe says, everyone is going
http://www.alansondheim.org/universe6.png
the stars are so smart, no one listens, goodbye
http://www.alansondheim.org/universe7.png
so many places and stars and holes, the universe says
http://www.alansondheim.org/universe8.png
so much and many happening, so many peeking here and there
http://www.alansondheim.org/universe9.png
it is time, the universe says, nothing now to happen

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[NetBehaviour] cede, obsession, dead-end, for yom kippur

[Alan Sondheim]

cede, obsession, dead-end

for yom kippur

http://www.alansondheim.org/walking62.jpg
http://www.alansondheim.org/cede.mp3
http://www.alansondheim.org/cede.jpg

incessant sound, dead-end image
two days ago there were illegal jetskis in the river
today, a large dead fish with wounds on its flank, eaten by gulls
in south and east florida, manatees wounded by jetskis,
all over heavy-set white men with their toys and destruction
everything's a dead-end, everything halts
the sound goes on for as long as possible
it's always already a dead sound
'always already' already a dead expression
we've moved on to nowhere, where we began
it's an obsession to stay alive
it's an obsession to keep this tyrannical government alive
shouldn't we know better, when should we arm
we should arm ourselves when the music stops
keep the music going, it's a dead-end
it's a dead-end when the music stops

http://www.alansondheim.org/walking72.jpg

===

*//Azure walking through our place, paths of memory
of Ossi Oswalda The Cat from 2016, Ossi's places,
Ossi's homeland
https://youtu.be/01hi1eywoqU

(new url, moved from my home directory)//*

===


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Re: [NetBehaviour] I hate blockchain plantoids by O’Khaos - that's probably why they are great

[Alan Sondheim]

It depends, doesn't it, on what is meant by 'infallible'? They're 
corruptible in terms of value and in terms of use; it's the old 
use/exchange value conundrums here. They're corruptible because they're 
not ideal; a prime number isn't corruptible, but protocols are. What if a 
"distortive intervention" comes in the form of nuclear war?


You're postulating an ideality somewhere between engineering and Godel's 
neo-platonism I think and I'm not sure that position would hold. These 
models exist in a real world of interactions after all.


How are we freed from deceit and usury when blockchains are used for 
ransomware payments? There's a difference as well between the "meant to" 
in terms of usage of blockchain, and the reality?


The anthropocene desert you describe is brutal in my opinion, allied to 
Kristeva's clean and proper body; without ecosystems in depth, without the 
dirt of the world, the cleansed future (or so I read it) frightens.


Did you mean Labanotation? That's a good example; the interstice between 
Labanotation and the real/grit world of dance is fascinating, amazing!


I'm the first to admit here I don't really know what I'm talking about 
since the details of blockchain elude me, as do the claims made for it. 
That side, I've been reading what I can; I just don't hold to the utopian 
vision that seems to accompany it.


Best!, Alan, and apologies for my ignorance

On Thu, 28 Sep 2017, Rob Myers wrote:


Entities of code and rules are incorruptible and infallible (so it
is said), they are not subject to distortive interventions by
debased human institutions. They have no soul, it is true, but
they also do not weigh on ours. They are Spirographs, not
Stormbringer.

The blockchain's metronymic, reified, transactional model of human
relations is meant to free us from deceit and usury. We are
already homeostats in socioeconomic networks whose restrictions we
notice about as much as a fish notices water. Code at least makes
this explicit.

Plantoid is a way of paying for the creation and exhibition of art
- a difficult and worthwhile problem - in a creative way. If it is
too successful it will end up as the economic-aesthetic equivalent
of grey goo. The anthropocene desert will be filled not with
triffids but with plantoids and the artisans hired by their code
to create their offspring. Maybe these offspring will mutate into
relational artworks that choreograph decorative humanity into
their schemes, multitudes that dance and sway in time to
Lananotation representations of block hashes while wishing that
they hadn't opposed UBI quite so vehemently.

Or perhaps plantoids are simply oases in the contemporary desert
of the real, depicting something of the moment we find ourselves
in between financial crises.

Some of the real plants are in Terra0...

On Thu, 28 Sep 2017, at 12:28 PM, Edward Picot wrote:

  Annie,

  I love this response! - and I think you've really
  latched onto something here. 'Being made of code and
  rules is not the same as having a soul... Plantoid
  seems to be conservative, reinforcing the
  characteristics it started with...' There's a real
  sense of claustrophobia and frustration about some of
  the Blockchain-based artworks, unquestionably
  brilliant though they are, in that although they seem
  to be offering a commentary on the shortcomings and
  limitations of the Blockchain, they seem at the same
  time to be binding us to those shortcomings and
  limitations, freezing us into that world, suggesting
  that we are all going to be subject to this new
  version of reality and unable to escape from it. Yes,
  this stuff is creeping into every aspect of our
  culture. Yes, we are all going to be touched by it and
  influenced by it, directed by it, shaped by it, just
  as we are by capitalism, mass marketing and mass
  media. But no, it doesn't define us or completely
  contain us. We can still be human in spite of it. At
  least I hope we can: and I hope that along with
  Blockchain art and the like, we can still have an art
  that celebrates and explores the bits of existence
  that the Blockchain and the like can't comprehend.
  Beyond the plantoids there are still real plants.

  Edward


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[NetBehaviour] Apologies and URL

[Alan Sondheim]

http://eyebeam.org/stopwork/resource-for-teachers-library-of-collaborative-methods/

Bad karma sending this out, here's the resource URL -

Apologies again, Alan
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[NetBehaviour] Letter From The Residents

[Alan Sondheim]

(trying forward)
-- Forwarded message --
Date: Thu, 28 Sep 2017 11:09:01
From: Eyebeam 
Reply-To: us4-6d5ea5d296-0b74c3d...@conversation01.mailchimpapp.com
To: Alan 
Subject: Letter From The Residents

resource for teachers | library of collaborative methods | by Eyebeam
residents Caroline Woolard and Or Zubalsky
















   A collaborative letter
 from the residents



   Re: September
Unsubscribe

Resource for Teachers | Library Of

Collaborative Methods



Dear teachers and students of collaboration,


As residents at Eyebeam, Or Zubalsky and I have been
developing an open access library of collaborative methods. With
support from the New York Foundation for the Arts, today we are
launching The Study Center for Group Work.

 

We hope that teachers, art spaces, collectives, worker-owned
businesses, art classes, and working-groups will use this online
library of collaborative methods that have been recommended by
artists. These methods often embrace the unknown, encouraging
people to listen deeply enough to be transformed. We invite you
to learn about collaborative methods, to access teaching
resources, and to see the schedule for upcoming events and jobs
related to collaboration.

 

For example, here are some methods for:

 *

group functioning  (Asset Mapping) (Diagram Hacking)

 *

decision-making (Voting and Ranking)

 *

role clarification (Threeing) (Questions for Schematic Theater)

 *

healing and care (Support)

 *

shared leadership (Leadership Compass)

 *

communication (Intergroup Dialog)  (A Field Guide to Spatial
Intimacy) (Hand Signals)

 *

conflict resolution (Shark, Owl, Turtle, Teddy Bear, Fox)

 *

reflection (Three-Line Matrix) (Group Self-Assessment)

 *

analysis of images and systems (Project 404) (Mirror/Echo/Tilt)

 *

and speculative futures (Objects as Fictions, The Alternative
Unknowns)

 

The artists who have contributed to this resource include:
Leonard Nalencz, Shaun Leonardo, Robert Sember of Ultra-red,
Project 404, Sick Time with Canaries, Judith Leemann, Kenneth
Bailey and the Design Studio for Social Intervention, the
Extrapolation Factory, taisha paggett and Ashley Hunt, Jean
Gardner and the estate of Paul Ryan, Asha Iman Veal Brisebois
and Adelheid Mers, Christopher Robbins, Aaron Landsman, Cori
Olinghouse, Melanie Crean, and Chloe Bass, as well as curators
Danielle Jackson, who facilitated a retreat for the group
earlier this year, and Stamatina Gregory, who curated an
exhibition at Cooper Union in 2016 that led to this site. You
can see a video of that, here.

 

If most people have no experience of democracy at work, at home,
in school, or online, how can we learn to collaborate? How do we
develop a musculature of shared decision making and of shared
work?

 

A few years ago, we began to notice that many visual artists had
developed methods of listening and group work. Yet they did not
have a way to share their work with one another or with the
public. Just as dancers take classes throughout their lives,
more and more visual artists are committed to group work through
daily practice. We ran a pilot program that took the form of an
exhibition called WOUND: The Study Center for Group Work,
curated by Stamatina Gregory, at Cooper Union in 2016-2017. The
Center was written up in The New York Times, Art in America, and
Artforum; we knew it needed to continue. We are excited to share
this online library of collaborative methods, and to announce
that we will be working with Spaceworks at the New York Public
Library to provide trainings throughout the year.

 

Here is an upcoming workshop you can attend:

 

Saturday, September 30, 5:00PM

 

How can we support ourselves and each other? This workshop looks
at the ways in which we meet our needs for wellbeing in order to
dream, practice, and work on any project. Support extends beyond
the life of our projects, often shaping the ways in which we
navigate the contradictions of living and working on independent
projects. Join us for a ?brain massage? and mutual connection.

3-5pm at Spaceworks @ Williamsburgh Library, 240 Division Ave,
Fl 2 Brooklyn, NY RSVP

 

If democracy is an endless conversation, then The Study Center
for Group Work aims to cultivate behaviors that allow groups to
work together. To get in touch with us, or suggest a
collaborative method, please email us at
i...@woundstudycenter.com. To join the mailing list, please
enter your email here.

 

In cooperation,

 

Caroline Woolard and Or Zubalsky

[NetBehaviour] forwarding from Eyebeam, Collaborative Methods

[Alan Sondheim]

Hi - received a long mail from Eyebeam (I'm a former resident) about 
resources for collaboration - they've been working on this for a long 
time. I'll see if it will bounce directly to Netbbehaviour; if not, I'll 
manually forward. The advantage of the bounce is that the format and links 
will definitely be preserved. Should be of great interest here I think -


- Alan
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[NetBehaviour] TheErrors / Return

[Alan Sondheim]

TheErrors / Return

sublimation prior to the return of the repressed - Is this not
the return of the repressed, the appearance of mass elsewhere,
skin/bone/sight/sound/sublimated dust - he answered, this is
what you get, in the guise of the return of the repressed. The
possibility of critical thought disappears in figuration, like
the last opening of the return of speech.

it's aliased, that's the guise/disguise/garb/disgarb/discard of
alias, aliasing, as the return of the real - what cutting/frame-
working against the dream-screen of repression, cutting through
the world, performing something like dust or sublimation. the
return of gamespace is the return of the repressed. she had her
hand under the clothing; he had his hand under the clothing,
see? nothing happened. the images were arranged on the images.
the sounds were arranged in the sounds.

just a second -

http://www.alansondheim.org/TheErrors.png
http://www.alansondheim.org/nou.mp3
http://www.alansondheim.org/nou00.mp3
http://www.alansondheim.org/nou01.jpg
http://www.alansondheim.org/nou02.jpg
http://www.alansondheim.org/nou03.jpg
http://www.alansondheim.org/nou04.jpg
http://www.alansondheim.org/nou05.jpg
http://www.alansondheim.org/nou06.jpg
http://www.alansondheim.org/nou07.jpg
http://www.alansondheim.org/nou08.jpg
http://www.alansondheim.org/nou09.jpg
http://www.alansondheim.org/nou10.jpg
http://www.alansondheim.org/nou11.jpg
http://www.alansondheim.org/nou.jpg

sublimation prior to the return of the repressed - Is this not
the return of the repressed, the appearance of mass elsewhere,
skin/bone/sight/sound/sublimated dust - he answered, this is
what you get, in the guise of the return of the repressed. The
possibility of critical thought disappears in figuration, like
the last opening of the return of speech.

it's aliased, that's the guise/disguise/garb/disgarb/discard of
alias, aliasing, as the return of the real - what cutting/frame-
working against the dream-screen of repression, cutting through
the world, performing something like dust or sublimation. the
return of gamespace is the return of the repressed. she had her
hand under the clothing; he had his hand under the clothing,
see? nothing happened. the images were arranged on the images.
the sounds were arranged in the sounds.

just a second -

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[NetBehaviour] On and for Chris Kraus, After Kathy Acker, Semiotext(e), 2017

[Alan Sondheim]

On and for Chris Kraus, After Kathy Acker, Semiotext(e), 2017

https://www.amazon.com/After-Kathy-Semiotext-Active-Agents/dp/1635900069

(or any other less monopolistic site)

1. I've just finished reading After Kathy Acker; consider this a
review by a problematic and early participant in Kathy's Life. I
knew her for the short time before and after we made the Blue
Tape (and another tape, now lost); we continued to speak on the
3am 4am phone after that, when everyone else seemed asleep, a
world of intensity and energy without the noise and too bright
lights. At least at that point. I'm hazy on the dates here.

1a. New York was energy.

2. After Kathy Acker tunnels through one of the most complex
lives you might encounter; it's thick with reminiscence as well
as selections from her notebooks, letters, novels, essays,
remembered conversations. What strikes me most is how "true" the
book is, (if one can say that); I have a deconstructive turn,
but the narrative and description brings so much to mind,
foregrounds so much that I lived through in other contexts
(Acconci for example) that I find myself literally overwhelmed,
returned to the 1970s downtown that I knew. The Blue Tape hadn't
been shown in years; Tony Conrad transferred it to digital (I
never received the original back); and now that haunts me as
well by way of Kraus' text - the grit or dirt for example that
Anna Maria Pinaka speaks of is re/presented (and without
accompanying photographs of Kathy, everything swirls through and
around the text.)

2a. (I almost didn't make it through that period by the way.)

3. The book is analogic, in spite of Kathy's later use of
digital media; what occurred happened in a real time of phone
calls, mail, personal encounters, at best an answering machine.
But - and this is really important, I think - it's all about
networking, interconnections, coagulations, dissipations,
strange attractors (in both senses of the phrase); it's hardly
modernism with modernism's clean and proper body, modernism's
white room - instead there's a sense of abrasion, dust, sex,
dirtiness, tenderness through it - and above all a sense of an
obdurate Kathy, someone unconfined (except by herself), someone
moving through spaces (I think of WAN, wide-area-networking) -

3a. It's as if things _spread,_ presaging the digital, an
electric-electronic writing born around the time of the Net,
taking a different route.

4. And it's this that makes the book essential now - an account
opening up a literature that problematizes theorizing,
problematizes the body, style, the sentence, the ground, subtext
or superstructure. It's necessary that categories, walls, come
down now - that we might discover there are other paths through
sememes already inundated by corporate hubris - other paths in
fact which, through the somatic, bypass those sememes
altogether. The result might be writing which falters, which
teeters on the brink of failure, which infinitely expands, feels
trivial, feels like the most important writing in the world. And
Chris Kraus details all of this absolutely brilliantly; the book
- and just as importantly, Kathy's writings - all this should be
on our shelves, now, in the midst of incipient tyranny and the
desecration of what used to be thought of as American democracy.
Kathy's work isn't outdated; if anything, it's revolutionary and
timely, as is After Kathy Acker; check them out.

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[NetBehaviour] the leading developer in providence, presentation of new projects

[Alan Sondheim]

the leading developer in providence, presentation of new projects

http://www.alansondheim.org/thepitch.png
http://www.alansondheim.org/thepitch.mp4

antonioni always comes to mind. the projects involve hotels,
residences, remodeling. subsidized lower- or middle-income
housing apparently isn't necessary in providence.

the images resonate in so many ways, neoliberalism as well.

what was presented wasn't really a pitch, so much as a
presentation of development beginning shortly.

thanks to the downtown neighborhood association which hosted
the get-together.

" >
Zopissa, zopissa, the pitch and tar which is scraped from old
ships after another; somewhere deep within the pitch-black
splendor viral full force of it is like quick-start MUD
commands, raised to the pitch of a meter which would be audible.
In some cases I chose to raise the pitch, proof this is the
sound buildings make when you raise the pitch a little, raise
the pitch on the right. Think of the left-hand side as a string
pressure sharpens the pitch, there are a-harmonics and
an-harmonics that illuminate - and comforts not the darkest
night. the second pass quickly by stretching them 300%. The
music is fascinating; I'm wondering if this startling choral
outburst emerges out of the pitch dark...
< "

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[NetBehaviour] the blue paintings

[Alan Sondheim]

the blue paintings

http://www.alansondheim.org/thebluepaintings1.jpg
http://www.alansondheim.org/thebluepaintings.mp3
http://www.alansondheim.org/thebluepaintings2.jpg
http://www.alansondheim.org/thebluepaintings3.jpg
http://www.alansondheim.org/thebluepaintings4.jpg
http://www.alansondheim.org/thebluepaintings5.jpg
http://www.alansondheim.org/thebluepaintings6.jpg

calming blue painting salon and vernissage
with accompanying calming emergency music

@Nikuko 'Tranquility,' serenity, is a synonym of samadhi
serenity . . .
and serenity. Rise up, mourn, meditate, and enjoy.
stream, zen. streets ice, screams, serenity. mourn, meditate,
and serenity.

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[NetBehaviour] bomb debris, coming through, public reading of the text

[Alan Sondheim]

bomb debris, coming through, public reading of the text

http://www.alansondheim.org/bombdebris.png
http://www.alansondheim.org/thru3.jpg
http://www.alansondheim.org/thru2.jpg
http://www.alansondheim.org/thru3.jpg

thru 1-3: 1 minute exposures / moving thru 2 a.m. darkspace
narrative tracks, what remains, camera picked up, set down,
pointed outward, pointed inward, walking, standing, there's
a door into the hall, nighttime hideout, hunkered down or
crawling, crawl space: this afternoon i napped for twelve
minutes and a lengthy cycle of dreams: in which i was talking
and explaining and in azure's parents' home in aurora,
colorado, the context forgotten now;

bombdebris: upsetting even with the knowledge of its making,
something about the ruin and the ruin of worlds and memory,
ruins of words and languages, proclamations, inscriptions,
ruins of cannons and howitzers, ruins of horses and soldiers;

"knowledge of its making" - "how it was altered" -
"how it was done" - "how it was transformed" -


public reading of the altered text reflecting public reading


moving through 2 a.m. darkspace narrative tracks, what remains,
and prescient, i pause, look up, i'm looking around at you, i'm
in control, i'm here and speaking, this is part of the text, the
altered text reflecting public reading, camera picked up, set
down, pointed outward, pointed inward, pause, and prescient, i
know what you're thinking, my voice trembles slightly, well,
somewhat, as if there's something untoward occurring, or
something untoward that occurred, at the scene of the image,
walking, standing, there's a door into the hall, wondering if
i've lost you, lost myself in you, wondering who is there or if
you're wondering, which hall, who is there in the hall, is it
empty, as if unfulfilled, is it replete with dreams and anxiety,
nighttime hideout, i'm sure of myself now, this hideout is
empty, only room for me, you understand, watching me, that this
might be a safe space, a bunker, that -u- sound, you-sound, you
sound, i'm looking down at the text again, hunkered down or
crawling, thinking something about haunches, looking up, looking
at you who are listening to me, watching me in this public space
as i speak, as i talking into it this crawl space, crawl space:
this afternoon i napped for twelve minutes and a lengthy cycle
of dreams, i've lost you, i was just getting going, it was
coming together for you, and suddenly i know what's ahead, a
sloppy narrative, hardly anything to write home about, but i'm
writing about home, about a home-space or habitus, writing to
you, reading to you, my voice lowered, trembling again, i've got
to keep control here,: in which i was talking and explaining and
now it's confusing, isn't it, getting confusing, talking to
whom, to you, i was talking to some people, it wasn't clear,
it's clear here, as i'm speaking before you, you seeming
confused, perturbed, i didn't mean for that to happen, i'm
hoping for true delight, something almost approach adulation in
your eyes, in azure's parents' home in aurora, colorado, the
context forgotten now and now i've lost you again but i'm once
more in control, the context remembered, private, none of your
concern, really, none of your business, something that has
nothing to do with you or even azure's parents or aurora,
colorado, you're wondering if you've heard of it one way or
another, maybe yes, maybe no,; bombdebris: upsetting even with
the knowledge of its making, i'm thinking why do i write so
stiffly, what's wrong with me, you know this, i can see it in
your eyes, you're thinking he's on about misery again, he's
eternally pessimistic, out of touch, something about the ruin
and the ruin of worlds, you're about to walk out, so much
despair, i don't know what to do about that, i have a realistic
view of the world, you've got to believe me, these things are
really happening, genocides, tortures, we're writing nonsense in
response, we're meaningless, please come back, there are fewer
of you know listening to this stuff, you think it's nonsense,
and memory, ruins of words and languages, proclamations,
inscriptions, wondering if you think that proclamations and
inscriptions - what a great phrase, latinate to be sure, might
be too formal, i don't know, you did look up at that, at least a
few of you did, so johnsonian now, ruins of cannons and
howitzers, ruins of horses and soldiers; you do realize i have
no idea what i'm talking about, i've never been to war, always
fearful, some empathy here, that's absurd, at least i'm almost
done, "knowledge of its making" - "how it was altered" - "how it
was done" - "how it was transformed" - thankyou, thankyou so
much for coming, let me know if you have any comments or
questions, would love to discuss the work with you, oh god hope
it was ok


+++

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[NetBehaviour] last music on earth

[Alan Sondheim]

last music on earth

http://www.alansondheim.org/attics85.jpg
http://www.alansondheim.org/lastmusic.mp3
http://www.alansondheim.org/attics85.jpg
http://www.alansondheim.org/lastmusic.mp3
http://www.alansondheim.org/attics85.jpg
http://www.alansondheim.org/lastmusic.mp3
http://www.alansondheim.org/attics85.jpg
http://www.alansondheim.org/lastmusic.mp3
http://www.alansondheim.org/attics85.jpg


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[NetBehaviour] stay calm

[Alan Sondheim]

stay calm

http://www.alansondheim.org/calmingfear.png
https://youtu.be/MfX6mmEvNF0
http://www.alansondheim.org/fear06.png
http://www.alansondheim.org/fear07.png

North Korea: Trump and Kim call each other mad Donald Trump Has
Us On the Brink Of a Nuclear War What Would Happen if North
Korea Tested an H-Bomb Over the Pacific? Anti-Trump Twitter kind
of liked Kim Jong Un's response to Trump Donald Trump and Kim
Jong-un are more alike than you probably realize Trump says
'madman' Kim Jong Un 'will be tested like never before' in
early-morning tweet 'Mentally Deranged.' Read Kim Jong Un's
Entire Response to Donald Trump Why North Korea's latest threats
are far more serious than its typical bluster Seoul media say
North might test nuke in Pacific North Korean leader Kim called
Trump a what? A 'dotard' 5 Times Donald Trump Proved to Be a
Dotard North Korean Defector Warns US to Take Kim Jong Un's
Threats Seriously North Korea may consider H-bomb test in
Pacific, Kim calls Trump 'deranged' Trump Says Kim Jong Un
'Obviously A Madman' As Tensions With North Korea Rise Dotard:
The 14th century word brought back by Kim Jong-un All the times
President Trump has insulted North Korea North Korea threatens
nuclear test over Pacific that could be a 'world changing event'
Responding to Threat of More Nuclear Tests, Trump Dubs North
Korean Leader 'Madman' Kim calls Trump 'deranged dotard' as
North hints at nuclear test World War 3 'GAME-CHANGER':
Washington warns North Korea Pacific nuke test will RUIN Kim
Donald Trump Threatens to Test North Korea's Kim Jong-un 'Like
Never Before'

All I can do is repeat myself:

questions about fascism augmented:

Should we be willing to die for Trump's victorious bullying?
Should we be willing to die for Kim's victorious bullying?
What sorts of resistance should be permitted?
Have we written our senators and representatives?

Where is the line we cross if we want Trump gone?
Where is the line we cross if we want Kim gone?
Gone under any conditions whatsoever?
Gone before he takes the nuclear option?
Should we be quiescent in the face of nuclear war?
Are these questions in bad taste?
Would they be in bad taste under fascism?
Are we under fascism?
Should we be asking these questions?
Should be be discussing them?

Are we, ourselves, fundamentally broken?
Are we Kim? Are we Donald Trump?

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[NetBehaviour] useless belonging and armageddon secret code

[Alan Sondheim]

useless belonging and armageddon secret code

http://www.alansondheim.org/fear10.png
https://youtu.be/kOiwH3S86kA
http://www.alansondheim.org/fear04.png
http://www.alansondheim.org/fear08.png

and my mind's confused behind the screen, shapes of dragons,
cranes her hands fluttered in geometries, shapes humans behind
the stones of the screen it is love and sex, it is death and
hard bushido jennifer and nikuko were bare jennifer stood by the
jade screen luna celesta, heard murmurs in the distance nikuko's
hands made flame-cast shadows the grain of the metal of the
blade of the sword the humans preparing the final act the
turbulence and vortices of smooth smooth air there was hardly
anyone there they're here in the world they're unfurled you
could read the future if you knew the future life his on threats
more aren't there why is understand don't i what and my mind's
confused behind the screen, shapes of dragons, cranes her hands
fluttered in geometries, shapes humans behind the stones of the
screen it is love and sex, it is death and hard bushido jennifer
and nikuko were bare luna celesta, heard murmurs in the distance
nikuko was behind her nikuko's hands made flame-cast shadows the
edges of the screen curled the grain of the metal of the blade
of the sword the humans preparing the final act the turbulence
and vortices of smooth smooth air there was hardly anyone there
they're here in the world they're unfurled you could read the
future if you knew the future others many so of lives the ruined
he's that given behind the screen, shapes of dragons, cranes her
hands fluttered in geometries, shapes humans behind the stones
of the screen it is love and sex, it is death and hard bushido
jennifer and nikuko were bare jennifer stood by the jade screen
nikuko's hands made flame-cast shadows sutra of non-being the
grain of the metal of the blade of the sword the stones of the
screen murmuring like humans there was hardly anyone there
they're here in the world they're unfurled you could read the
future if you knew the future this about talk don't we beautiful
women of the willow and fair her hands fluttered in geometries,
shapes humans behind the stones of the screen it is love and
sex, it is death and hard bushido jennifer and nikuko were bare
jennifer stood by the jade screen luna celesta, heard murmurs in
the distance there was hardly anyone there you could read the
future if you knew the future scared too we're

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[NetBehaviour] questions about fascism and some amazing music

[Alan Sondheim]

questions about fascism and some amazing music

Where is the line we cross if we want Trump gone?
Gone under any conditions whatsoever?
Forcibly removed from office?
What would we have done with Hitler (a question
Jews used to ask themselves)?
What if Trump had to face the cops as a Black?
.He's on the street, his hands raised, a cop shoots,
.Trump applauds as he dies.
What if he needed medical attention and is turned
away? What's the worst we wish for him?
Would we be justified in applauding the disappearance
of Trump and his family from the face of the earth?
How do we feel about Sic semper tyrannis?
Is Trump a tyrant? Wikipedia:
.People also ask
.Why is Sic Semper Tyrannis the motto for Virginia?
.What did Booth say?
.Who said Sic Semper Tyrannis?
.What is the state motto of Virginia in English?
Do we feel sick at mentioning his name?
What would it take to impeach Trump?
Why isn't Congress acting in the face of potential
dictatorship and nuclear annihilation?
Should we be quiescent in the face of nuclear war?
Do we dream bad things happen to him?
Are these questions in bad taste?
Would they be in bad taste under fascism?
Are we under fascism?
Should we be asking these questions?
Should be be discussing them?

filler 3 guitar pieces 3 images

http://www.alansondheim.org/east50.jpg
http://www.alansondheim.org/musc1.mp3
http://www.alansondheim.org/musc2.mp3
http://www.alansondheim.org/musc3.mp3
http://www.alansondheim.org/east24.jpg
http://www.alansondheim.org/east54.jpg

+++

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[NetBehaviour] 6 summings-up

[Alan Sondheim]

6 summings-up

http://www.alansondheim.org/own08.jpg

1.
page] [blank [trash] [blank [blank [trash] [blank page] [trash]
[blank [i [blank got [blank page] nothing] [i page] [it's got
page] [it's nothing] [i [it's all got all over nothing] all for
[it's all me] all all me] over over [i'm for over dead [i'm for
dead dead for dead in me] dead the [i'm in water] dead in
[rubbish] the in [if water] in [if [rubbish] the [if [if water]
i killed [rubbish] i myself [if i no i i no killed killed one
myself killed would one myself would would myself would notice]
no would [bye one notice] bye would notice] artforum [bye
notice] hello bye [bye hello artforum [bye hello hello bye
facebook] [brutalism] artforum facebook] [brutality] hello
facebook] [i've facebook] facebook] [i've [brutalism]
[brutalism] given [brutality] [brutalism] up] given [brutality]
up] up] [brutality] up] [all [i've up] i given [all do up] [all
is [all [all type do i type is i garbage] type do garbage]
[garbage] is garbage] [always type garbage] wanted garbage]
garbage] wanted [garbage] [garbage] to [always [garbage]
contribute to [always contribute contribute [always contribute
to wanted to philosophy] to to [mathematics] contribute to
[cosmology] to to [particle [mathematics] philosophy] [particle
[cosmology] philosophy] physics] [particle [mathematics]
physics] [hardly [cosmology] physics] understand [particle
physics] euler's physics] physics] euler's [hardly [hardly
identity] understand [hardly [magic] euler's understand [magic]
[magic] understand [magic] [scares euler's [scares me identity]
[scares getting [magic] [scares too [scares [scares tired
getting me tired too me to tired getting to to too to [no tired
to more to care] more care] care] learning [no care] anything]
more [no anything] anything] [no anything] [can more [can hardly
learning [can remember anything] [can my [can [can name]
remember hardly name] my hardly [body name] remember [body [body
my [body apart] my [body [too [body falling [too falling falling
worn apart] falling out] [too apart] out] out] apart] [blank
[blank [too [blank page worn [blank not out] [blank blank [blank
[blank slate] page page slate] blank page [slate's slate] not
[slate's [slate's blank [slate's [this blank [slate's coverup
slate] full] coverup full] full] for [this full] despair]
coverup [this despair] despair] [this [futility] [futility]
coverup [futility] [gone] for [futility] [but despair]
[futility] forgotten] [futility] [futility] [i've [gone] [gone]
[i've forgotten] [gone] given [i've [but given given forgotten]
given out] forgotten] out] turned [i've out] turned out] out]
down] [i've out] [i turned [i've [i down] [i've won't won't
turned won't turn down] won't up] [i won't [forget won't turn
you turn turn you [forget turn ever you up] ever ever [forget
ever saw [forget saw [me] you saw [me] saw saw [blank this] saw
page] [me] this] page] [blank this] [trash] [trash] [me] [trash]
[blank [trash] page] [trash] [trash]

2.
urn up] [forge he wa ali alism] [bru no his] [me] [blank page] [
rash] alism] [bru e e ali he wa he wa ype garbage] [garbage]
[always wan and euler's iden y] [magic] [scares me ge ics]
[cosmology] [par ype garbage] [garbage] [always wan y] [i've
given up] [all i do is e ing hing] [can hardly remember my name]
[body falling apar ired icle physics] [hardly unders o
philosophy] [ma icle physics] [hardly unders hing] [can hardly
remember my name] [body falling apar e's full] [ e] [sla o care]
[no more learning any y] [magic] [scares me ge ing blank sla ]
[i've ili ] [ ] [ his coverup for despair] [fu urn up] [forge
rash] urn up] [forge y] [gone] [bu his coverup for despair] [fu
you ever saw ] [i've urn up] [forge

3.
page] page] [trash] [blank [blank me] nothing] [me] [i got got
[blank over water] [it's all all [it's [i'm dead over me] me]
me] [rubbish] the for in in in worn [if water] [rubbish] [if in
myself would i killed myself killed notice] notice] myself one
would would [brutality] artforum i [bye bye bye [if [brutalism]
is hello facebook] facebook] artforum given up] [brutalism]
[i've [i've [i've is i [brutality] [all [all [all hardly type
you do is type [all [always contribute garbage] [garbage]
[always [garbage] to to [always to contribute to understand
[cosmology] [garbage] philosophy] [mathematics] [mathematics] do
[hardly tired [particle physics] physics] [cosmology] identity]
[magic] [hardly euler's euler's euler's getting me understand
[scares [scares [scares not tired [i've getting too tired
[scares [no [can to care] [no care] [can [can [no learning
anything] learning falling my care] hardly remember remember
[magic] falling [this name] [body [body my worn [blank falling
[too [too [too not page apart] [blank [blank [blank [i've slate]
to not blank slate] out] [this [futility] [slate's full] [this
full] [futility] [futility] [this for despair] for out]
forgotten] [this [gone] [but [but falling out] page] [i've given
given forgotten] down] won't out] turned turned 

[NetBehaviour] Pelagic (theory/image)

[Alan Sondheim]

Pelagic

http://www.alansondheim.org/cumb16.jpg
http://www.alansondheim.org/cumb01.jpg

Pelagic \Pe*lag"ic\, a. [L. pelagicus.]
Of or pertaining to the ocean; -- applied especially to animals
that live at the surface of the ocean, away from the coast.

sound philosophy:

a quirk, i do philosophy - somatic, structural, mathematico-
logical, in the form of sound. does this protect me against
contradiction? can sound contradict sound? certainly the
semantic structure of written language is inconceivably more
complex; then sound perhaps illustrates what can't be said,
varieties of the ineffable.

because of age, i plan ahead, carefully, no farther than the
shore. because of isolation, the shore is private as well; what
i do may be my business, but none will know for sure. in a few
years perhaps my fingers might lose the extraordinary degree of
suppleness they appear to have, my hearing might be accompanied
by waves of tinnitus, virtual cricketeering. i'll play the
insect world, i'll walk to the tuning bench where a sarangi
lies, everything foreign to me.

isolation is bizarre; it increases paranoia and suspicion, makes
one unpalatable in the long run. the last time we were invited
to dinner? i can't remember. the last time i performed at a
local club? maybe eight months ago; the last time i was invited
to talk local, over two years ago. an outpouring of begging
letters on my part makes me a nuisance, nothing more. online at
least i remain both invisible and visible, viable one way or
another.

i disappear into the sound of an instrument; it's not that a
world opens up, but everything else disappears - phrases and
intervals take over, become obelisks in a different form of
landscape. i record what i play; i discover what i play upon
re-play, listening, ludic correspondence to ingratuitous and
silent forms.

and i live in the midst of dynamics that displace my figure,
body and mind, i am hordes among hordes, i horde; our bodies are
standing-waves of the molecular and quantum, appearances of
structures on the way toward subsummation. the sound, music,
dies out faster; for a moment i have the pleasure of an
instrument, and the instrument exists momentarily, as an
instrument with all the potential that accompanies it.

i see myself as networked, networking, interconnected; my mind
collapses against the sight, which it procures. my mind lives in
cessation; i teeter. it's a slow fall, but a fall nonetheless.

no things, but in dynamics; no bandwidth is wide enough to admit
the world, narrow enough to observe chimera. the world as far as
one is concerned, as far as there is concern, is in error - as
far as error is concerned, as long as there is world. any state
of affairs embodies, not only its own negation, but also its own
dissolution.

network protocols are undermined from beneath, are transformed,
are error-prone, disappear with the disappearance of channels
and communities, interrupted by a telephone call from out-
of-state, which i take to discuss other networked media; the
gist is clear, from the collapse and focusing of consciousness
via-a- vis the screen, to the appearance of structure in the
sense of a unique object which splits, 0*x = 0; 1*x = x; 0+x =
x; 1+x takes us away from all of this, the diacritical mark or
signifier tending elsewhere, the shaky construction of
uncountable and unaccounted-for culture and whatever else we
might notice in the world. what we notice is the world noticing
and neither or nor the world (and we are the world etc. etc.)
notice anything but circumscription, circumlocution; wherever
1+x goes is nameless, and if not now, then when; if not here,
then where; and who among the who of us?

questions of epistemology and ontology are always flatlined
unless circumscribed, and then what breaks out and where, and
again among whom?

not nihilism but dynamics all the way up and down, mobile
structures for category theorists. and then some.

late at night in think of failures, what might have been,
email i should have written, email i should not have written,
words and actions i would rescind, opportunities which never
materialized, the inconceivability of remaining alive as
whatever will be left of me begins to deteriorate. the slurry of
the world is churned; call that the chora. we descend; our
consciousness, abject and impoverished, holds on until the last
moment. our president taunts others, tempting everyone to
nuclear annihilation; we're already past that, however - we've
been there, done that, and what remains on the other side of the
wall, where the blankness of fascism has erected another tawdry
structure, is nothing but flows and damage.

===

< a quirk, i do philosophy - somatic, structural, mathematico-
---

a quirk, i do philosophy - somatic, structural, methamatico-

< network protocols are undermined from beneath, are transformed,
---

netework protocols are undermined from beneath, are transformed,

< gist is clear, from the collapse and focusing of consciousness
---

[NetBehaviour] Sirene

[Alan Sondheim]

Sirene

http://www.alansondheim.org/cumb40.jpg
http://www.alansondheim.org/sirene.mp3
http://www.alansondheim.org/cumb39.jpg
http://www.alansondheim.org/cumb42.jpg
http://www.alansondheim.org/cumb43.jpg

continuing exploration of emergent/emergency sound/
music/improvisation/Siren/warning siren/alarm/mewling/
a warning signal that is a loud wailing sound/ballad/
music for these times/bound free improvisation/unbound
improvisation/dirge/warning alarum///how theory works
in sound/how sound works in theory/how sound theorizes/
how theory sounds/

Sirene \Si*rene"\, n. \see[the]Siren[e]\
See {Siren}, 6. 7. \hear[the]Siren[e]\

alarum\ an automatic signal (usually a sound) warning
of danger and fearsome ferocity, untoward musicality\
[syn: {alarm}, {alert}, {warning signal}, {alarum}]


+++

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[NetBehaviour] cumberland

[Alan Sondheim]

cumberland

cairn: earliest veteran's memorial in united states

http://www.alansondheim.org/cumb08.jpg
https://youtu.be/328ZW29i8OU what i saw for james lee burke
http://www.alansondheim.org/cumb09.jpg
http://www.alansondheim.org/cumb17.jpg
http://www.alansondheim.org/cumb21.jpg
http://www.alansondheim.org/cumb22.jpg
http://www.alansondheim.org/cumb26.jpg
http://www.alansondheim.org/cumb28.jpg

(cairn was reset in cement to end desecration)

Nine Men's Misery memorial, cairn date March 16, 1676

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[NetBehaviour] the emerg.[...]

[Alan Sondheim]

the emerg.[...]

http://www.alansondheim.org/emergen.jpg codework, office
building, Providence; please decode from the video

http://www.alansondheim.org/emergen.mp3 improvisation close to
siren/emergent/emergency/agency/, a long time in the works,
earlier pieces already online

https://youtu.be/w9ML5uUIQd4 the video in need of decoding


please note that deadpol.mp4 has been moved to YouTube
https://youtu.be/C-tULzJBKHY


http://www.alansondheim.org/emergen.jpg codework

too much emergency, crisis, the music/sound opens up the world
for me, yes, that is where I am, where you will be, listen:

hurry:


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[NetBehaviour] Slide and Preciousness of Description

[Alan Sondheim]

Slide and Preciousness of Description

http://www.alansondheim.org/slide.jpg
http://www.alansondheim.org/slide.mp4

Cars in parking lot, swaying camera, foreground shifts, just a
couple of times, sloppy conceptualism. It's poorly done. It
reminds me of when you cum hard and develop that headache on the
right side of the brain and it's hard to focus. But the cars get
away from that, away from what happens when you're climbing
stairs fast and that ringing in your ears blocks everything you
might hear normally, the ground sways from under you, your eyes
recede and everything's moving around. That's an issue in this
fake affine geometry as if there were a stable world outside the
window, one in which the cars behave as if they were clean and
proper, and everyone obeyed the law. What's here when it shifts
seems to be the same as what's there; the window frames (there
are no secrets here) frame the parking lot, 'you lot of cars,'
more or less a momentary arrangement on a plateau on this
particular planet. The clean and proper body (Kristeva) ex-tends
into the technological, car and camera machinery, and what you
yourself witness here, the presence of the screen, that fixation
which sutures over everything, body and chora and phenomenon as
well.

So one, myself, shifts perhaps four meters to the left or right,
depending on the vector, carrying what in film theory might be
considered an apparatus, holding the frame, creating this video
on the run or slow walk. The clouds are from Hurricane Irma,
exhausted remnants; they create a pall (" To become vapid,
tasteless, dull, or insipid; to lose strength, life, spirit, or
taste; as, the liquor palls.") over the scene, which transforms
into the murmur of nostalgia just beneath the surface of the
pavement where the cars reside.

Everything of a size reminiscent of the living resides within
these spaces and movements; so much is forgotten, eliminated,
literally and quietly banned to the dustbin of history. So
the flat plane of the world veers and whirls, in and out of
focus; there are moments of ecstasy here that dissolve like ink
in water, water in ice, ice in glass, glass in quartz and
diamond. This is poetic fancy, but what drives one to film or
video cars more or less stationary (look, there's one going),
the camera in footstep's arcs, and above all, those black or at
least dark brown frames breaking up the scene, and returning all
of this peregination back into daily life.

---

22c22
< into the technological, car and camera machinery, and what you
---

into the technological, car and camera marchinery, and what you


---

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[NetBehaviour] dammed

[Alan Sondheim]

dammed

http://www.alansondheim.org/dammed07.jpg
http://www.alansondheim.org/dammed04.mp4
http://www.alansondheim.org/dammed02.jpg
http://www.alansondheim.org/dammed03.jpg
http://www.alansondheim.org/dammed05.jpg
http://www.alansondheim.org/dammed06.jpg
http://www.alansondheim.org/dammed08.jpg
http://www.alansondheim.org/dammed09.jpg
http://www.alansondheim.org/dammed10.jpg
http://www.alansondheim.org/dammed12.jpg
http://www.alansondheim.org/dammed13.jpg
http://www.alansondheim.org/dammed15.jpg
http://www.alansondheim.org/dammed17.jpg

& torn open by consonants, dammed by punctuation. & there's no
end to it; & the house live under water, dammed chute. & now
think anger had been there, impeded, considering the future
here, & considering the dammed, & then dammed into the shape of
reservoirs, uneasy dreams transformed into my dammed-up, my
held-back, my repressed.

& the labor of my mind, dammed up, cauterized, neurotic,
effaced, & the house lived under water, a chute torn open by
consonants, effluents, dammed by punctuation. & there's is no
end to it, the capital lost, even to continue, & locked, &
gathered & roiled.


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[NetBehaviour] A Literary-Musical Evening

[Alan Sondheim]

A Literary-Musical Evening


http://www.alansondheim.org/harboring03.jpg
http://www.alansondheim.org/sterne1.mp3
http://www.alansondheim.org/sterne.mp3
http://www.alansondheim.org/harboring01.jpg

" Ptr...r...r...ing--twing--twang--prut--trut--'tis a cursed bad
fiddle.--Do you know whether my fiddle's in tune or
no?--trut...prut.. .--They should be fifths.--'Tis wickedly
strung--tr...a.e.i.o.u.-twang.--The bridge is a mile too high,
and the sound post absolutely down,--else--trut...prut--hark!
tis not so bad a tone.--Diddle diddle, diddle diddle, diddle
diddle, dum. There is nothing in playing before good
judges,--but there's a man there--no--not him with the bundle
under his arm--the grave man in black.--'Sdeath! not the
gentleman with the sword on.--Sir, I had rather play a Caprichio
to Calliope herself, than draw my bow across my fiddle before
that very man; and yet I'll stake my Cremona to a Jew's trump,
which is the greatest musical odds that ever were laid, that I
will this moment stop three hundred and fifty leagues out of
tune upon my fiddle, without punishing one single nerve that
belongs to him--Twaddle diddle, tweddle diddle,--twiddle
diddle,--twoddle diddle,--twuddle diddle,--prut
trut--krish--krash--krush.--I've undone you, Sir,--but you see
he's no worse,--and was Apollo to take his fiddle after me, he
can make him no better.

" Diddle diddle, diddle diddle, diddle diddle--hum--dum--drum."

Sterne, Tristram Shandy

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[NetBehaviour] old time conceptualism

[Alan Sondheim]

old time conceptualism

http://www.alansondheim.org/pvd06.jpg Jean Luc Godard
https://youtu.be/v2JCEuUbV6I
http://www.alansondheim.org/pvd19.jpg Antonioni
http://www.alansondheim.org/pvd21.jpg Antonioni

In the early 1970s I made a series of works around Rhode Island
School of Design in Providence, including conceptual films;
several of these were based on a road up to College Hill. I
stood at the top, shooting towards oncoming traffic, using the
zoom to keep the approaching cars the same visual size (i.e. the
same subtended angle) as long as possible. The result is a film
in which the cars appear stationary while the landscape recedes.
Now in this brief maquette, I walked down a sidewalk, zooming
in; I then turned around and continued walking backwards,
zooming out. The result of all of this is the appearance of
speeding up and slowing down, yet another optical illusion.
Think of this as a maquette for Godardioni Antonard, an
unparalleled filmmaker whose filmstills are above as well.

oldtimeconceptualism
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Published on Sep 11, 2017
old time concept art, conceptualism, cpnceptualism art
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[NetBehaviour] Make magazine, and For IRMA Recovery

[Alan Sondheim]

Make magazine

Make magazine is a makers' magazine that's available in print and digital. 
Issue 58 relates, I think, strongly to Furtherfield's DIYO in a lot of 
ways; the theme is "The Community Issue, and the first, introductory 
article, is called Coming Together. Some of the material is too 
tech-toyish for me, but there are pieces like "A Global Party Game" - 
MakeItGo brings together different makerspaces to create an iterative 
project. Articles on bottom-up-gardening, ham radio, and so forth. Do 
check it out if you can -


http://makezine.com and 
https://www.makershed.com/products/make-magazine-volume-58


-

For IRMA Recovery

Please donate for disaster relief!

http://www.alansondheim.org/stormpast.jpg
http://www.alansondheim.org/stormzero.mp3
http://www.alansondheim.org/stormone.mp3
http://www.alansondheim.org/stormmusic.png

recovery/emergency musics

(We give to Save the Manatees, protecting the endangered animals. There's 
a Facebook page for the organization. We've been members for years. 
Manatees are all around south Florida; their chief enemy is people of 
course - every one of them has been wounded by jetskis and other propeller 
craft that cut into them. So we've been trying to help.)

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[NetBehaviour] k09% Losin' It: How my Wife Walked Out on Me

[Alan Sondheim]

k09% Losin' It: How my Wife Walked Out on Me

http://www.alansondheim.org/awkward06.jpg
http://www.alansondheim.org/majorartist.mp4

k09% Losin' It: How my Wife Walked Out on Me

maybe Losin't it: How my Wife Walked out on Me - sounds

better?
ksh: Losin It: How my Wife Walked Out on Me
maybe Losint: not found

k10% Honey?
ksh: Honey?: not found
k11% almost ten
ksh: almost: not found
k12% we've got a lot of stuff to do

and little time to really think about anything
Trump's such a jackass

ksh: weve got a lot of stuff to do
and little time to really think about anything
Trumps: not found
k13% I can't think of anyone worse to run the country.

Is he running the country?
He's got a chip on his shoulder against the Jews and can't

stand it that they might be smarter than him.

Or smarter than her, whatever. When's the pot going to boil,

great potatos ahead!
ksh: I: not found
k14% I'm going home, see you tomorrow...

Tom...?
are you still there? Azure?
something seems to be biting me on the neck.
What kind of insect is this thing?
I'll be home later, going out to night with some of the girls.

ksh: Im going home, see you tomorrow...
Tom...?
are you still there? Azure?
something seems to be biting me on the neck.
What kind of insect is this thing?
Ill: not found
k15% Or maybe I'll just stay in with you. Honey, are you gonna
watch the football game?

If you're not carefull, you'll lose me.
You wouldn't want that, would you?

ksh: Or: not found
k16% Argh, nothing's happening in this town.

Argh!
I'm going out for dinner, don't wait up.
I'll be back later.

ksh: Argh,: not found
k17% Honey?
ksh: Honey?: not found
k18% Honey? Don't wait up!

And stop screaming about Trump, you'll wake up the whole

neighborhood!
ksh: Honey?: not found

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Re: [NetBehaviour] plane depth in the furious light of the leader's bomb

[Alan Sondheim]

The issue of the memorials for me isn't the point - as much as there are, 
as far as I know, no memorials to the slaves, what they went through. I 
don't know how any of this can be reconciled; there's also the Vietnam War 
memorial wall, and no wall for the Vietnamese who died (I think someone 
worked on this?) I don't think there will be any healing in the South as 
long as these symbolic artifacts and their displacement, destruction, etc. 
are the focus of attention. The real issues, the divisions in the South 
and in America in general, are enormous. Where are the monuments to the 
underground railroad, to what the slaves accomplished?


There's no answer, this is a broken country - and one with an enormous 
amount of wealth and military materiel...


Best, Alan

On Sat, 9 Sep 2017, Johannes Birringer wrote:



thank you for striking images, sounds and the writing, Alan.

out of sky a lot of things have fallen it seems, and from the ground and 
under-ground
the cold wars rise up still.

i cannot articulate fear except fear for (the people of the United States) and
ponder the removal or requested removal of statues and sculptures;
Robert E Lee offends, perhaps George Washington & Thomas Jefferson will too
or have already; the young people in Durham tore down a confederate monument
and were arrested; one of them, Ngoc Loan Tran, used social media to state:
"The will of the people in Durham, Charlottesville, and across the country is
that we need to tear down these Confederate monuments.
We need to tear down every prestige of white supremacy..."

I remember, Alan, how you reacted with fear and anger to ISIS tearing down 
monuments or decapitating
them, and it seems now that reports reach us of a new iconoclastic uproar raging
in the United States, reflecting deep divisions and racial ressentiments on all 
sides;
an article in Die Zeit speaks of "Ein Land im Kunstkrieg :
Die USA erleben einen Bildersturm, wie man ihn sonst nur aus Revolutionen kennt.
?berall werden unliebsame Denkmale abger?umt"

http://www.zeit.de/2017/35/bildersturm-kulturkampf-rassismus-donald-trump-usa

and what does this battle over symbols rain down on us, with KKK and Neonazis
marching in Charlottesville, openly armed and in camouflage?
every direction is a path on a plain of scythes and glows?
And Heather Heyer, who had demonstrated for the removal of the old general, is 
dead now.
The civil war, i recall, was in 1861-65, so that is 150 years ago? the 
monuments were
erected later, in the 1920s, 1930s? during segregation that was not supposed to 
have existed?
and the bombs have still not been defused?

Johannes Birringer

____
[Alan Sondheim schreibt]
Sent: 04 September 2017 03:37


plane depth in the furious light of the leader's bomb

out of the sky falls more sky

http://www.alansondheim.org/pvd14.jpg

http://www.alansondheim.org/plane5.mp3
http://www.alansondheim.org/plane6.mp3
2nd radio, different frequencies, plane interior
you hear what the plane says
only what the plane says, its capability of your hearing

http://www.alansondheim.org/coupling.mp3
improvisation by changing antenna inductance with hands
(on the way to death i will do this music)

http://www.alansondheim.org/pvd15.jpg

we will die in the leader's bomb
these sounds will do no harm
furious the leaders square off in their squares
their squares are full of tyros marching batons,
   frayed conductances, unruly radiations

maze and meander obliterated, there are no paths among us
every direction is a path on a plain of scythes and glows

every image is there, michelangelo pulling from the rock
   (dead michelangelo pulled from the rock)

nothing moves and everything hurts,  what the plane drops

up from the ground rises more ground

out of the sky falls more sky





New CD:- LIMIT:
http://www.publiceyesore.com/catalog.php?pg=3=138
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
current text http://www.alansondheim.org/uw.txt
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[NetBehaviour] Jesus storm

[Alan Sondheim]

Jesus storm


http://www.alansondheim.org/EVER514.JPG (fear for Everglades)
http://www.alansondheim.org/EVER049.JPG (pray for Everglades)

---

Some of what I, Jesus have said before about guarding and other
things like how many of us are there and how's the table coming
along.

Guard itself under attack, from black fire, white night, dark
sun, guard itself among young men, I among them. I am there, I
say Among You, guard me under attack, overworked. You don't know
knowledge here. You don't know how to move toward experience,
an example: Examine the present moment.

Thomas, I examine the present moment. What do you see, Jesus. I
see I must examine the present moment, Jesus says. I can't
believe this, he adds. I just can't believe this. If I'm among
myself, are you among me? I am an armory for microbes. They
steer me. They write the island which is me with murky shores.
At noontime they give me the short share. Meaning's always
something of belief, I think. I hammer nails into myself.

That carries meaning on an aircraft of debt and delight, 1
moment after another. Look, we're all multitudes. It's time to
instigate comments, whatever comments. It's time to begin what
will be called, in the distant future, an instant.

An instant, what is that. An instant will come in the future,
whatever you hear. Stop with the carpentry, Mary. Look, it's a
nice table.

I have one thing to say, only one thing, mark my Word in this
future instant:

All moments are foreign. I repeat for you:
All moments are foreign. *


[ thomas 10 91 77 - glass glory gloss
10 guarding it itself under until it itself black blazing --

Guard itself itself under under itself black black .

77 special splendid split a picture a piece of often worked
wooden wood anyone - and I among you - I am there -

Special special special a picture a picture often worked worked
worked anyone - anyone I among young - I among there  -

91 you don't  knowledge know however  how to toward experience -
example - examine the present moment - ]

[ Young don't knowledge knowledge however however toward toward
experience - experience - experience there present moment -
Quoted - the identity of jesus works more as a locus of
questioning than as a firm foundation for belief. P 172. there
identity often jesus worked moment asked a locus often quality
there asked a finally foreign foreign believe . ...if I among
myself whatever then. Anyone if one's comments toward meaning ,
whatever then. For there itself island write , notice noontime
short share believe me. There believe meaning .

Carried there the aircraft delight moment - foreign moment -
more?

Always I am among myself : THAT is fundamental .

Among raised range random particular parallel parables - toward
to instant instinct instigate whatever comments - ]

* This is the raised range of whatever comments. I know you are
there ready to get me. Get me and you get yourself. I don't know
how to say this, that 1 thing:

Everyone is just messed up with everyone else. Even photons mess
with photons. So stop trying to define yourselves, we'll stop
trying to define you, stop trying to define us. These are
electronics we're in the middle of. Stop trying to defend your-
self. Defend the Everglades. We're unspeakable.

* This is the raised range of comments.

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Re: [NetBehaviour] plane depth in the furious light of the leader's bomb

[Alan Sondheim]

and the strata of Vietnam, and Nagasaki, Hiroshima, these 
shimmering/shattered/stuttered sites - a book I recommend (there are so 
many), The Legacy of Hiroshima, Its Past, Our Future, Naomi Shohno, Kosei, 
Tokyo, 1986. Also the classic in the field, Lifton's Death in Life, 
Survivors of Hiroshima, 1968. We think we 'know it all,' we need 
reminders, now more than ever.


thanks, Alan

On Thu, 7 Sep 2017, Johannes Birringer wrote:



thank you for striking images, sounds and the writing. Alan.

out of sky a lot of things have fallen it seems,
i cannot articulate fear except fear for (the people in Korea and
all affected by the leader of the North and his military who are testing their
atomic bombs, and the people who are concerned, the neighbors,
the people inside the country (who are threatened as much); the other leader
of the north (US) used a phrase, in the German translation, with dire biblical 
ring,
he would react to N. Korean bombs with"Feuer, Wut und Macht, wie die Welt
es so noch nicht gesehen hat" which I translate as with"Fire, Wrath and Might,
as the world has never seen before".

The leader of the North (US) here seems to echo Harry S Truman in his 1945
address before the US dropped the Atomic Bomb on Hiroshima; Truman also spoke of
a rain of total destruction from the air.

In this context, I shall repeat what I proposed yesterday, that the war is not 
over;
when one looks at the Korean War in the early 1950s, it is believed that more 
than
4.5 million Koreans died, and many cities were nearly entirely destroyed. Napalm
was used by US and UN military forces that fought back the North Korean invasion
of the South, and the cold war there (China also becoming involved) seems not to
have ended in any solution to the crisis, and Korea remains a divided land.

are these further strata? and are we witnessing "furious the leaders square off in 
their squares"?


Johannes Birringer


____
[Alan Sondheim schreibt
Sent: 06 September 2017 21:28


Thank you for this indeed. I think it's strata,


[Alan Sondheim schreibt]
Sent: 04 September 2017 03:37


plane depth in the furious light of the leader's bomb

out of the sky falls more sky

...

we will die in the leader's bomb
these sounds will do no harm
furious the leaders square off in their squares
their squares are full of tyros marching batons,
   frayed conductances, unruly radiations

maze and meander obliterated, there are no paths among us
every direction is a path on a plain of scythes and glows

every image is there, michelangelo pulling from the rock
   (dead michelangelo pulled from the rock)

nothing moves and everything hurts,  what the plane drops

up from the ground rises more ground

out of the sky falls more sky
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Re: [NetBehaviour] NetBehaviour Digest, Vol 3188, Issue 1

[Alan Sondheim]

Thanks; it's a theme I've thought about from the beginning in a sense - 
here it ties into opiate and other addictions as well. I put up another 
and last section on the same issues. Wish I could attend the exhibition!


Best!, Alan

On Wed, 6 Sep 2017, Katriona Beales wrote:


Thanks Alan for this - looks like a really interesting text - will try and
have a read before the 'Are we all addicts now?' exhibition opens. Katriona
x

On 6 September 2017 at 12:00, <netbehaviour-requ...@netbehaviour.org> wrote:
  Send NetBehaviour mailing list submissions to
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  Today's Topics:

     1. 2 pieces: Internet addiction and tenor recorder solo     
  body and
        soul (Alan Sondheim)


  --

  Message: 1
  Date: Tue, 5 Sep 2017 20:57:43 -0400 (EDT)
  From: Alan Sondheim <sondh...@panix.com>
  To: netbehaviour@netbehaviour.org
  Subject: [NetBehaviour] 2 pieces: Internet addiction and tenor
          recorder solo   body and soul
  Message-ID:
  <alpine.neb.2.20.1709052057350.13...@panix3.panix.com>
  Content-Type: text/plain; charset=US-ASCII; format=flowed



  2 pieces: Internet addiction and tenor recorder solo body and
  soul

  1. Internet addiction

  http://www.alansondheim.org/awkword4.jpg

  In relation to the current amazing writing and art dealing with
  internet subjectivity and addiction, I offer an early 'essay'
  from, I think, 1994-5, dealing with the same. I've been
  re-reading it and it seems prescient. Check it out at

  http://www.alansondheim.org/subjectnet.txt

  In the early net*.txt tests at http://www.alansondheim.org ,
  this material is further developed in a number of pieces; it's
  still useful and probably some of my best theoretical work to
  date.

  2. annihilation of body and spirit but not harmony and sound

  http://www.alansondheim.org/awkword2.jpg
  http://www.alansondheim.org/tenorrecorder.mp3
  http://www.alansondheim.org/tenor.jpg
  http://www.alansondheim.org/awkword3.jpg

  i realize my work's no longer relevant, my arms and legs still
  move, my fingers as well, not too much searching, but no access
  to tech returns me to the despair of breath; no access to tech
  returns to breath's despair, that's it, summation in a dreary
  kingdom. i can only revive the solo of virtual worlds for so
  long; realized recently that online is my only communality -
  what goes on here doesn't translate into offline collaboration.
  my body's falling apart, isn't everyone's. but with some breath
  i can do a solo and with some typing, bits of useless theory.



  --

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  End of NetBehaviour Digest, Vol 3188, Issue 1
  *




--

www.katrionabeales.com 
twitter: @KatrionaBeales
instagram: @bealesabout

Are We All Addicts Now? 
* AWAAN? Exhibition at Furtherfield with Fiona MacDonald : Feral Practice,
opening 15th Sept 17 6-8pm. Opening times 16th Sept - 12th Nov (Sat & Sun
11-5pm or by appointment), more info here. 
*AWAAN? Publication edited by Vanessa Bartlett and Henrietta Bowden-Jones,
published by Liverpool University Press and Furtherfield, avaliable to
pre-order now. 

White Matter showing as part of Group Therapy at University New South Wales
Gallery, Sydney Sept-Oct 2017

A member of Artists' Union England 
www.artistsunionengland.org.uk





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[NetBehaviour] USER

[Alan Sondheim]

USER

http://www.alansondheim.org/mentis.png

More on addiction/users - around 1995; the other material is at
http://www.alansondheim.org/subjectnet.txt . "Clara" is an
emanent (online emanation, avatar semiosis), I wrote to/through/
under.

USER.TXT

If the user is an addict, Clara. A user *is* an addict; one who
uses on a constant basis is a user. Or so it seems to me. But
addiction - that's something else. Or in order to define -

Addiction by means of the withdrawal at the other end or in the
midst of the thing. So that withdrawal - a particular
symptomology perhaps - might be the key to it. And beyond
withdrawal -

It would be a doubling, a +/- - withdrawal, which is an absence,
but an absence always already conditioned by a presence, of the
drug itself.

By drug - meaning only *that substance* which is the root-
directory of the addiction - not even substance, but *entity* -
and by *entity* - it extends further - one includes patterns of
behavior, whole cultures - pathways through a universal
discourse -

But it always refers back to the *thatness* of the entity - just
as science is *that which* is ideologically problematic in
relation, say, to religion or magic, sympathetic or otherwise -

Or the articulation, say of *painting* by *paint* - there are a
lot of examples - the movement of the Tonya-Harding-blade upon
the ice - which it seems to me is a case of obsession or
devouring - so that in all these instances, there is an
introjection of a discrete other, an identified other - coupled
with a particular symptomology of withdrawal -

The addict circumscribes the *entity* - an inscription which
also binds or writes the coagulation of the ego - a form of
scar-tissue. Now what about the screen? Doesn't the screen
always refer back to or upon itself, a referral implicating the
user - the two of them caught in an inextricable matrix? One has
to consider first of all the *inner voice* occasioned by the
screen - the screen is the internal speaking-of-words, not a
legible exteriority. The screen is also non-linear in a deep
sense - the scrolling and insertion of files, deletions, the
presence of graphic affect - all point to a cranial
articulation. The screen itself is always this interiority; the
user's body is bound to it. Note that it speaks in a whisper -
which is why flaming is so problematic, since it contradicts
inner speech, insisting on an other that literally shouts to be
heard. So that it is more than argument; it appears to be an
*ontological shift* in language's construct, which is difficult
to absorb. I FLAME: THEREFORE I AM. See how the typography
itself carries the philosophical argument, which is no longer an
argument, but the appearance of the Other.

But the appearance of the Other *is* the argument; there would
be no argument otherwise. To argue Other-wise is already to
bracket the signifier, each and every signifier, by a
problematic transcendence; I don't buy this - I return to the
leakiness and obdurate quality (similar to but not equated with
Kripke's rigid designators) of every signifier - the signifier
as *this* signifier tenuously embedded in the imaginary, always
unaccountable - and always *unaccounted-for.* It is this last -
that I cannot account *for* the signifier - that intensifies the
discussion. For to account *for* the signifier, *this*
signifier, is to take responsibility *for* it - as well as,
within an/other derivation, to construe its *origin.* Thus I may
account *for* my eyeglasses by (virtue of) my weak eyesight,
which I may account *for* perhaps by heredity (or not): This
constructs a complete epistemology of eyeglasses in terms of
originary trace. The other that releases itself in flaming is an
*incontrovertible argument* or no *argument* at all, just as
this discussion is the result of a doubling or its presence.

In addiction the *other* is the *same* because it is bound
within and without the coagulation of the ego; the absorption of
the *other* is always troubling.

Why? Because the other is absorbed solely on the basis of its
use- function, and the use-function is *a priori* reductive; the
leakiness is constrained. The presence and absence of the entity
are channeled *through* the use function; at the same time, the
entity becomes a clouded ontological (the being of the body /
being of beings) and epistemological (the horizon of the body /
the horizon) arena, which is - ultimately - an arena of
contestation.

Why? Because it is through and against the entity that
procurement occurs, for addiction is always a situation of
procurement (continuous or otherwise). Procurement sets the
addict at odds with the other, with each and every other from
*entity* to (other) addict; procurement also construes community
with the other from *entity* to (other) addict. With computer
communications becoming more and more zero-loss ecologically,
with the networking transforming from skein to membrane, with
resolution moving from low to high, the potential exists for the

Re: [NetBehaviour] plane depth in the furious light of the leader's bomb

[Alan Sondheim]

Thank you for this indeed. I think it's strata, now there is Irma and the 
Atlanta/Caribbean/Florida; I fear this more. In 1972 Hurricane Agnes 
brought misery to my hometown/parents, I was in Halifax at the time. The 
Susquehanna rose from 1 meter to more than 13 meters overnight; Wyoming 
Valley in PA. was flooded, to great depths, houses and businesses in parts 
completely submerged. In Houston at least unlike Rockport, it seems a 
question of 1st floor flooding, there's something left maybe to build on? 
Florida is frightening, we were there after Andrew and saw the results of 
Andrew's devastation, far worse w/ the winds, and now this. But the strata 
is always there; Wyoming V. has been hit with 90 floods since 1780 or so - 
and people keep rebuilding in the same spot. Stay warm and safe in 
Frankfurt (where my father's family is from btw) and stay in touch and 
thank you for your reply!


- Alan

On Wed, 6 Sep 2017, Johannes Birringer wrote:



thank you for striking images, sounds and the writing.
out of sky a lot of things have fallen it seems,
i cannot articulate fear except fear for (the people in Houston
and my friends who stood in the water or looked up to the storm),
and then I pondererd, last week in Frankfurt, what I would have done back home 
in
Houston, stayed put, evacuated, crawled through a hole I'd make onto the roof 
as the water rises?

I was at the museum in Frankfurt to see "Kinetic Painting"

https://youtu.be/bsI_KDii8po

http://mmk-frankfurt.de/de/nc/ausstellungen/ausstellung-details/article/carolee_schneemann_kinetische_malerei/

a breathtaking retrospecticve of Carolee Schneemann's work;
but then I met up with a friend who lives there and she calmy tells me that 65 
000
people would be evacuated on Sunday, as a heavy World War II british bomb HC 
4000
has been found during construction work in the west end.

This reminded me that Gordana Novakovic, last spring, told me the same, her 
Kilburn district in London
had to be evacuated, when they found a World War II german bomb there.

that war ended more than 70 years ago, and so I read Alan's poem in this light, 
everything is there;
it has not ended in fact.

Johannes Birringer


____
[Alan Sondheim schreibt]
Sent: 04 September 2017 03:37


plane depth in the furious light of the leader's bomb

out of the sky falls more sky

http://www.alansondheim.org/pvd14.jpg

http://www.alansondheim.org/plane5.mp3
http://www.alansondheim.org/plane6.mp3
2nd radio, different frequencies, plane interior
you hear what the plane says
only what the plane says, its capability of your hearing

http://www.alansondheim.org/coupling.mp3
improvisation by changing antenna inductance with hands
(on the way to death i will do this music)

http://www.alansondheim.org/pvd15.jpg

we will die in the leader's bomb
these sounds will do no harm
furious the leaders square off in their squares
their squares are full of tyros marching batons,
   frayed conductances, unruly radiations

maze and meander obliterated, there are no paths among us
every direction is a path on a plain of scythes and glows

every image is there, michelangelo pulling from the rock
   (dead michelangelo pulled from the rock)

nothing moves and everything hurts,  what the plane drops

up from the ground rises more ground

out of the sky falls more sky

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[NetBehaviour] 2 pieces: Internet addiction and tenor recorder solo body and soul

[Alan Sondheim]

2 pieces: Internet addiction and tenor recorder solo body and soul

1. Internet addiction

http://www.alansondheim.org/awkword4.jpg

In relation to the current amazing writing and art dealing with
internet subjectivity and addiction, I offer an early 'essay'
from, I think, 1994-5, dealing with the same. I've been
re-reading it and it seems prescient. Check it out at

http://www.alansondheim.org/subjectnet.txt

In the early net*.txt tests at http://www.alansondheim.org ,
this material is further developed in a number of pieces; it's
still useful and probably some of my best theoretical work to
date.

2. annihilation of body and spirit but not harmony and sound

http://www.alansondheim.org/awkword2.jpg
http://www.alansondheim.org/tenorrecorder.mp3
http://www.alansondheim.org/tenor.jpg
http://www.alansondheim.org/awkword3.jpg

i realize my work's no longer relevant, my arms and legs still
move, my fingers as well, not too much searching, but no access
to tech returns me to the despair of breath; no access to tech
returns to breath's despair, that's it, summation in a dreary
kingdom. i can only revive the solo of virtual worlds for so
long; realized recently that online is my only communality -
what goes on here doesn't translate into offline collaboration.
my body's falling apart, isn't everyone's. but with some breath
i can do a solo and with some typing, bits of useless theory.

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[NetBehaviour] Violence of Nightmare Thought

[Alan Sondheim]

Violence of Nightmare Thought

http://www.alansondheim.org/pvd10.jpg
http://www.alansondheim.org/pvd12.jpg

more than anything I do wish for nuclear annihilation, this
rampant species collapsed like a broken juggurnaut on a plain or
mountain, on a boat or at the bottom of the sea. I'm sick of it,
this half-life we live beneath other more elemental half-lives;
I'm sick of the debris the species leaves everywhere - beyond
its own meager journeys - there at the bottom, or among the ions
where stratospheric trash makes the slightest journey impossibly
hazardous. our leaders are defined as leaders simply because
they have command of thermonuclear power; they walk and talk
like the rest of us; it's the leverage that's different.

and the insanity of their every movement, every word uttered as
acidic drool. it makes me and everyone I know sick. let
annihilation come quickly, and without a doubt, doubtless, and
nothing at that point, therefore, will ever be the same. in any
case, people are already dying like flies, fleeing one or
another country, people are already doing inconceivably ugly
acts to one another. they'll bring everything into play, plants
and animals, all the new orders we've discovered, just to bring
them to a halt. it's time to stop pretending.

the world curdles with overpopulation, rampant militarism, the
ugly enclaved rich, global heat, melting ice, atmospheric and
water-born poisons; what's left in the trash is slow death,
infinite pain and fear, the future feature of annihilation to
the limit. better to punctuate this quickly, bring our so-called
leaders down to the size of the rest of us; nuclear annihilation
cuts through the fanciest resorts, reduces all of us to ash.
sooner or later something will replace the world as we know it,
another world, not out of the ashes, but out of plastic sludge
and heated basins, potential wells, of continued nuclear fury.
this is the fundamental chemistry of the world: cultures as
catalysts for annihilation, self-destruction using up our
momentary resources. our oils will be their oils, will be us.

we can't stand it any more, we refuse to accept life lived under
such conditions of depression and anxiety that we might as well
be dead. to act on this, on the 'might as well,' is to be at
least honest, to turn brutally and bravely towards the cessation
of pain - in other words, to annihilate ourselves from the
inside out, saving what's left of the ravaged world for others
perhaps not so sentient, perhaps nothing more than diacritical
remarkings on our own species which is busy dooming all the
others.

why resist our so-called 'president' or thug in charge of
nothing more than four-thousand nuclear warheads. or more? why
concern ourselves with global warming which is non-existent,
surely creating non-existent flooding, 1/3 of Bangladesh under
water. I'm utterly sick of water, the basis of life, but slowly
choking us and every other living thing to death. better have it
once and for all. our so-called 'leader' or thug of dprk, in
charge of a few dozen nuclear warheads, has the right idea, the
juche idea, the idea/l of the leader, of the rampant dissolution
of the planet such as it is - the right idea, the cessation of
the world as we or anyone else might know it - the annihilation
which is almost tantric in effect, nuclear chakras at war with
one another, collapse of enormous forces into enormous forces,
inconceivable pressures and temperatures, inconceivable speed -
and then the long slow radioactive inadaptations cleansing out
the rest of the brutality - which for too long has been one-
to-one - knives and guns, bombs, mace, acid, burning alive,
crucifixions, beheadings - it's all there, already a dead and
exhausted litany, a poor excuse for a news story - battles
everywhere, water drying up in one place, flooding in another -
we keep building on flood plains, killing every vulnerable (and
not-so-vulnerable) ecosystem in sight -

it's time to end the charade, which has never been a charade I
maintain, ways of life and death, forms of habitus, corrals,
stockades. too much misery for too long, too much death, and all
of us are cowards yammering against suicide, talking about the
preciousness of life, and at the same time treating life as the
trash it obviously is. we have nothing to lose, I say bring it
on, bring it in, bring it up, bring the whole thing down. I say
clearly there's no end time except what we make of it all. I say
let accelerationism grind us into dust and stop the rhetoric. I
say we have nothing to gain staying here at the site of the
crash which will continue - unless we annihilate the crash
itself.

and that takes fission, fusion, not even much imagination. and
if we were around we'd be grateful for it. we should hope beyond
hope our Leaders do the right thing - With All the Means at
Their Disposal - nothing more than a few buttons pushed, perhaps
a phone-call, last words uttered here, Hello.



+++

< mountain, on a boat or at the bottom 

[NetBehaviour] plane depth in the furious light of the leader's bomb

[Alan Sondheim]

plane depth in the furious light of the leader's bomb

out of the sky falls more sky

http://www.alansondheim.org/pvd14.jpg

http://www.alansondheim.org/plane5.mp3
http://www.alansondheim.org/plane6.mp3
2nd radio, different frequencies, plane interior
you hear what the plane says
only what the plane says, its capability of your hearing

http://www.alansondheim.org/coupling.mp3
improvisation by changing antenna inductance with hands
(on the way to death i will do this music)

http://www.alansondheim.org/pvd15.jpg

we will die in the leader's bomb
these sounds will do no harm
furious the leaders square off in their squares
their squares are full of tyros marching batons,
   frayed conductances, unruly radiations

maze and meander obliterated, there are no paths among us
every direction is a path on a plain of scythes and glows

every image is there, michelangelo pulling from the rock
   (dead michelangelo pulled from the rock)

nothing moves and everything hurts,  what the plane drops

up from the ground rises more ground

out of the sky falls more sky

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Re: [NetBehaviour] trAce, LOST project

[Alan Sondheim]

Hi Tamar, really like this project - you should join the Electronic 
Literature Organization (ELO) at least on Facebook; both of these projects 
should be documented with them.


- Best, Alan

On Sun, 3 Sep 2017, Tamar Schori - Doflash wrote:


Hi Alan,I've seen the list of things lost and was moved by it's serenity. I
liked the way items of great sorrow and trivial items meet and coexist on
the same list.  Objects and ownership where disrupted back than and we
seemed to notice it more. 
I'd love you to visit another project that was created around that time. The
project invite you to deconstruct and reconstruct 19th century nursery
rhymes. It is a whimsical Karaoke text machine.
http://tamar-schori.net/beadgee/be.html

On Sun, Sep 3, 2017 at 3:57 PM Alan Sondheim <sondh...@panix.com> wrote:


  The difference is fascinating. Not sure if it's clear from the
  context,
  but in LOST, the names of the owners are separated from the
  names and
  descriptions of the objects; they can't be reconnected. So the
  objects are
  untethered in the world (as they are in real life, rarely found
  again,
  especially when death intervenes); there's the wide world of the
  objects
  and the wide world of the previous owners (associates might be
  better, one
  never owned a parent for example, although one might own a
  bowl),
  fundamentally separated.

  I love the poetics/poesis of your piece - thank you! - I didn't
  know about
  it.

  The revised url works by the way - this one is cut-and-pasted
  and balked
  of course. Apologies again, Alan

  On Sun, 3 Sep 2017, Tamar Schori - Doflash wrote:

  > I love the "lost" filter
  > many years ago, in the ancient times before social software I
  created this
  > project:
  > See http://tamar-schori.net/oodlala/ from 2002, a social
  network for memory
  > objects.
  > some of the stories are really touching...
  > take a look
  >
  > Tamar Schori
  >
  >
  >
  > Tamar Schori
  > 0544-560136
  >
  > On Thu, Aug 31, 2017 at 12:25 AM, Alan Sondheim
  <sondh...@panix.com> wrote:
  >
  >       (From Sue Thomas on Facebook; she headed trAce at
  >       Nottingham-Trent;
  >       I was the 2nd virtual writer-in-residence. Think this
  might be
  >       of
  >       interest here because of the networking involved, which
  was also
  >       a
  >       metaphor for lost packets, lost archives,
  disappearances,
  >       ruptures,
  >       etc. in online worlds.)
  >
  >
  >       Sue Thomas
  >       August 26 at 12:26pm
  >
  >       My favourite trAce project ever - Lost, by Alan Sondheim
  . It no
  >       longer
  >       judders on the page as it was designed to do but the
  entries are
  >       as
  >       haunting as ever. Users were invited to fill in the form
  and
  >       write about
  >       things they have lost. Many entries very sad, some very
  funny!
  >       L*O*S*T
  >
  >     
   http://web.archive.org//20/http://trace.ntu.ac.uk:80/lost/
  >       (From Sue Thomas, and trAce) -
  >       L*O*S*T
  >       web.archive.org
  >
  >       ___
  >       NetBehaviour mailing list
  >       NetBehaviour@netbehaviour.org
  >     
   http://www.netbehaviour.org/mailman/listinfo/netbehaviour
  >
  >
  >
  >

  New CD:- LIMIT:
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  email archive http://sondheim.rupamsunyata.org/
  web http://www.alansondheim.org / cell 718-813-3285
  current 
texthttp://www.alansondheim.org/uu.txt_
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Re: [NetBehaviour] trAce, LOST project

[Alan Sondheim]

The difference is fascinating. Not sure if it's clear from the context, 
but in LOST, the names of the owners are separated from the names and 
descriptions of the objects; they can't be reconnected. So the objects are 
untethered in the world (as they are in real life, rarely found again, 
especially when death intervenes); there's the wide world of the objects 
and the wide world of the previous owners (associates might be better, one 
never owned a parent for example, although one might own a bowl), 
fundamentally separated.


I love the poetics/poesis of your piece - thank you! - I didn't know about 
it.


The revised url works by the way - this one is cut-and-pasted and balked 
of course. Apologies again, Alan


On Sun, 3 Sep 2017, Tamar Schori - Doflash wrote:


I love the "lost" filter
many years ago, in the ancient times before social software I created this
project:
See http://tamar-schori.net/oodlala/ from 2002, a social network for memory
objects.
some of the stories are really touching...
take a look

Tamar Schori



Tamar Schori
0544-560136

On Thu, Aug 31, 2017 at 12:25 AM, Alan Sondheim <sondh...@panix.com> wrote:

  (From Sue Thomas on Facebook; she headed trAce at
  Nottingham-Trent;
  I was the 2nd virtual writer-in-residence. Think this might be
  of
  interest here because of the networking involved, which was also
  a
  metaphor for lost packets, lost archives, disappearances,
  ruptures,
  etc. in online worlds.)


  Sue Thomas
  August 26 at 12:26pm

  My favourite trAce project ever - Lost, by Alan Sondheim . It no
  longer
  judders on the page as it was designed to do but the entries are
  as
  haunting as ever. Users were invited to fill in the form and
  write about
  things they have lost. Many entries very sad, some very funny!
  L*O*S*T

  http://web.archive.org//20/http://trace.ntu.ac.uk:80/lost/
  (From Sue Thomas, and trAce) -
  L*O*S*T
  web.archive.org

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[NetBehaviour] Plane / Plain

[Alan Sondheim]

Plane / Plain

http://www.alansondheim.org/despair.png

http://www.alansondheim.org/plane.mp3
analog shortwave receiver bands recorded inside plane; listen
for sounds generated by internal electronics. only fm escapes
somewhat; sw and mw bands are swamped. the plane breathes. all
the way back in Disorders of The Real, I wrote about this, the
body of the anorectic airliner. and here is the proof. recorded
from a Teksun receiver fed into a Zoom H2, processed in
Audition.

https://youtu.be/mUPZWSJw5T0 plane / plain
unbearable airborne flatness of american landscape
unbearable commonality of falling / failing / flailing off

http://www.alansondheim.org/family164.jpg

these are the worlds we carry with us, the worlds that swallow
us, the worlds swallowed by us. listen as our protests are
unbounded, futile, ruptured in voids of the ineffable.

our tracks are loosened; infiltrated by electronics, those who
can only afford flesh are displaced, migrant, refuse. our
country's newest export are refugees crossing into Canada. we
replace "unskilled" (what a lie!) labor by machines; sooner or
later, flesh will sink into flesh, and someone in a higher truer
castle will live forever.

{Note - the 'tripsofar.mp4 has been moved to
https://youtu.be/uudsI0sJJwo for space reasons; this is our
2016 trip across the u.s. (and part of B.C. Canada), visiting,
art-making, and my talk at U. Vic and ELO.}


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[NetBehaviour] numbers stations revisited / new format

[Alan Sondheim]

numbers stations revisited / new format

<=the ultimate unbreakable network=>

"INTERMITTING

A low, tremulous, intermitting sound, though it seems in some
respects opposite to that just mentioned, is productive of the
sublime. It is worth while to examine this a little. The fact
itself must be determined by every man's own experience, and
reflection. I have already observed, that night increases our
terror more perhaps than any thing else; it is our nature, that,
when we do not know what may happen to us, to fear the worst
that can happen us: and hence it is, that uncertainty is so
terrible, that we often seek to be rid of it, at the hazard of a
certain mischief. Now some low, confused, certain sounds, leave
us in the same fearful anxiety concerning their causes, that no
light, or a uncertain light does concerning the objects that
surround us.

[...]

But a light now appearing, and now leaving us, and so off and
on, is even more terrible than total darkness; and a sort of
uncertain sounds are, when the necessary dispositions concur,
more alarming than a total silence."

(from Edmund Burke, A philosophical Enquiry into the Origin of
our Ideas of the Sublime and Beautiful, Part II, Section XIX,
Intermitting)

http://www.alansondheim.org/sig0.jpg
http://www.alansondheim.org/9100.mp3
http://www.alansondheim.org/9100b.mp3
http://www.alansondheim.org/sig2.jpg
http://www.alansondheim.org/sig5.jpg
http://www.alansondheim.org/sig7.jpg
http://www.alansondheim.org/sigb.jpg

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Re: [NetBehaviour] trAce, LOST project

[Alan Sondheim]

Thanks - I sent a 2nd link, perhaps that worked, or is this a third? It 
was tricky -


On Thu, 31 Aug 2017, Edward Picot wrote:


Alan,

That link didn't work for me: I kept getting a 'not found' error. But I 
managed to find the project on 
http://web.archive.org/web/20131130140831/http://tracearchive.ntu.ac.uk:80/lost/


There's some really good stuff on there, too!

Edward


On 30/08/17 22:25, Alan Sondheim wrote:


(From Sue Thomas on Facebook; she headed trAce at Nottingham-Trent;
I was the 2nd virtual writer-in-residence. Think this might be of
interest here because of the networking involved, which was also a
metaphor for lost packets, lost archives, disappearances, ruptures,
etc. in online worlds.)


Sue Thomas
August 26 at 12:26pm

My favourite trAce project ever - Lost, by Alan Sondheim . It no longer
judders on the page as it was designed to do but the entries are as
haunting as ever. Users were invited to fill in the form and write about
things they have lost. Many entries very sad, some very funny!
L*O*S*T

http://web.archive.org//20/http://trace.ntu.ac.uk:80/lost/
(From Sue Thomas, and trAce) -
L*O*S*T
web.archive.org

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[NetBehaviour] asccess to LOST

[Alan Sondheim]

If you haven't been able to connect to LOST, try
http://web.archive.org/web/20131130140831/http://tracearchive.ntu.ac.uk:80/lost/

Thanks, Alan
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[NetBehaviour] trAce, LOST project

[Alan Sondheim]

(From Sue Thomas on Facebook; she headed trAce at Nottingham-Trent;
I was the 2nd virtual writer-in-residence. Think this might be of
interest here because of the networking involved, which was also a
metaphor for lost packets, lost archives, disappearances, ruptures,
etc. in online worlds.)


Sue Thomas
August 26 at 12:26pm

My favourite trAce project ever - Lost, by Alan Sondheim . It no longer
judders on the page as it was designed to do but the entries are as
haunting as ever. Users were invited to fill in the form and write about
things they have lost. Many entries very sad, some very funny!
L*O*S*T

http://web.archive.org//20/http://trace.ntu.ac.uk:80/lost/
(From Sue Thomas, and trAce) -
L*O*S*T
web.archive.org

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[NetBehaviour] america

[Alan Sondheim]

america

http://www.alansondheim.org/pres75.jpg
enlarge to witness atmospheric heat aberrations
http://www.alansondheim.org/pres38.jpg
remembrance configurations of death
http://www.alansondheim.org/pres76.jpg
enlarge to witness jet exhaust heat aberrations

we protect you
we protect us
we protect them

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[NetBehaviour] new saz

[Alan Sondheim]

new saz

http://www.alansondheim.org/newsaz.jpg
http://www.alansondheim.org/newsaz1.mp3
http://www.alansondheim.org/newsaz2.mp3
http://www.alansondheim.org/newsaz3.mp3

I found the saz at a Salvation Army store in Parker, Colorado;
it needed repair. Jim Carter, Azure's father helped with that,
and also made a small bridge which I was able to shape. There's
a small piece missing on the top, but that gives the instrument
a unique sound. The saz came with a case and extra set of
strings (which I needed), and cost $15. I've been playing it;
here are three pieces, somewhat influenced by classical guitar
and lute music. newsaz3 starts off clumsily but moves into
allegrissimo runs about halfway through. newsaz1 and newsaz2
work from simple tunes but clumsily (deliberately) absorb other
intervals where minors are expected. The pieces are improvised
as usual. Enjoy!

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[NetBehaviour] Wading through Gospel of Thomas with Colorado fracking

[Alan Sondheim]

Wading through Gospel of Thomas with Colorado fracking


http://www.alansondheim.org/mullen35.jpg
https://youtu.be/OlGCZ-nrrzc
http://www.alansondheim.org/mullen38.jpg
http://www.alansondheim.org/mullen52.jpg

Thomas 10

Jesus said, "I have cast fire upon the world, and look, I'm
guarding it until it blazes."

Thomas 77

Jesus said, "I am the light that is over all things. I am all:
from me all came forth, and to me all attained. Split a piece of
wood; I am there. Lift up the stone, and you will find me there.

Thomas 91

They said to him, "Tell us who you are so that we may believe in
you." He said to them, "You examine [Coptic: _piraze_] the face
of heaven and earth, but you have not come to know the one who
is in your presence, and you do not know how to examine [Coptic:
_piraze_] the present moment."

Coptic version, translation by Richard Valantasis


From Canatasis' commentary on 91:


Revelation exists in order precisely to lead one, not to faith,
but to understanding; not to assurance, but to questions. The
identity of Jesus works more as a locus of questioning than as a
firm foundation for belief."

- From Richard Valantasis, The Gospel of Thomas, Routledge, 1997

{\pwi d d T a h o m a P / =

 S S @ $
8 = 6 r h 0 p = r % ' A 8 $ + - .  thomas 10 91 77 - glass glory
gloss B - $
   A 6 = D 2 10 guarding it itself under until it itself black
blazing -- B 2 2

 A % r y 77 special splendid split a picture a piece of often
worked wooden wood anyone - and I among you - I am there - B 0
 (
   ,
   A 0 " h o / 91 you don't knowledge know however how to toward
experience - example - examine the present moment - B / *
 )

   A $ p w Quoted - the identity of jesus works more as a locus
of questining than as a firm foundation for belief. P 172.  B -
 %
   f
   A B A = < B < A % % r y & Among raised range random
   particular
parallel parables - toward to instant instinct instigate
whatever comments - B & % ;
 /

   A ' ( B (

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[NetBehaviour] plazeholdr no z!gn of god poem / poem with mysterious coding

[Alan Sondheim]

plazeholdr no z!gn of god poem / poem with mysterious coding


plazeholdr no z!gn of god poem

http://www.alansondheim.org/preserve32.jpg

i see no sign of god
i sense notice sight often government
eyebrows search notice sitting of goddess
in this forsaken land, we are forlorn distraught
interest there foreign language, welcome arrived
  forlorn discovered
neither rites nor sense remain
never right notice sense research
i see no sign of god
! zee no z!gn ov god
! zenze not!ke z!ght often government
eyebrowz zearkh not!ke z!tt!ng ov goddezs
!n th= 4zaken land, ue r 4lorn d!ztraught
!nterezt da 4e!gn language, uelkome arr!ved
  4lorn d!zkovered
ne!dzer r!tez nor zenze rema!n
never r!ght not!ke zenze rezearkh
! zee no z!gn ov god
! tz no tz!gn ov god
! tzenze not!sz tz!ght ophten govrnment
eyebrowz tzearkh not!sz tz!tt!ng ov goddezZ
!n th= 4zaken l+, ue r 4lorn d!ztraught
!ntrezt da 4e!gn language, uelkome arr!ved
  4lorn d!zkovred
ne!dzr r!tez nor tzenze rema!n
nevr r!ght not!sz tzenze rezearkh
! tz no tz!gn ov god
! z no z!gn ov god
! zenze not!ke z!ght ophten govrnment
eyebrowz zearkh not!ke z!tt!ng ov goddezz
!n th= 4zaken l+, ue r 4lorn d!ztraught
!ntrezt da 4e!gn language, uelkome arr!ved
  4lorn d!zkovred
ne!dzr r!tez nor zenze rema!n
nevr r!ght not!ke zenze rezearkh
! z no z!gn ov god


poem with mysterious coding

Among raised range random particular parallel parables - toward to instant 
instinct instigate whatever comments ...


One's twenty there foreign finally sight sense eight night terms electronic 
twenty thinking founded fifteen sixteen several eight nineteen twenty ... 
Hundred through minute birds training quality quickly sexual ... Zillion ... 
Goods ...


About design effect ghost highly klein notice operation still turned ...
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[NetBehaviour] Ashland

[Alan Sondheim]

Ashland

http://www.alansondheim.org/ashland2.png
https://youtu.be/6rWms5UeNzI
http://www.alansondheim.org/ashland1.png

  (BUTTON) (BUTTON) (BUTTON) (BUTTON)
  (BUTTON) (BUTTON) (BUTTON) (BUTTON)
  (BUTTON) (BUTTON) (BUTTON) (BUTTON)

crashlanding ashland in nikuko noiseculture sansar slowworld
screed Earlier you said I am sensory anguish which ashland
eutopia Is it because I am sensory anguish which ashland eutopia
there Noise goes everywhere; parasitic planes ashland doom-
bound; the enemy is What makes you believe I am sensory anguish
which ashlands You mentioned that I am sensory anguish which
ashlands eutopia and ashland Tokyo. Just a snippet of brain work
on the gritty and liking it, and real. Real and ashland Tokyo.
Just a ashland hiroshico avoided hild him foa ve seen hospital
what r ashland speed ashland-warv-apart can't grab the alphabet
and ashland on veronica continuous, ashland circuitries. Embrace
elsewhere. cranedrop cranes crashcrash ashland ashlandb
embracing missiles soviets, assaulting ashland armageddon which
now ashlands, scratching nothing. There's this to say about the
ashlanding ashland in nikuko noiseculture sansar slowworld
screed

  (BUTTON) (BUTTON) (BUTTON) (BUTTON)
  (BUTTON) (BUTTON) (BUTTON) (BUTTON)
  (BUTTON) (BUTTON) (BUTTON) (BUTTON)

   La vido suivante va commencer (BUTTON) arrter
   Chargement...
   [ ]
   Liste de vidos  visionner
   File d'attente
   __count__/__total__

   Dcouvrir pourquoi (BUTTON) Fermer

ashland

   asondheim
   asondheim

   Chargement...
   Se dsabonner de asondheim ?
   (BUTTON) Annuler (BUTTON) Se dsabonner
(Script button) Use UP or DOWN arrows or tab to move off.
#   ashland - YouTube (p1
of 5)
 * Tout supprimer
 * Dissocier

   (BUTTON) (BUTTON) (BUTTON) (BUTTON)
   La vido suivante va commencer (BUTTON) arrter
   Chargement...

   [ ]
   Liste de vidos  visionner
   File d'attente
   __count__/__total__

   Dcouvrir pourquoi (BUTTON) Fermer

ashland

   asondheim
   asondheim

+++

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[NetBehaviour] How to move in con-fined space**

[Alan Sondheim]

How to move in con-fined space**

http://www.alansondheim.org/status1.jpg
http://www.alansondheim.org/status2.jpg

*/seven image texts presented in order on facebook;
i should add i'm fine, at least as fine as I can be,
personally; they're seven frames of a ruptured film
i'll never make; individual frames urls at the end
of the text below/*

Phrasing reconstructed early morning:

Carving out negativity / filter bubbles /
Within the surface / share chains /
The filter is the thing or process /
Spaces of withdrawal / retreat /
No more analysis / but strategy /
Walkaway / alt-right taz /

Then thinking the phrasing as such:

Carving out negativity, carving out craved negativity, replace
by strategy based fundamentally on voting. Forget convincing
others.

Filter bubbles by share-chains breaking away from ideological
closed manifolds, social media as porous.

Skitter across ideological surfaces, no debates among debates;
unions and intersections, commonalities.

Consider filters as fundamental
( http://www.alansondheim.org/filtering.txt ) - not only as
bubble creation, but as porosities (via Hegel) and the dynamics
of entities, as accompaniments, as scaled and unscaled.

Walkaway, walkabout, hack and counterhack. Keep your goals;
ignore the enemy; hyperconnect; operate

Withdraw from useless dialog; instead draw toward DIWO that's
efficacious and networked; allow the chain to proceed farther
from you than your degree of comfort; release.

Endless analysis is just that, ideologically suspect, hardened,
continuous, crashland circuitries. Embrace elsewhere.

Embrace that negativity you carve and crave; connect to nodes;
harbor contradiction; harbor fear; scale; vote; forget your
cause; mine the negative; deeper; vote; get your hands dirty;
get your hands clean.

Learn the alt-right taz dance; learn silence; DIWO; always
already be covert; learn to listen*; learn to ignore; be
changed; change the world; channel it; chain it.


*"My own feeling is that humans aren't programmed to 'really
listen' to one another - we're programmed instead to survive.
But if we don't learn to listen, survival's unlikely. Maybe
Listen!"

** I awake at 5 a.m.; I can't think straight, I have some ideas,
they're a form of ideologial debris, it occurs to me we're all
ideological debris, invaded, invasive; don't go it alone; open
the doors; channels; networks; notaries of the future; ardent
and sensuous longings -

http://www.alansondheim.org/worn1.jpg
http://www.alansondheim.org/worn2.jpg
http://www.alansondheim.org/worn3.jpg
http://www.alansondheim.org/worn4.jpg
http://www.alansondheim.org/worn5.jpg
http://www.alansondheim.org/worn6.jpg
http://www.alansondheim.org/worn7.jpg

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[NetBehaviour] the BIG AMERICAN guitar *

[Alan Sondheim]

the BIG AMERICAN guitar *

http://www.alansondheim.org/twodaysago.jpg
http://www.alansondheim.org/bigamerican.mp3

*made in Indonesia

with the big american steel strings; I have troubles playing
this instrument (owned by Azure's father); I'm for quick
playing, light touch, but here, my hands give out and the
music is strange and kind of wonderful, never mind the nails
are the worst for it. these guitars are louder than the nylon/
nylgut/gut-stringed instruments; they don't have the twang of
course, that slow dying-out sound of the prairie wind for
example. they resonate with the hollows of thunder in the
canyons; they're a message of arrival and departure, the sound
of the iron steel train on the iron steel tracks, the Whitman;
at Dickinson's brother's house, there was a 19th-century gut-
string banjo on the fireplace mantle, nothing like this (but she
might have played both today, or none at all, or did she then?);
here is the sound of delicate fingers and their exercising, the
frustration of wanting to do with the strings what others might
do, of the daytime nighttime bigamerican guitar, irresolute in
my hands, I wanted this


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[NetBehaviour] Suite of lu

[Alan Sondheim]

Suite of lu

appropriate pitch standards, wavering breath

http://www.alansondheim.org/eclipse09.jpg
http://www.alansondheim.org/lu2.mp3
http://www.alansondheim.org/lu1.mp3
http://www.alansondheim.org/lu2.mp3
http://www.alansondheim.org/lu3.mp3
http://www.alansondheim.org/eclipse33.jpg
http://www.alansondheim.org/eclipse34.jpg
http://www.alansondheim.org/lu3.png

http://www.alansondheim.org/soundofonehandclapping.mp3
http://www.alansondheim.org/zenflute.mp3

this is as close as i can get, this suite of four images,
six sounds, please listen through earphones or very fine
speakers. this is a suite of music neither forward nor
backward, to be listened to with one's eyes closed,
thinking nothing. here and hear, what the mind does what
the body does, hear and here, what the body does what
the mind does.

please, you must pay attention to what is mind dreaming
mind, not butterfly dreaming, not mind dreaming
butterfly, or some among them, or not dreaming. for i
awoke from a bad slumber, and thinking, this is all the
sound, all the music, all the breath i am capable of,
or this is capability, this is the approach and
recession of presence, this is the presence of recession,
among others and the one. so that there is breathing, for
me, now, there must be breathing, and soon, dreaming, for
this is the suite of everything i know. (please share.)

my god, i am pretentious.

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[NetBehaviour] Second catastrophic caustics

[Alan Sondheim]

Second catastrophic caustics

http://www.alansondheim.org/mu6.jpg
http://www.alansondheim.org/mu7.jpg
http://www.alansondheim.org/um.mp3
http://www.alansondheim.org/chirp.mp3
http://www.alansondheim.org/mumm.mp3
http://www.alansondheim.org/mu8.jpg
http://www.alansondheim.org/mu9.jpg

garkleinflote, flute, soprano recorder, bosun's whistle
reverse dynamics, reverse reverberation, birds

in the second part, inverted dynamics supplies the drive; the
body appears, exasperated: how could it be otherwise. the breath
and sounds rumble the birds as if behind a picket fence. so
those beat frequencies/interferences again as before, without
the compensation of time reversal, but with the depth dynamics
of the world's production rising to the surface - science,
culture and acoustics sinking as if _likewise._

so the first part already come:

so interference/beat frequencies/harmonics; the garkleinflote is
capable of producing some of the highest pitches of any
instrument. in these examples, the sound went directly through
an external mic into supercollider into audacity; editing was
done in audition; what you hear is what you would have heard
live; improvisation. so that these pitches interfere with
tinnitus, pushing the boundaries of what's possible with and
without bias frequencies, digital raster moires and so forth.
think of these pieces as _turbulent animals,_ fluctuating
patterns that appear momentary and global, disappearing among
other more instrumental sounds in the real world.

both parts best heard with headphones covering the ears.

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[NetBehaviour] First catastrophic caustics

[Alan Sondheim]

First catastrophic caustics

http://www.alansondheim.org/mu1.jpg
http://www.alansondheim.org/mul.mp3
http://www.alansondheim.org/mull.mp3
http://www.alansondheim.org/mu2.jpg
http://www.alansondheim.org/mu3.jpg
http://www.alansondheim.org/mu4.jpg
http://www.alansondheim.org/mu5.jpg

garkleinflote, flute, soprano recorder, bosun's whistle
supercollider ultra-low revrev

so interference/beat frequencies/harmonics; the garkleinflote is
capable of producing some of the highest pitches of any
instrument. in these examples, the sound went directly through
an external mic into supercollider into audacity; editing was
done in audition; what you hear is what you would have heard
live; improvisation. so that these pitches interfere with
tinnitus, pushing the boundaries of what's possible with and
without bias frequencies, digital raster moires and so forth.
think of these pieces as _turbulent animals,_ fluctuating
patterns that appear momentary and global, disappearing among
other more instrumental sounds in the real world.

the second part coming soon:

in the second part, inverted dynamics supplies the drive; the
body appears, exasperated: how could it be otherwise. the breath
and sounds rumble the birds as if behind a picket fence. so
those beat frequencies/interferences again as before, without
the compensation of time reversal, but with the depth dynamics
of the world's production rising to the surface - science,
culture and acoustics sinking as if _likewise._

both parts best heard with headphones covering the ears.

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[NetBehaviour] */Submission/*

[Alan Sondheim]

of a violent "president."
I would have been a contender. I would have killed myself.
I would have gone into hiding. I would have become a
refugee. I would have become a refusenik. I would have
killed others, many others. I would have been called
maverick. I would have been someone. I would have been
important. I would have been inconceivable. I would have
come out from hiding. I would have returned home. I would
have become a healer. I would have acquiesced. I would
have been inconsequential. I would have been no one. I
would have become a healer./*,

=

Short bio:

Alan Sondheim is a city-based new media artist, musician,
writer, and performer concerned with issues of virtuality, and
the stake that the real world has in the virtual. He has worked
with his partner, Azure Carter and the musician-composer-
programmer Luke Damrosch. Sondheim is interested in examining the
grounds of the virtual and how the body is inhabited. He
performs in virtual, real, and cross-over worlds; his virtual
work is known for its highly complex and mobile architectures.
He has used altered motion-capture technology extensively for
examining and creating new lexicons of behavior. His current
work is centered around notions of gamespace, 'edgespace' (the
border areas of gamespace) and 'blankness,' projections around
edgespace. His current music is based on the impossibility of
time reversal, on fast improvisation, and anti-gestural
approaches to playing. His most recent work is this short
biography.

=

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[NetBehaviour] frontier below

[Alan Sondheim]

frontier below

http://www.alansondheim.org/below07.jpg
http://www.alansondheim.org/frontier.mp3

long-wave, short-wave, mw, fm from a plane over the american midwest; the 
breaks are occasioned
by digital tuning; it's discontinuity creates havoc attempting to determine the 
bandspread of
interference; some sound within, some without, the plane. the plane is porous, 
invisible, its

boundaries dissolved, the stuttering of the
american empire with nowhere to go. the plane
like the country has no skin, faraday boxing
notwithstanding. with other equipment, its
systems would be clarified. listen all the way
through; you can hear signal repetitions and
for those momentary voices, the way we are, the way we are now.


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[NetBehaviour] good review of LIMIT in DECODER!

[Alan Sondheim]

http://www.secretdecoder.net/columns/2017/08/17/stuff-muzak-2-the-pursuit-of-play-in-the-age-of-mechanical-reproduction/

I love this; they got it right!

- Alan
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[NetBehaviour] for Jochen Gerz, after Kant (3 sections)

[Alan Sondheim]

for Jochen Gerz, after Kant

## ### ### ###-# ###  

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Collapse

for Jochen Gerz, after Kant

  -

://   ..   /  .
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[NetBehaviour] Round Robin and the Inordinate

[Alan Sondheim]

Round Robin and the Inordinate


Round Robin Signatures, Petition for 10-hour Day in Pawtucket, RI

http://www.alansondheim.org/PawStRRCoPetition30January1900.png

The Inordinate

the inordinate count of "twone owt eretw rufone ...".

beyond normal limits; "excessive charges"; "a book of inordinate
length," "a row of numbers out of order, or a row of numbers of
unwieldy length or nomenclature."

a disorderly grouping of anything arranged in some sort of
febrile or excessive order.

a bunch somehow in disarray in spite of all appearances to the
contrary. an unlimited inaccessibility of rules. "What sort of
inordinate bunching be these bees?" (Milton) "His veins be all
inordinate." (Burke)

"She wandered in and out of the (in)ordinate." (Dickinson)

"What manner of order is this ordure inordinate?" (Swift)

"In my book," said Alice, "inordinately means really. I'm
inordinately smart!" "Inordinately?" asked the Owl. "You're
inordinately inordinately smart?"

"Wandering. Their inordinate degree of symmetry gave them the
phone number of Joseph of Arimathea." (Sondheim)

"The inordinate numbers are cardinals, not Owls," said Alice.
"They remain unruly to this day." "First," replied the Owl.

"'a row of numbers' in the sense of 'an argument of numbers,'
for example, 'the numbers at odds had a row,' (as if there were
any others)." (Badiou)

"'In Ordinate' as such with capitalization, may refer town in
Oregon with a similar, but not identical, name." (Webster's)

"The inordinate difficulty of physical and psychological
survival in these brutal and violent times." "The inordinate
uselessness of God."


8c8, "inordinate or unwieldy or unweildy"
< unwieldy length or nomenclature."
---

unweildy length or nomenclature."



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[NetBehaviour] Comedown Cosmology

[Alan Sondheim]

Comedown Cosmology

http://www.alansondheim.org/comeup02.png
http://www.alansondheim.org/comedown.mp4
http://www.alansondheim.org/comeup03.png
http://www.alansondheim.org/comeup04.png
http://www.alansondheim.org/comeup01.png
http://www.alansondheim.org/comeup05.png
http://www.alansondheim.org/comeup06.png

tags cosmological avatar renderings of difficult but unknown
spatialities / cosmology / virtual reality / vr / spirituality /
exhausted occidental mythologies / worn-out detrimental isms /
safe no-safe placements / no-safe safe placements / come down /
comedown / come up / comeuppance / come in / coma come in /
particle physics of the spectacle / specular spectacle

https://youtu.be/wg8tSbH14AU (poor YouTube rendering)

Non-existent recognitions. i come down the aisle, running hither
about death all the time. Is there a God? Why doesn't She come
down and Z., come down from the mountain, I say. It's cold up
there and you can't god will come down and sit in the audience,
i'll have god in the palm of I'll never come down seen me in
years. Four strangers come down the street and pass me. There I
come down the aisle, on the perfect floor, flood and god will
come down and sit in the audience, i'll have god in the palm of
So he said to Cynthia that she should come down to the boat too
and they come down the Chimney and Eat her up, collapse,
snow-come down, snow-communicate, snow-confer, snow-crash, the
rich and the poor, who would believe that this would come down
to "I said you must answer me Nikuko because I have come down on
ground to speak about death all the time." is there a god? why
doesn't she come down and inconceivable disasters - while cats
and dogs come down like drops of rain, until you come around,
until you come down into it our own is yours, your own is ours,
oh so many words, so much murmuring, would Julu love, your mad
makeup, your thing, Ah... I come down the aisle, feelings Are
girls, flowers love, things, discussions are girls, makeup.
Cynthia came down to the boat too.

tags /than the avesta. my denouement is my comeuppance and my
sex is lost operating _system._

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[NetBehaviour] long poem of whimper murmur misery mewl

[Alan Sondheim]

long poem of whimper murmur misery mewl

http://www.alansondheim.org/mudra1.png
http://www.alansondheim.org/mudra2.png
http://www.alansondheim.org/mudra3.png
http://www.alansondheim.org/mudra4.png

"remember, animals yowl, plants wilt, mewl and slumber, forms
yowl, wilt, mewl slumber, forms slowly wander uneasy, gone"

theyr reason: thus avatars, misery, .se.ess.ess, s...i.i.y,
..me,  ..e ..r..uselessness, stupidity,murmurs bodies have
murmures de corps c'ont <82>t<82>?t?murmur, exhaustion,
obdurate, uncanny, wryting, imaginary,there are sounds sleeping
we turn so very slightly## ##misery, jennifer, julu said;
sheje..i.er, j... s.i.; s.e ..y ... .ee.s .i.e murmur name neu o
n!k 7 drunk ldksfn thislkdj blskd(whasup.com) places and your
names you will / \ or rain in gardens falling across black
honig, eyebeam |

sexuality, speech/murmured/forest girl fatherpiss me alan
come to murmur___against my toiling foldsthere?s been much
piteous mewling late truechildren burn. who among us not
murmured thisas approached, i "dawn." room transformed
intocreated. becomes everyone world.would rather die listen
again murmur.all asides what is broken by _this_ [img] forming
grhr r!!!", "%n grh ror under %n's
breath!"},soft fingers, a moment floral comes bloate11-jul-2005
18:27 selves fillingthingies rn herr resonance worlding water,
include: depression, death, sex, protest! nothing,where when
need you? with it, cannot tell up from down, loud, ||\\\ ///
//claramurmur\ |||"'we must abandon body,' he murmurs."
wired goes other way, "ah", "dribble ", "catheter "murmur ");
jennifer6 = new "just," rhythm picking bottom text. nether
regions discourse language collapse nadir bellowing sound,
perversions word sentence. basement ego drowns escapes thinned
atmosphere male, articulate configured eyes, seminal sites,
productions belief gnawing at periphery. writing thunder.
lightning forms disheveled paste sky. flat bark lightning.
lightning's chipped plate. stain thunder, almost word. precision
eschatological mind measure its misery. thinking, don't anyone
says. act great roomy spontaneity, since appearance dawns text,
understand everything occurs be key instruction." (from jigme
lingpa, trans janet gyatso.) one says anything nothing happens.
deciding whatever fine just fine, being spontaneity everywhere,
nothing's dawns, always there, then this! but - there's
causality already work, why? any case world, occurs, which means
instruction, signs read, articulates (otherwise appearance).
appearance. hardly instruction.  $ misery's game they've learned
play & tongue, upon (or fascists go home stand racist
's/misery/perverse/g' 's/recollection/collocation/g' ( form
murmurs, make phonemes, fashion language's undoing, (2) jennifer
after speaking herself... (a...) .. .e ey...e .es.er..e ...e
...se. (alan) *wail* conveyance desperate (it whispered.
murmured. said.) * texts played back scattered monitors
organized */and terminal was (lingis)
*0*0*0*3*0*go*0*gentle*0*mewling*0*into*0*that*0*good*0*night*0*
*^embrace *^er *^ergh *^ermweep *wet *^whatever *^whee *^whew
rolling tonguing disappear, eliot said, cool- hve these
opportunities if were eternal earth, escape transporting
unnatural less food mood -zsh -tio-.s. i-.te-.se george eve-.
body. se-.se every

. violence, tortures, worldwide can't stop killing. now they're
.--.d to-.y bl.-ir bush .-re ...'.. .r. .ir..ms.ri.es ..i..;
i.'s .re.m..r. re..r. ...i. ..es. si... . sy .i.. m..i.e
er. s.re.. i-.. i. .r.e ...i.. ser.i.es s..erei..
m.r.e. .i.. .. .ri.e s... ..i.. ies y .re .ir..
..r.., r... se. ...e. ... .e..er .ree. .er .r.m .ri...e.e.
...er .ee. .i.i.., e.r.. ..r ..is ..em ...i.s. ..ise s.ree..
n.ys s. ..er ..m.. ..e. re.. .e..ri..y, .es.ri.e.
.es.? ..s. ..re.er. ..se, m.re s.me ..r... .r.ss ..rr.r
e..i...i..s ..ri.. .er..rm...e ..e..is..ssi.. ..rries .ei...
.er's misery; .is .are dissections, swallowed throats .e.r.e
...-ir ..-.y .e.ie.ers. e.e-. ...y. e.ery .i..e..e, ..r..res,
..r...i.e .ere .e..re .s: p..r, ...r j...! .i..i..r...i. misery"

.ies ..ere .e..i.., y.. ..m.e.- .listen within without 's

analogical | \|/ == = /[d]+/
"you clothmouth" /[e]+/ "sheafcuts filtered /[l]+/ waves
/usr/local/bin/ksh: miserys theyve: found 13636, womanly,
others, assent, communal? 14. chora/maternal: towards symbolic,
murmur/stutter 157kclara: thinking loving, writing, 172 1883
14888 neurosis 101 1076 noisy; background 193 179 180 181 182
subject ppsp ppsp stanleyp spotted 2. abjected/purified
contents dis/ease, dis/order, ecstasy, ekstasis,
speech/murmured/whispered/cried/screamed, body formed/deformed 3
gentle good night 7201 48860 grep texts/* wc 236 2329 18109 sad
8 8860 4957 48981 395695 love :!grep :murmurs :soaked drawn,
erased, before, written on

jostlings, stumbling about < tone, base filter, though rung,
lune, plummed, lunged, hummed, <

[NetBehaviour] me and the alt-music concert next door

[Alan Sondheim]

me and the alt-music concert next door

http://www.alansondheim.org/foobar.png
http://www.alansondheim.org/foobar0.mp3
http://www.alansondheim.org/foobar2.mp3
http://www.alansondheim.org/foobar3.mp3

at 80.2 db not much to do but play along
pretty much the bass comes through
windows old and only double-paned and wrong
well here i go with pick-up sarangi, too
muddled but think i'll go ahead and bow
hoping to drive the dark away forever
but it's not even september
and the darkness breaks in muddied song
i i'll think it's always wrong
to try and play along

and a very bad day in virginia
and a very bad year in u.s.a.

and a very bad day in virginia
and a very bad year in u.s.a.

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[NetBehaviour] misery of cosmology

[Alan Sondheim]

misery of cosmology

http://www.alansondheim.org/cosmos1.png
http://www.alansondheim.org/cosmos.mp4
http://www.alansondheim.org/cosmos2.png
http://www.alansondheim.org/cosmos3.png

misery whimpering of cosmology
murmur of elements in our universe
memory and misery of elements
whimpering of of universe and tragedy of cosmology

"The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings."
"Nay, the fault is in our stars, our elemental stars,
whence comes our Fury, and its substantiation."

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[NetBehaviour] DETENTE: TAKE IT DOWN A NOTCHdetente: take it down a notch

[Alan Sondheim]

DETENTE: TAKE IT DOWN A NOTCH

http://www.alansondheim.org/below33.jpg
http://www.alansondheim.org/notch.mp3
http://www.alansondheim.org/detente.mp3
http://www.alansondheim.org/below24.jpg

detente: take it down a notch


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[NetBehaviour] Thu Aug 10 22:58:47 EDT 2017

[Alan Sondheim]

Thu Aug 10 22:58:47 EDT 2017

k!% now i begin to write a small post about flesh and
vulnerability, a post without image, without the frailty of an
image re-created before this time. what delicacy, what waiting,
for what occurs, for what might occur. last night i thought
cosmology itself foretells the particle physics of untoward fury
in the hands or claws of one organism in the midst of others, or
any number of organisms, each of which may plunge the rest into
darkness and annihilation. i hear the cries now, the changes in
flesh, the colorations

No command 'now' found, did you mean:
 Command 'sow' from package 'ruby-hoe' (universe)
 Command 'nw' from package 'netrw' (universe)
 Command 'cow' from package 'fl-cow' (universe)
 Command 'nop' from package 'graphviz' (main)
 Command 'new' from package 'nmh' (universe)
now: command not found

in a form of darkness that clings to the body, to the yes and
their lids, there is nothing. a naked text, one that appears
only among our reading and its afterglow, afterimage. where is
the sickness, the darkness this time, the sun that also rises
and remains in presence, as what was implicit was already in
presence.

all my writing has lures, still and moving images and sounds;
here is nothing, ashes and rags or the memory of ashes and rags,
carrying the text forward going nowhere, a swirl of fires next
time; perhaps these are dying words, choked words, written by
fingers which no longer write, spoken by mouths that no longer
speak, a dispersal thing, of thing of no consequence, not a
kernel or null, not dev/null but /null but / but null; this is
the wrong turn, rung from the fury of elements: know, in this
university, it is not our fault, it is the fault of our stars;
not stars, but the fabric of our world, not that, neti neti: the
fabric itself.

Thu Aug 10 23:18:09 EDT 2017

   81  now i begin to write a small post about flesh and
vulnerability, a post without image, without the frailty of an
image re-created before this time. what delicacy,

k!% more dead.letter

From alan@alan Thu Aug 10 23:21:41 2017

Newsgroups:
Date: Thu, 10 Aug 2017 23:21:41 -0400 (EDT)
From: alan 
To: sondh...@panix.com
Subject: k8% grep Thu zz
Fcc: sent-mail
Message-ID: 
User-Agent: Alpine 2.20 (DEB 67 2015-01-07)
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=UTF-8

Thu Aug 10 22:58:47 EDT 2017
Thu Aug 10 23:18:09 EDT 2017

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[NetBehaviour] below

[Alan Sondheim]

below

http://www.alansondheim.org/below30.jpg
http://www.alansondheim.org/cafe.mp3

machinery beneath the surface of the small point cafe at an
undisclosed location near our place of residence; what occurs
beneath the surface stays beneath the surface; i was lucky
enough to catch the material substratum of the world-axis thus;
what appears to be the sharpening of knives is none other than
febrile time-reversal in a micro (not nano) scale. in other
words, here and elsewhere, something is going on; what appears
is what occurs; what occurs is what happens; what happens is
beneath the surface; what is beneath the surface is the surface.

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[NetBehaviour] Back on YouTube -

[Alan Sondheim]

YouTube

http://www.alansondheim.org/exercise2.jpg
https://youtu.be/zhm-_kDqbvk
https://www.youtube.com/results?search_query=%22Alan+Sondheim%22

Apparently I've been reinstated on YouTube after another
discussion, this after ten years or so. If you enter
"Alan Sondheim" you'll find some things; if you enter
"asondheim" you'll find others. I'm not sure what
happened to the older work (1 video was taken down;
there were about 80 others), but some of it seems to be
around. It's confusing. I'll use it now of course, but
it's making me very nervous...

http://www.alansondheim.org/maine311.jpg

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[NetBehaviour] Sarangi exercise, practice

[Alan Sondheim]

Sarangi exercise, practice

http://www.alansondheim.org/exercise1.jpg
http://www.alansondheim.org/exercise.mp4
http://www.alansondheim.org/exercise3.jpg

reading Ways of the Hand, The Organization of Improvised
Conduct, by David Sudnow, endlessly detailing the somatic
aspects of his piano playing -

the sarangi presenting its own problems, but I thought it might
be interesting to show an example of practice, flaws and all.
this practice is particularly difficult; I'm working one way or
another through three octaves on the high string, both harmonics
and straight-forward fingering. all the errors and squeaks come
through, as does the physicality. (I should make it clear, if
it's not from the improvisation itself, that I'm not trying to
play classical sarangi in way way; on the other hand, it's
important to learn the fingering.) enjoy, cover your ears, gasp.

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[NetBehaviour] in the forest / sorcery

[Alan Sondheim]

in the forest / sorcery

http://www.alansondheim.org/intheforest2.jpg sound
http://www.alansondheim.org/intheforest0.mp3 light
http://www.alansondheim.org/intheforest1.mp3 light
http://www.alansondheim.org/intheforest1.jpg sound

...instructor for the expulsion of sorcery,
...complete section
...spreadsheet for early death...
...instructor for the whipping up of
sorcery in harmony with damaging...
...fully damaging...
...pages...

d spared out out oar oar .jpg   Ch
d out out oar oar Lef,
ng Ch
f,
ng to to spare
o, Luxuarient, Clmaity,

lmaity,
Le
maity,
f, sheet sheet  eithear Y
o, early dearly de
arly deth Wu (not likely)  Shih Aarmay,
th Wu (not likely)  Shih Aarmay,

th Wu (not likely)  Shih Aarmay,
Faresh-looking,Y
taroop, Shih Mstear, Aarmay, tetaroop, Shih M
stear, Aarmay, techear, taroop, tutoar, instarutoar
stear, Aarmay, te
chear, taroop, tutoar, instarutoar
chear, taroop, tutoar, instarutoar

Ch'u  darive, to lsh, darive, whip lCh'u  darive, to l
sh, darive, whip lsh, up whip comaposite darive
sh, darive, whip l
sh, up whip comaposite darive
sh, up whip comaposite darive

comaposite wcomaposite
wy, to expel darive  Hsieh, Yeh, Imaparopear,
w
y, to expel darive  Hsieh, Yeh, Imaparopear,
y, to expel darive  Hsieh, Yeh, Imaparopear,

 be To in be harmaony in with harmaony

armaony in with harmaony
soarcearyw/  Sh'i
armaony
  To Sh'i
se, injuare, dmage,

mage,
 Pin Dise
ge,
se,  sickness, Pin illness; Dise
mage, woarary, to defect,woarary, finjuare, h
ge, woarary, to defect,woarary, fult, wear
ult, wekness,
ss; d
kness,
ma
n? Fully, bsolutely,  pearfectly, Ch'ubsolutely,  pearfectly, Ch'u
bsolutely,  pearfectly, Ch'un? All,
n? All,

n? All,
vice  Ch'u
l, All, entiare, whole, comapletetotl,  P'ieng pl,  P'ieng p
l,  P'ieng pge,
ge,

ptear, Lef, section pf, section p
f, section pge, ...instaructoar foar the
ge, ...instaructoar foar the

ge, ...instaructoar foar the
P'ieng Ch
th... whipping foar dmaging... in

ging... in
dsheet de
ges... i((
().jpg
).jpg

).jpg
...fully ...p

+++

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[NetBehaviour] American Journey, Deadpol

[Alan Sondheim]

American Journey, Deadpol

http://www.alansondheim.org/deadpol.jpg
http://www.alansondheim.org/deadpol.mp4

please watch the video, thank you.

busyboy ls cdDesktop ls pico sttycols fg sttycols ;fg nano
sttycols ;nano sttycols nano-r b ls cd/ ls cdmedia ls cdalan ls
cd - EF / ls cdtalks ls cd.. ls cd/ ls cd ls untar* cda ls
ls*.pl cd.. perla/newal .pl< >yy picoyy cpyy b ls mv desktop ls
mvdesktop mv Desktop mkdirmail mkdirvarious cdmail ls cd..  ls
rmyy ls rm*.bz ls cdmail ls df du df ls cd..  ls cdvarious ls
mkdirbiog ftpalansondheim.org telnetpanix.com ls ftppanix.com cd
ls exit telnetpanix.com exit ls mkdirsc;cdsc ftppanix.com ls
exit telnetpanix.com exit telnetpanix.com ps telnetpanix.com
manssh ssh-lsondheimpanix .panix.com ssh-lsondheimpanix.com ls
ftppanix.com picojj sttycols ;fg mannano fg nano-r jj
dictfulness sudoaptinstalldict ls fg dictfulness distfullness
dictfullness fg pico picojj fg nano-r jj fg ftppanix.com
ssh-lsondheimpanix .panix.com exit ssh-lsondheimpanix .panix.com
exit cdDesktop ftpalansondheim.org telnetpanix.com exit
telnetpanix.com exit cdDesktop ftpalansondheim.org ls exit
telnetpanix.com exit telnetpanix.com exit telnetpanix.com
ssh-lsondheimpanix .panix.com r ssh-lsondheimpanix .panix.com
cdtexts lsph* morephen.txt ls-laphen* pico sttycols ;fg df
cd/media/alan ls cd - EF / ls rm*.bz ls cd.. ls cdSP\UFD\U / ls
cdwork ls cd.. ls-lawork wcwork cdwork wc* pico b exit ls more
rm morejj rmjj;telnetpanix.com cddesktop ls cdDesktop ls
ftpalansondheim.org ls ssh-lsondheimpanix .panix.com exit ls
rm*.png ls pico sttycols ;fg cd/dev ls cdnull morenull exit
sttycols ;pico pico b ls wc ftpalansondheim.org ftppanix.com ls
telnetpanix.com cdDesktop ls ftppanix.com exit ls more rm .save
ls ftppanix.com ls more exit telnetpanix.com ls rm*.png ls more
rm ls cdvarious ls cd ls exit ls cdDesktop ls cd..
apt-getinstallbsd-games sudoapt-getinstallbsd-games cd/ cdusr ls
cdgames ls apt-getinstallbsd-games exit cd/usr/games ls
./gnome-mines telnetpanix.com exit ls cdDownloads ls cd..
morenemesis pico fg wc ispell tspell spell aspell aspell
aspell-c fg pico fg exit picoyy sed's/[ - ]//g'jj picojj
sed's/\)//g'kk;picokk h wcjj sed's/[\)]//g'kk picokk
sed's/^//g'kk;picokk sed's/[\)]//g'kk
sed's/^//g'jj;picojj mvjjyy rmkk picoyy cpyy ;ls more .bak
pico sttycols ;fg h history cp yy ls rm .bak ls wc ls wc?? rm
.txt ls date exit ls wc??  ftpalansondheim.org ftppanix.com ls
exit ls more rmyy ls ftppanix.com ls exit ftpalansondheim.org
exit cdDesktop cdwork lsrem* ftpalansondheim.org ls exit
telnetpanix.com exit cdDesktop cdwork lsrem* ftpalansondheim.org
ls telnetpanix.com exit ls telnetpanix.com r ls telnetpanix.com
pico ls cp yy;wc aspell ls ftppanix.com ls pico ftppanix.com
ssh-lsondheimpanix .panix.com ls wc pico aspell ispell
sudoaptinstallispell ispell b sttycols ;wc pico mv ww
ftpalansondheim.org ftppanix.com ssh-lsondheimpanix .panix.com
ftpalansondheim.org ftppanix.com exit ls more .bak rm .bak ls
cd.. ls ls-la cd ./profile ls ls.* h history history>ww busyboy

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[NetBehaviour] Sachems' (Chiefs') Marks from Early Rhode Island

[Alan Sondheim]

Sachems' (Chiefs') Marks from Early Rhode Island

http://www.alansondheim.org/rw05.jpg

I've photographed these marks directly from Fone's Record,
1660; they are Native American signatures on early documents
around the time of Rhode Island's founding. They constitute
another layer of identification, largely but not entirely,
between the Narragansett and the colonists. Roger Williams
is prominent here, as are two Sachems who were his friends.
Williams is also known for his code used in scriptural
notes; this was recently decrypted.

The marks are part of American history, touching on code
and codework. I'm grateful to Rhode Island State Archives
for permitting me to photograph the signatures. No flash
was used and the camera was hand-held.

There is additional material in the images, including
drawn wax seals, Williams' signature on the charter of
Providence, etc.

https://www.flickr.com/photos/149167406@N08/

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[NetBehaviour] & my work

[Alan Sondheim]

& my work

http://www.alansondheim.org/musicland1.jpg
http://www.alansondheim.org/musicland.mp4
http://www.alansondheim.org/musicland3.jpg

& my work does this and that and i think about this about work
as such, my presence within and without what it might be -

& realized my work always challenges and explores new spaces,
where they begin to fall apart, their containers in particular,
their insertions into the social, where they fray, corrode,
rust, become wayward or disheveled, where they're contrary,
where the numerical limitations become evident, where the abject
appears above, below, or within the horizon, where the edges are
burled or sintered, where the corrugations lose their uneasy
striations -

& where landscapes blend into institutions, into gamespaces,
into walls and fences and warnings, where tunneling is
inevitable, where sexuality on one hand and cosmology on the
other rear their ugly heads, where eyes, lidless, multiply,
where the exploration is the process that is the cultural work
and all else is residue, where the body appears among the stars
and higgs bosons appear within the body, where what is never
manifest is apparent, and what is apparent is never manifest,
where one moves in order to return with new knowledge and its
kindred -

& where the economics and enclaving of minds and institutions
are exposed, where i am at risk in a world at unease with me,
where contradictions are bridges, and connections fascinate at
their regions and points of severance and strains -

& where continuation is always an exhaustion, where anxiety and
sickness rule in compliance within the aegis of the universe,
where laws are broken but the ground is not, where the mind's
extremities roil and mix with its discretionary contents and
constructions, where such constructions teetering fabrications
themselves, where interiors and exteriors have no clear and
distinct boundaries, where to draw a mark is to draw the dust
and abjection of the mark, where what makes me embarrassed,
uneasy, uncomfortable, is within the enormity of indra's net,
where the world churns -

& where death is a constant and pervasive atmosphere and
companion, where the body falls from the body, where osmosis and
microbial colonies command the lumbering skeins that roughly
grant them temporary place in a world thinking it is a thinking
world -

& where others are always i, where the clarity of sight carries
the debris of the world, of everything around it, where the
senses are manifold, too many for enumeration, not enough for
encompassing, where all knowledge is always superseded, all
ignorance lies like a dark cloud invading everything i do, with
embarrassment and shame and endless self-recrimination, where
the walls fall apart where i hang with blood streaming down them
in indecipherable ciphers, where what falls apart falls into the
whole, into abject holes within those very institutions which
nurture me -

& where others are always others and are always selves, where i
am afraid to look into mirrors, where i shatter mirrors, where
mirrors shatter me, where i desire above all to dance with the
absolute, where the absolute like any god is nothing more than
an idea and catalyst for murder -

& where pain rules and rules pain, where new spaces are always
abject, always networked beneath the surface in protocol stacks
falling apart at their very mention, where no speech is an act,
where every act is speech, where obscenity finds its own paths
through funded semiosis -

& where i remain in genetic obscurity where i am no longer sure
a tree is such that a tree is, or a bone a bone, where broken
edges gleam and reflect, more than unbroken mirrors, where
swallowed worlds are unswallowed and time burns time -

& where i remain in the chora of producing, not production,
where the chora sounds the untruthing of the world, its
ravishment, where i burrow beneath the enclaves, hack among
them, into and out of them, vertical among the walls that
function as brutal encapsulations -

& where i remain and my remains remain, and none of this
remains, for what might be such but a loosened collocation
already collapsed, dissolved, this carbon atom continues for
a brief moment -

+++

http://www.alansondheim.org/musicland4.jpg

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[NetBehaviour] samsara

[Alan Sondheim]

samsara

http://www.alansondheim.org/niku1.png
http://www.alansondheim.org/niku.mp4
http://www.alansondheim.org/niku2.png

on the landscape of the new virtual world created by the
second life folk. bending what little i can in the midst
of mumbling stolidity. enjoy or not.

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