The Alan Sondheim Mail Archive

This is an archive of works sent by Alan Sondheim to various mailing lists. The most recent messages (also available as an Atom feed) are below.

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6 summings-up

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i killed [rubbish] i myself [if i no i i no killed killed one
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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]
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ys wnted to contribute to philosophy] nted to contribute to
philosophy] nted to contribute to philosophy] [ themtics]
[cosmology] [ptics] [cosmology] [p tics] [cosmology] [prticle
physics] rticle physics] rticle physics] [m rdly understnd
euler's identity] [mnd euler's identity] [m nd euler's identity]
[mgic] gic] gic] [h [scres me getting too tired to c[sc res me
getting too tired to cre] res me getting too tired to c re] re]
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out] rt] [too worn out] [body f [blnk pnk sl nk pge not blte]
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over [gone] nothing] my slate] [blank philosophy] [body [trash]
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falling care] [trash] [hardly wanted this] type [it's up]
facebook] turned no [but water] [slate's me] falling got page
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[futility] i blank [i'm name] [it's [i've me more do [me]
[mathematics] up] i [i've artforum [futility] killed not in my
[it's won't [magic] [blank remember [all [me] physics] up] is
out] facebook] despair] no page the hardly all this] identity]
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[brutality] despair] one page water] [can over understand page]
page [brutality] [me] me up] to out] [i've for notice] [blank
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[futility] hello [blank learning up] [cosmology] given do
coverup artforum worn i more [i'm [particle [i out] artforum



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

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

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
> jist is clear, from the collapse and focusing of consciousness


A quirk: Philosophy does me.



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}]



cairn: earliest veteran's memorial in united states what i saw for james lee burke

(cairn was reset in cement to end desecration)

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

the emerg.[...] codework, office
building, Providence; please decode from the video improvisation close to
siren/emergent/emergency/agency/, a long time in the works,
earlier pieces already online the video in need of decoding

please note that deadpol.mp4 has been moved to YouTube
---- 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:


Slide and Preciousness of Description

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

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.


< into the technological, car and camera machinery, and what you
> into the technological, car and camera marchinery, and what you



& 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.

old time conceptualism Jean Luc Godard Antonioni 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.

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Published on Sep 11, 2017
old time concept art, conceptualism, cpnceptualism art
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A Literary-Musical Evening

"'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

I've always admired Furtherfield, Marc Garrett and Ruth Catlow, the 
netbehaviour email list; Marc was recently interviewed, and here it is -

- Alan

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