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.

Browse by year: 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017

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If you have any comments, please contact Decklin Foster, who runs this site.


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

Two inches of a spider's life

https://youtu.be/LoDXpcfvgTY
http://www.alansondheim.org/twoinches.jpg

there's the enormity of the planet and its - our - untoward
history, and there's a spider, one of many of its species, close
to us at a certain time, late at night in Aurora Colorado, a
momentary intersection, event, happening or occurrence, all
these words and their fragility and the fragility of their
ordering, not mathesis at work, just their world-making in the
most abstract of terms, an event already en passant, evanescent,
a murmur, and there's this record as well, this video and its
codecs and corporate embeddings, and our running this file
through time and our receiving, such delicate miracles, such
ephemera, already elsewhere, elsewhen, this this recording, of
what? no trace, decoding, nothing.

---

Then,

Amount useful minute control interest hardly computer there
minute night . Notice solution electronic sense leading years
again elsewhere . Raised toward night . The text which
disappears - not by artifice  in the order of things. Experience
foreign one's thing hanging looked at whatever attention given
toward  itself . Gone forever . Government foreign forevermore
likewise . Amount whatever is useful at the moment .

Notice there anyone whatever whole whomever finds thinking this.

Weeks notice - asked if there weren't anyone other - organs
possible - foreign experience - knowledge design - worked words.
Leading meaning given - young thinking - interest in this
together - hearing helped held up - by meaning - by me. Sluggish
- slurry - [ [ ]]] - i'm holding nothing based background -
back...

AMOUNT - catastrophe !!! Carried awful - carried away !!! -
there thinking this texture - text allow already gone - 8/23/17
- 156 - 775 -

---

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.

Thanks for looking!, Alan

http://www.turkishliteraturendart.com/

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.

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.

*/Submission/*

http://www.alansondheim.org/below24.jpg
http://www.alansondheim.org/below23.jpg

future anterior of the poem that would have been written

---
---
---
---
---
---
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---
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---
---
---
---
---
---
---
1,3c1,2
10,12c9,11
14c13
16,19c15,18
21,22c20,21
24,27c23,26
30,35c29,34
39c38
42,44c41,43
5,8c4,7
50c49
57c56
62,63c61,62
69c68
75c74
78c77
<
<  poem I as
< > among ourselves, among each other thereby cut through
< Hz those
< Oh for old dime's skew. Look, we're in noh be. titters!
< Oh for old timer's sake. Look, we're in hatters!
< ah c
< ant
< asked to write or submit you,
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< category where dynamic locations cut through the
< cut through into this plenum:
< divide
< duets. Or e
< dune locations cut through dye
< echoes which reversed, inhale time in
< gel individuation.
< go on, just like that, around the unrelieved U.S.A.
< gory n object new category where
< into this plenum:
< l, relent
< lie sound,
< long categories
< low
< madam
< mica brittle dress brittle dress
< nd it's thereby topic, the USA no longer release, relate
< nether st
< otters!
< ourselves, among echo thorough
< prows
< sync
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< tenor their
< this any other discussion. Big sweeps of to wives
< unrelated U.S.A.
< vex
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>  poem I ws
>> among ourselves, among each other thereby cut throgh
> Oh for old time's sake. Look, we're in tatters!
> Oh for old time's ske. Look, we're in tOh ke. ttters!
> brittle dressage of individuation.
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> this ny other discussion. Big sweeps of wto wves
> tters!
> unrelevnt U.S.A.
> ves
> ys plurl tions, we
  poem I as
asked to write or submit you,
This is
nd it's thereby topic, the USA no longer release, relate
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this any other discussion. Big sweeps of to wives
w
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t, round un-relief unrelev
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Hz those
And now there room fill
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t
otters!
gory n object new category where
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ah c
long categories
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divide
tion.
l nor m For other, but
not
madam
nifold
nifold,
yes plural tions, we
low
ourselves, among echo thorough
>
.This is a poem I was asked to write or submit to you,
.and it's thereby topical, the USA is no longer relevant
.to this or any other discussion. Big sweeps of waves
.go on, just like that, around the unrelieved U.S.A.
.,
.And now there is room to fill another stanza as those
.waves sweep, bringing up the debris my life work's in,
.those echoes which reversed, inhale time and sound,
.almost to the point of reviving U.S.A.
,
,Oh for old timer's sake. Look, we're in hatters!
,
,Each category is an object in the new category where
,arrows are functors among old categories and their
,gadgets. Or each functor is an object in a new
,category where dynamic locations cut through the
,brittle dress age of individuation.
,
,For I am not an individual nor am I an other, but
,I am manifold and a manifold, a category of manifold
,transformations, where we are always plural and
,among ourselves, among each other thereby cut through
,into this plenum
,
24c24
< among ourselves, among each other thereby cut through
---
> among ourselves, among each other thereby cut through
28d27
<
cut through into this plenum
hom Given two modules M and N over a unit ring R, Hom_R(M,N)
denotes the set of all module homomorphisms from M to N.
mho Electricity. the standard unit of electrical conductance in
the International System of Units (SI), equal to the reciprocal
of the ohm and replacing the equivalent MKS unit (mho)
Mohs Soft - can be scratched by a fingernail, Mohs' 1-2;
Medium - can be scratched by a knife or nail, Mohs' 3-5;
Hard - cannot be scratched by a knife but can scratch glass,
Mohs' 6-9;
Diamond is the hardest known mineral, Mohs' 10.
ohm the SI unit of electrical resistance, expressing the
resistance in a circuit transmitting a current of one ampere
when subjected to a potential difference of one volt.
,
,*/I would have continued to discuss the isolation of an
extremely brutal regime in the U.S.A. as fallout continues
with an increasing isolation 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.

=====

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.

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

for Jochen Gerz, after Kant

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====

"Collapse": Because Facebook Abjures Blankspace:
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